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SiMON F

NIVERSITY

ST2 /

SENATE COMMITE O UNDERGRADUATE STUDIES

PROPOSED VISUAL ARTS MAJOR AND

Subject?99. wçts

.Daf

.....7, 198

Action undertaken by the Senate Committee on Academic Planning

at its meeting of December 9, 1981, and by the Senate Committee on Under-

graduate Studies at its meeting of December 8, 1981 gives rise to the

following motion:

"That Senate approve and recommend approval to the

Board of Governors, as set forth in S.82-1 , the

proposal for a Visual Arts Major including the lower

division and upper division requirements and new

courses as follows:

FPA. 163-2 - Introductory Painting-

n- he_.-

FPA. 164-2 - Introductory Sculpture

FPA. 165-2 - Video as an Art Form

FPA. 263-2 - Painting II

FPA. 264-2 - Sculpture I1

FPA. 276-3 - Photography 11-

FPA. 460-3 Studio in Visual Art V

FPA. 461-5 - Directed Studio in Visual Art

—

PTA. 466-3 - Seminar in Visual Art-

PTA. 467-3 - Directed Studies in History and Theory of

Modern Art

(Discontinue FPA. 469-5 - Directed Project in Visual Art)."

(FPA. 162-2 - Introductory Drawing, and

FPA. 176-3 Photography as an Art Form are courses

already approved.)

The following background information is provided to Senate.

Entitled "A Prospectus for an Arts Program," the first planning document

prepared by the Centre for the Arts was presented to and approved by

Senate in February 1976. It proposed a long-term development scheme

leading eventually to degree programs in visual arts, theatre, dance and

film. The prospectus also provided a plan for staged development so that

the full program could be staged in over time.

By June 1981, minor programs were offered in dance, film,

theatre and visual arts, a major program in dance was implemented

in the Fall semester 1980, and an interdisciplinary degree program

in the Fine and Performing Arts commenced in January 1981. Today,

with the exception of majors in film and theatre which have not yet

been created, the five-year program development plan proposed in

1976 is now complete.

-2-

The second five-year development plan proposed by the Centre

for the Arts was approved in principle by the Senate Committee on

Academic Planning in June 1981 and discussed at Senate in September 1981.

The proposed Visual Arts Major represents the first step in this second

five-year development plan.

The Criteria for Program Assessment previously adopted by SCM'

and approved by Senate served as the basis for evaluation of the proposed

program. The Committee concluded that the proposed program:

does have intrinsic academic excellence and is something

this University can expect to do well;

- will enrich the other program offerings of the University

through a general cultural ambience, student performances,

exhibitions and related activities;

- will build upon existing programs and resources, particularly

the well established minor programs currently offered by the

Centre;

does not unnecessarily duplicate existing programs at other

universities in the Province. Both UBC and UVIC do offer

visual arts programs but their studio structures are organized

along craft-departmental lines. Both programs are focussed on

painting, sculpture and printmaking; no provision has been made

for the integration of other media into the program. Further,

there are few links between the studio program and the study of

historical and theoretical issues. At Simon Fraser, 'open'

studios will be emphasized in which assignments will involve

experience with a variety of media, techniques and approaches.

In addition, the nature of the proposed program facilitates

opportunities for students to develop and make connections

between themes, ideas and problems developed in other course work

at SFU and their practice and thinking as artists, and vice versa;

will attract some new students to the University but of more

significance, the proposed :program will enhance both the Centre's

and the University's total academic program;

cannot be said to anticipate provincial or national needs.

•

Employment opportunities however, do exist for graduates of such

programs both within British Columbia and across the country.

In summary, the proposed program is consistent with the first

and second five-year development plans of the Centre, unequivocally meets

the 1st, 2nd, 3rd and 5th of the

six

criteria for program assessment,

satisfies the 6th, and probably does not meet the 4th. Given its generally

favorable assessment against the above criteria and assessment of the

proposed program on its academid merits, SCM' and SCUS recommend approval

by Senate.

Members commented on the high quality of the presentation sub-

mitted; it was noted that budgetary considerations were significant. It

was also observed that approval at this stage does not constitute authority

for implementation and that prior to implementation considerations SCM'

would have to consider this and other programs to develop priority listings

relative to implementation.

SiMON FRASER UNIVERSITY

MEMORANDUM

Subject. . .

Y. S.LJAL. . ARTS.. MAJP.R

(.S.C. 81-26)

rom ........

...

Faculty of

.fl ...r

•ç p .

iiy.

Date.

...NQXPiX.I2.,.J9$l ......................

The attached proposal from the Centre for the Arts

for a Major Program in Visual Art is for consideration

by SCAR. This proposal was approved by the Faculty of

Interdisciplinary Studies Undergraduate Curriculum Committee

on Tuesday, November 10,

1981.

Note that subject to the

approval of SCAP and SCUS we hope that this can be taken

to the January meeting of Senate. I solicit the co-operation

of Mr. Evans and yourself in meeting the Senate deadline.

Complete details of the resources required to mount

the program are included in the proposal. For convenience

the recurring costs are summarized below:

Faculty ......... . .............. $

66,000

Sessional Stipends ...........

Technician ....................

18,902

Temp Technical Assistance....

43,536

Visiting Artists..

........... 3PSO-0

TOTAL SALARIES .................

147,632

Non salary operating costs...-

33,000

T 0 1 A L....................

$180,632

(Provision for Space Rental

..... .

$25,000)

NOTE: There will also be non-recurring costs as detailed

in the proposal.

If the proposal receives approval by the University we

hope that it can be submitted to UCBC with a request for

New and Emergent Program funding. While we realize that

such a funding request will receive critical scrutiny, we

are confident that there is a strong case for approval. The

Centre for the Arts represents one of the most exciting

academic developments in the fine and performing arts in Canada

today. If we are to maintain our momentum and keep our good

faculty and students it is important that each of our areas

of concentration have an appropriate degree program. A minor

program cannot provide a satisfactory focus for either faculty

SiMON FRASER UNIVERSITY.

MEMORANDUM

See Distribution Below

........................................................

New Program Proposal

Subied

...........

........ ....... ..........................

Santa Aloi, Chairperson

From

......................................................

DCC, Centre for the Arts

ctober

21 O, 1981

Date

..................................................

The attached program proposal from, the Centre for the Arts is sent for your

information' or comments. The Visual Arts major program is the first step

in our 5 year development plan which was circulated last Spring. The 5 year

plan received approval

principle from F.I.D.S. Curriculum,Comittee and SCAP

and went to Senate for information.

The Visual Art major, which builds on

our present minor,

is now in

the process of going forward for approval.

would appreciate any response you might have by November 3rd.

• Harry Evans, S.F.U. Registrar

T.C. Dobb, University Librarian

Bill Richards, Chairman, Undergraduate Curriculum Committee, Communication Dept.

Daniel Nadaner, Education Department

Shiela Roberts, 'Administrative Assistant, Dean of Arts

cc. Janet.Blanchet"

Assistant to the Dean

Major Program Proposal

visual art

THE VISUAL ART PROGRAM AT SIMON FRASER UNIVERSITY

VISUAL ART PROGRAMS AT OTHER BRITISH COLUMBIA INSTITUTIONS

CURRICULUM STRUCTURE OF THE MAJOR PROGRAM

A. GENERAL STRUCTURE OF THE MAJOR PROGRAM

1. General Outlines of Requirements

Lower Division Requirements

Upper Division Requirements

B. CURRICULAR CHANGES ESTABLISHING CORE STUDIO PROGRESSION IN THE MAJOR

Reorganization of the 4th Year

Brief Description of Core Courses

I. Curricular Structure of Area Studios for the Major Program

2. Status of the Area Studios in the Minor Program

3. Status of Undeclared or Non-program in the Area Studios

Exception to Core Studio .Co-requisite.for Area Studios

D. THREE MODEL STUDENT PROGRESSIONS IN THE MAJOR PROGRAM

E. BRIEF DESCRIPTION OF CONTENT OF AREA STUDIOS

F. STATUS OF THE MINOR PROGRAM

II FACULTY AND STAFF REQUIREMENTS

Table of Contents (continued)

1. Centre for the Arts Visual Art Studio (CAVISA)

Photography and Darkroom Facilities

3. Video Production and Editing Facilities

4. Visual

Art Slide Collection

DOWNTOWN STUDIOS

Studio Space Provision

2. General

Facilities and Equipment Needs

Specific Facilities on Shop Floor

The Student Gallery

IV PRODUCTION COSTS AND PRODUCTION BUDGETS

A. STUDIO PRODUCTION COSTS

1. Lower Division

2. Upper Division

B. EXHIBITION BUDGETS

V THE SIMON FRASER GALLERY IN RELATION TO THE VISUAL ART PROGRAM

APPENDIX A

PROPOSED NEW COURSES IN VISUAL ART

TABULATION OF ADDITIONAL RESOURCES REQUIRED FOR NEW COURSES

APPENDIX B

BUDGET FOR EQUIPPING PHOTOGRAPHY STUDIO

APPENDIX C

BUDGET FOR ADDITIONAL VIDEO PRODUCTION EQUI PMENT

APPENDIX 0

NON-RECURRING OPERATING BUDGET

APPENDIX E

RECURRING OPERATING BUDGET

PREFACE

The interdisciplinary structure of the Visual Art program derives in

large part from its role in 'the Centre for the Arts, whose multidisciplinary

system is well-known. The Centre's structure has stimulated the process of

breaking down the organization of the study and practice of the arts in terms

of the traditional 'forms and their craft basis. The fact that Visual Art

students are routinely studying Film, Music, Dance or Theatre naturally means

that such students are bringing into the Visual Art studio attitudes, perspec-

tives and skills which do not originate in what is traditionally thought of

as 'fine art'.

This reflects the larger situation in the real world of productive and

innovative artists and their publics, in which the traditional divisions

between various art forms and media are being rethought. Much of the most

important work is being done by artists who are most seriously and systema-

tically challenging the nature and meaning of those divisions.

Furthermore, a serious critical discourse in the arts has also consistently

centred around parallels between the forms, whether, for example, in the name

of a Zeitgeist, or, more modestly, to show structural relationships of meaning

or expression. ' Much of the most productive critical work has developed'from

this process.

Contemporary art is also seen ' as a high intellectual adventure.

a crucial expression of our culture, generating profound insights and complex

forms of knowledge. This attitude implies 'a bond between the scholarly,

interpretive, and scientific activities,-which are characteristic of the

university, and cultural spectacle and expression resulting from artistic

practice. Within this relationship, art creates it%sensuous and complicated

images which become the occasion for fresh intellectual or critical discourse,'

the objects of systematic analysis, and the stimulus for the

, further development

of interpretive theory. Art has a specific,

positive function within the

university system --- if it is organized to take seriously its role in the

production of the complex cultural discourse.

This discourse applies to all forms of art. To all the-arts the critical

intellectual can pose the questions: What is art today? What is its relation

to the past, to institutions, to the development of other means of communication

and representation in society? How-does art have meaning today? These questions,

which are 'central to the theoretical understanding of modern art, are not

simply 'academic'

inquiries.

They are crucial

to the productivity of the

serious artist, and to, the development of the literacy of the audience.

All art schools and art departments attempt to address these kinds of

questions in differing ways, with differing results.

Their attempts mostly

take place within institutions still organized largely according to the model

of the Academy of Fine Arts which, even in its modern forms, is rooted 'in

the inculcation of specific crafts and skills divided in more or less specialized

ways.

The mastery of these complex crafts leads both to a kind of intellectual

knowledge of art and

to a position in an organized professional

life.

Modern art has come into conflict with this settled structure under the

pressures it has felt from the fact of its unprecedented rootedness in the

modern city and the new relationship artists have developed with

the

attitudes and abilities which have emerged there.

These new attitudes and

skills --- often surprising combinations of older ones --- have formed modern

art, or, as some may argue,, deformed it.

The history of modern art is in a

central way the history of its attempt to reinvent the language and the

materials of art. Part of this process of reinvention has been the difficult

struggle to find

.a new relatiOnship with modern cultural

institutions, primarily

the mass media, the university, and the museum.

Skill

and craft training remains basic to all art education.

But the way

this training is generally organized is inadequate because students are no,

longer placed in an unambiguous

'Fine Art'

context, one which is clearly

distinguished from commercial or applied forms.

Media, processes, and patterns

of understanding which originated in connection with applied or commercial

forms (for example, photography) now hold at least equal

status with the

traditional

forms and techniques of fine art.

The traditional

techniques have

themselves been deeply altered by their repositioning in a world of electronic

and photographic communication and representation.

Consequently, in the past four decades 'changes have taken place in art schools

and

art departments everywhere.

These changes are generally 'aimed at

integrating the existing structure of art education with some of the effects

of the new social

and technical

situation of Visual Art.

Themost interesting

and productive art programs are those in which this process of re-integration

is carried out most consciouly.

In' the development of such, programs, two major

pitfalls must be avoided:

the integrity of the traditional

forms of art

cannot simply be dissolved into an infantile and sterile

infatuation with new

'media'; neither, however, can the new art forms and processes be simply inserted

within the context of an unchanged Fine Art academic format as merely a new

'range of specialist skills.

These problems can never be wholly eliminated, since the polarity between

traditional and new forms reflects problems in the social structure of modern

art itself. The success of art education is judged, then, in terms of the

clarity and probity with which these antitheses are developed as objects of

study, both practical and theoretical.

THE VISUAL ART PROGRAM AT SIMON FRASER UNIVERSITY

We have been able to learn much through the critical contemplation of existing

models. . The Visual Art program at SFU has been designed to maximize the

productive potential of students' experience of these living

issues. The core

studio program is unique in bringing together the various media and art

forms in the work. Situation of each class. Rather than developing 'departments'

of painting, sculpture, graphics, photography, etc., the studio system consists

of 'open' studios in which assignments involve experience with a variety of

media, techniques and approaches. At the Lower Division, this takes the form

of introductory experience with these media in the context of an overall

critical perspective based upon many of the issues raised in this preface.

Upper Division work proceeds through individual assignments made in consultation

with faculty, and students may concentrate on any medium they wish, or mix

media in any way they can invent and master. However, since the Upper Division

class brings together students working in different forms, a comparative and

critical atmosphere develops. Each art form or medium becomes perceptible and

intelligible as a specific set of possibilities and limitations. In this process,

the form of specialization, the kind of professionalism (and career possibilities),

and the kinds of thinking corresponding to these forms all become an object of

serious and consistent critical attention.

This whole process grounds the practice and theory of Visual Art solidly

upon our actually-existing cultural and intellectual context. The program

based upon it is designed to benefit from and contribute.tothat context,

which includes the other arts involved in the Centre.

The requirements-for the major include introductory studio courses in at

least one other art form; but, beyond this requirement, the Visual Art program

is in a position. to make maximum use of the skills and insights students gain

in their other fields. By consistently opening the question of the acceptable

boundaries of visual art, the program also keeps open the borderlines between

visual art and the other forms. The interdisciplinary perspective is an internal

•

perspective of the program itself, not an addition to an existing set of

general definitions of art.

. .

This orientation extends beyond the Centre. Artistic concerns, concepts

and subjects emerge from social experience, just as media and techniques do.

The University embodies much of this experience in.the content and methods of

its disciplines. Visual Art students are encouraged 'by the character of the

program to consider the University as a rich resource of possibilities for

their work. Students in the existing Minor program have constantly been able

to make connections between themes, ideas and problems developed in other

course work at SFU and their practice and thinking as artists. It is apparent

that the reverse is also occurring. The careful distinction between scholarly

knowledge and artistic insight in many ways depends upon the development of

the awareness of the possibiliites of interchange and even synthesis between

them. The Visual Art program is based on the principle that the university is

a primary institution in the development of this interchange. Establishing

Visual Art as an integral part of the university insures the continuation and

renewal of the values of artistic expression and insight in society as a whole.

VISUAL ART PROGRAMS AT OTHER BRITISH COLUMBIA INSTITUTIONS

This program is unique in British Columbia.

The two other universities

have organized their studio structure along craft-departmental

lines.

At. UBC

the studio program, both undergraduate and M.F.A., is centred on painting,

sculpture and printmaking, and the Fine Arts Department considers these

boundaries appropriate to its situation.

No provision is made for the integration

of other media into the program, and there are no plans for this.

There is

little integration of historical

and theoretical

study directly within the

studio program, although these kinds of issues

are

addressed inthe Art History

program.

The University of Victoria's Fine Art Department is also organized on a

craft-departmental

basis, with emphases similar to those at UBC, although

photography is an important part of the curriculum.

Interest in media other

than painting, sculpture and printmaking is not highly developed, and, like UBC,

there are few links between the studio program and the study of historical and

theoretical

issues.

The studio program and the History in. 'Art program are

probably less-involve d with each other than are the studio and art history

areas at UBC.

These two schools, UBC and UVic, are very comparable in the

structure and boundaries of their Visual Art studio programs.

The Emily Carr College of Art offers an interdisciplinary section, or

department, which includes study of the kinds of newer media built into the

SFU Major.

This section, however, exists as a'

separate

.department in the

College, and runs parallel

to the other more traditional ones, again based

strictly on craft-departmental

lines.

Students at Emily

Carr tend to be

identifiable as 'painting' students or 'photography' students, and this reflects

the fact that the College continues the traditional Fine Art Academic format,

with the addition of a department for new media. The Academic character of

the College, however, does not provide for integration of the theoretical and

historical study and criticism with studio practice. There are almost no

courses in art history, criticism, or theory required for any of the diploma

programs. Some good courses exist but are offered on an entirely elective

basis

None of these institutions is in a position to provide the opportunities

for work in Visual Art which is constantly and systematically linked with

other art forms; this exists only in the Centre for the Arts. Insights and

stimuli from such areas in these schools are generally episodic (for example,

depending on occasional residencies or visits from dancers, theatre designers,

filmmakers, etc.).

The other institutions, then,generally tend to separate the various forms

of visual art into areas of professional specialization. The proposed Visual

Art Major program attempts to integrate and bring them together critically

under the terms of a common discourse rooted in the actual interrelation of

these forms of art in society. The proposed Major program is not a professional

or preprofessional training concentrating on specialization, but rather an

experiential, exploratory, and practical structure in which students with strong

interests in art as well as otherthings (reflected in their other studies in

the University) can unify those interests with the making of visual art. In

the same process, they can unify and integrate the making of visual art with work

in and experience of other art forms on an organized, systematic basis.

Students can learn skills sufficient to qualify them for further professional

training should they desire it. The Major program will undoubtedly graduate

many who will make contributions to art. It will also produce graduates for

whom art is not a professional or all-consuming acitivity, but for whom it

is a vital element in their education and cultural life.

I CURRICULUM STRUCTURE OF THE MAJOR PROGRAM

The Major program is built on the basis of the existing Minor. The Minor

program will becontinued as an integral part of the program as a whole. The

existing studio courses, with the exception of FPA.469-5, will now constitute

the first three years of what shall be here called the 'core' studio progression:

the central experiential, practical and critical courses through which all

students move. Reorganization of the fourth year of this core prgram is

outlined below (I,B). The Major program also requires FPA.166-3: Introduction

to Art History I; FPA.167-3: Introduction to Art History II; and one Arts in

Context course to be taken in the Lower Division.

The major new feature of the Major program is the group of more specialized

2-credit 'area' studios. These teach two levels of work in painting, sculpture

and photography, and one level of work in drawing and video. Major program

students are required to take three of these studios in their Lower Division.

Details of the area studios and the requirements follow the outline of the

general structure of the major program and its requirements.

A. GENERAL STRUCTURE OF THE MAJOR PROGRAM

The following outline riiakes reference to Chart I.

1. General Outline of Requirements

a.) - For a general degree with a Major in Visual Art, students must

complete a total of 120 credit hours.

b.)- Entry into the Major program is contingent upon acceptance into

the first Upper Division stud io-seminar courses, EPA.350-3 and

FPA.366-3. Students may declare their intention to complete

Major or Minor programs in their first semester.

c.)

- Entry into the first year core studio, FPA.160-3, is by portfolio

interview with Visual Art faculty.

d.)

- To complete a Bachelor's degree with a Major in Visual Art,

students must complete 24 credit hours outside the Department

as part of degree requirements..

e.)

- For any general, degree program, an overall minimum of at least

45 hours of Upper Division credit is required.

Lower Division Requirements

At least 33 hours in EPA, including 30 hours of required credit as

Introductory Studio in Visual Art I

Introductory Studio in Visual Art .11

Introductory Drawing

Introduction to. the Historyof Art I

Introduction to the History of Art II

Studio in Visual Art I

Studio in Visual Art II

Plus one of:

FPA.110-6: The Arts in Context: the Renaissance

FPA.113-6: The Arts in Context: European Romanticism

FPA.114-6: The Arts in Context: The Modernist Era.

FPA.116-6: The Arts in Context:. North American Styles

Plus two of the following AREA STUDIOS:

* FPA.l63-2: Introductory Painting

* FPA.164-2: Introductory Sculpture

* FPA.165-2: Video as an Art Form

FPA.176-3: Photography as an Art Form

* FPA.263-2: Painting II

* FPA.264-2: Sculpture II

* FPA.276-3: Photography II

* proposed new courses

. .

•

FPA.162-2 may be taken in any semester of the Lower Division.

FPA.166-3 and 167-3: Introduction to the History of Art I and II may be

taken in either year of the Lower Division, but must be taken in consecutive

semesters.

In addition, majors are required to take one 100-level studio course in

another area of the Centre as part of their FPA credit requirement.

Upper Division Requirements

At least 32 credit hours of EPA, including 26 credit hours, distributed

Studio in Visual Art III

Problems in Visual Art I

Studio in Visual Art IV

Problems in Visual Art II

Studio in Visual •Art V

. .

Seminar in Visual Art

Directed Studio in Visual Art

•

Directed Studies in History and Theory of Modern Art

Upper Division students may elect additional area studio courses as their

overall program credit requirements permit.

Major students are also

recommended to take a second Arts in Context course in the Upper Division.

Other FPA electives recommended by the Visual Art program are:

FPA.170-3: Introduction to Technical Theatre

FPA.234-3: Introduction to Film Studies.

FPA.334-3 Film Analysis

FPA.341-3: Music Composition and Performance III'

FPA.370-3: Technical Theatre

FPA.382-3: Aesthetics of Performance

FPA.436-5: Selected Topics in Film Studies

FPA.489-5: Intërdiscipl mary Project

The attention of students is drawn to the following courses in other departments

which may be useful and interesting:

Communication 257-3: Explorations in Video

Communication 321-4: Communication and Culture in Musical Form: The Popular Idiom

Communication 330-5: Communication and Cultural Form I

Communication 430-5: Communication and Cultural Form II

General Studies 300-5: Introduction to Marxism and the Arts

Philosophy 242-3: Philosophy of the Arts

History 385-3: Canadian and B.C. Art

Geography 344-3: Geography of Modern Industrial Societies

•

Geography 346-3: Geography of Contemporary Industrial Societies

Geography 431-5: Landscape in Science, Art, Music and Literature

History 225-3: Modern Europe

. .

Students are also encouraged to elect courses listed within the Humanities

Minor program.

CHART I

Core Studio Progression

Prerequisites indicated by arrows)

+ FPA.166-3: Intro, to Art History I

167-3: Intro, to Art History II

+ one Arts in Context course

Area Studios

The following.courses are given in both Fall and Spring semesters:

FPA.162-2: Introductory Drawing

FPA.163-2: Introductory Painting

FPA.164-2: Introductory Sculpture

100-level ('Introductory')

FPA.165-2: Video as an Art Form

area studios

FPA.176-3: Photography as an Art Form

The following courses are given in the Spring semester only:

FPA.263-2: Painting II

FPA.264-2: Sculpture II

EPA. 276-3: Photography II

B. CURRICULUM CHANGES ESTABLISHING CORE STUDIO PROGRESSION IN THE MAJOR

Reorganization of Fourth Year

The fourth year is reorganized to provide a year-long cycle of studio

and seminar work rather than a single semester currently structured

in the Minor, which is inadequate for the Major program.

One of the most productive and successful features of the Major program is.

the studio-seminar system in the third year (FPA.360-366/FPA.361-367). This

arrangement permits students to develop both their studio work and their

critical approaches to It in a systematic, intensive and very stimulating way.

The co-requisite structure means that, through the seminar, the students have

the opportunity to develop a serious historical and critical sense of the

situation of 20th century art and to create a critical vocabulary to analyze

that art.

The regular studio critiques in FPA.360 and 361 take up these

issues and ideas simultaneously and test them in the immediate experience of

coming to terms with the student's own work and that of his colleagues. This

practical process of integration of critical ideas with studio practice becomes

the model for all Upper Division work

the Major ptoq,am and, therefore, leads

as well to a slight change in the fourth year of the Minor.

In the Major the fourth year will consist of a studio-seminar pair of

courses in each semester.

These are:

Fall: FPA.460-3: Studio in Visual Art V

FPA.466-3: Seminar in Visual Art

SPRING: FPA.461-5: Directed Studio in Visual Art

FPA.467-3: Directed Studies

History and Theory of

Modern Art

Major students take all four courses, for a total of 14 credits.

FPA.469-5 is to be dropped from the curriculum.

Minor students will take

FPA.460 and FPA.466 as their final semester The present fourth year of the

Minor consists entirely of FPA.469-5: Directed Studies in Visual

Art and,

thus, the Upper Division credit requirement of the Minor is increased by one,

from 17 to 18.

Brief Description of Fourth Year Core Courses

The new course proposal forms and outlines for the proposed core courses

can be found in Appendix A-II. The existing FPA.469-5 is a Directed Studies

course in which students arrange to work individually with an instructor of

:11

their choice.

Although a directed studies course had the advantage of

providing extremely individualized instruction, it also breaks up the

interesting and productive group situation which makes the third year so

Seffective.

Students have generally worked more creatively in the group

setting; group work will be thus extended for one semester into the fourth

year.

FPA.460-3

Studio in Visual Art V

The new course FPA.460-3 is structured similarly to the third year studios

and continues the type of work situation developed during that year, but at a

more demanding level.

FPA.466-3 Seminar in Visual Art

The new course is a critical and theoretical seminar which naturally

builds upon the work done in the third year seminars. In the third year

students are required to have made themselves familiar with

basic historical development of 20th century art, and to have assimilated the

basics of the critical language of that art. Third year students prepare two

or three brief and focussed research papers on specific subjects developed

from the curriculum presented by the instructor. Fourth year students will be

expected to extend this work into a larger and moreextensive treatment of a

clearly-defined problem. Subjects for these papers will be proposed by the

student and reviewed by the instructor. FPA.460 will require two such essays,

one presented in the seminar.

FPA.461-5 Directed Studio in Visual Art

FPA.467-3 Directed Studies in History and Theory

Modern Art

The new courses FPA.461-5 and FPA.467-3 are Directed Studies courses.

Students work through individual instruction. Faculty and students contract

individually for the pair of courses, both being done by the same faculty

member.

FPA.461-5 will be conducted through individual critiques held

regularly throughout the semester.

In FPA.467-3, students prepare a 'Graduating Essay'.

Students are

required to propose a basic topic for this substantial paper at the beginning

of the spring semester. Faculty work with students on clarifying the topic and

establishing its frame of reference, direction, and methodology. Students

prepare a first draft of the paper during the first eight.or nine weeks of the

semester.

•

FPA.467 includes a fourth-year colloquium, to be attended by all faculty

and involved students. This takes the form of a presentation of the drafts

of the papers for discussion. Although students are now working more

individually, it remains desirable that a real framework for comparative

criticism and discussion be maintained. This colloquium, which would be held

during the latter part of the spring semester, provides such an occasion.

Taken in the context of the Upper Division work as a whole, the colloquium is

the final occasion for a group of students who have worked together intensively

over three semesters to express their own viewpoints and to present them for

serious discussion with their fellow students and instructors. The finished

essays are, of course, formally evaluated and-graded by the individual instructor.

Minor students complete their requirements with FPA.460/466-3. However,

those Minor students who elect to do so could'take FPA.461-5, with Departmental

permission. These students would not be required to take FPA.467-3 as a

co-requisite. This breaches the Upper Division rule of no studio without

seminar. This is permitted on the basis of the Minor student's completion

of his declared program, and because it provides a format in which enthusiastic

students who are not majors can develop their work further, and possibly carry

out an ambitious project. Admission of completed minor students to FPA.461

would be by consultation and permission of the Department and would be possible

only if enrolment levels by Majors permitted it.

C. THE AREA STUDIOS

The major program is composed of a combination of the core studio

progression with a selection of the proposed new area studios. -

These area studiosconstitute a two-semester opportunity for students to

concentrate on a favourite field of work. They do not, however, fo,,a separate

stream or division of the program. Entry into these studios is based (with

one minor exception --see below, p.16 ) on a co-requisite system with the core

studios. All Major, Minor, and undeclared students must be registered in the

appropriate core studio to be able to elect any area studio. Therefore, a

student can concentrate on a particular area while simultaneously being grouped

in the core studio at his level with students working in other areas. The core

studio is based on an intensive and practical engagement with important artistic

approaches and issues which are realized in a variety of media. The multidisci-

plinary, 'open studio' structure generates a central critical discourse relevant

to all specific types of art.

The function of the area studios is to support this process by permitting

students to work at a single art form in a concentrated way. These studios

teach 'technique' grasped in its broadest

sense: since all artistic techniques

embody the traditions of the art form as it has developed historically, they

therefore carry with them entire aesthetic attitudes. Technical matters are

immediately aesthetic issues of the highest order. The area studios are designed

to provide students with the most direct experience possible of this relation-

ship. As such they strengthen the system of the core studios.

The practical experience in the area studios gives the students greater.

confidence in dealing with challenging assignments.

They bring into the core

studios greater resources and, consequently, a. greater sense of artistic

identity and more experience in working with materials.

The area studios are intended to develop interest and expertise in the

various fields., and to feed stimulated, experienced, capable and opinionated

students into the core studios at every level, but particularly in the crucial

second year. In the core courses, students' relationships to their particular

areas of interest receive challenging and provocative investigation. People who are

becoming involved in, for example, painting, in FPA.163 or 263, may be directed

into experiments with live actions, with architecture or everyday environments,

etc., in which the practice of painting takes many different and unpredictable

forms. Their interest in painting is somewhat redirected, and they come at

that art in ways for which possibly the painting studio has not exactly prepared

them, but to which it it has made it possible for them to respond strongly and

resourcefully. The parallel work in the painting class has the effect of

intensifying the issues again from the .reverse angle, making it possible for

the student to work in the area studio more inventively.

The fact that the core studios will be filled with students simultaneously

working in all five areas, and bringing with them the experience and the

attitudes developed in the areas, means that the core studios will be extremely

lively and varied. Inversely, the kind of cross-fertilizing that this should

stimulate will reflect back into each of the area studios, creating an atmosphere

of questioning there as well. In this way, the areas cannot develop a routine

attachment to the usual definition of their art form, but are continually shaken

up, challenged,,and reworked from within.

1. Curriculum Structure of the Area Studios fOr the Major Program

Area studios are given at two levels, an Introductory, or 100-level, and

a Secondary, or 200-level. Major students are all required to take FPA.162-2,

Introductory Drawing, in the Lower Division. In addition, Majors must take

two other area studios in the Lower Division. Although a required course,

FPA.162 is not a prerequisite for the other area studios. That is, majors may

take other area studios before having completed FPA.162, or concurrently with it,

should their program schedule permit this. However, no Major is permitted to

area studios. There is considerable flexibility for individual scheduling of

the area studios in the lower division.

Majors can complete their area requirements with studios numbered either

100 or 200. That

is,

a Maj'or student may either follow a single area for the

100 and 200 level, Or take two different areas, both at the 100 level.

Furthermore, the 100-level area studios are generally recommended

preliminaries for the 200-level courses, but are not formal prerequisites.

Major students can be admitted to 200-level areas without having taken the

corresponding 100-level course by permission of the Department.

This permission

would be granted on the basis of demonstrable technical skill and artistic

awareness of and involvement in the form concerned.

For example, a student in

FPA.261 may, through the flexibility of the core program, have practiced painting

consistently and achieved a high standard over two or three semesters.

This

student may then be admitted to FPA.263 without having taken FPA.163.

Students

transferring from other schools may also be able, by the nature or their previous

work, to benefit from 200-level studios, as would Upper Division students whose

interests were moving into new directions.

In all

such cases the Department

must assess the student's work and development before permitting admission into

200-level

studios on these terms.

This does not create a situation where 100-level

courses are routinely bypassed or disregarded.

The 100-level courses provide

extremely important basic grounding, and students who do not have this will

take these courses with enthusiasm.

This structure permit

the greatest flexibility for the student.

Student

skills, aptitudes and interests in art develop unevenly and can change direction

rapidly.

The open structure of the progression in the area studios provides

the framework for students to follow their own inclinations as much as possible.

This should be seen in connection with the strict

prerequisite system of the

core studios.

100-level studios are givenin both Fall and Spring semesters of each year,

while 200-levels are given only each Spring. Photography may be an exception,

depending on decisions of the Centre to develop it as an Interdisicplinary

resource. Depending on developments, both-levels of Photography

may be given each semester. Chart II shows the projected class sizes and

available places. Although the restriction of 200 level studios to the Spring

term reduces the desired openness somewhat, it is far from restricting it unduly.

Major students in the Upper Division may elect area studios in so far as

their general program credit requirements permit this. Upper Division majors

may not be accepted into an area studio before all the Lower Division majors are

accommodated. AdmissiOn of Upper Division Majors to area studios will be by

Departmental permission, and students must plan their programs appropriately.

Status of the AreaStudios in the Minor Program

Area studios are not required for the Minor program. However, Minors will

be able to elect these courses as part of the general EPA elective component of

their programs. Like Majors, Minors must be enroled in the appropriate core

studio course to take any area studio, and must obtain Departmental permission

to enrol in any 200-level studio without completing the corresponding 100-level

studio. Minor students in the Upper Division may take area studios as general

EPA electives under the same conditions as Majors. Minor students should

consult with the Departmental advisor in planning their programs to include

area studios. Although not required, FPIk.162 is strongly recommended for

Minors, and is likely to be elected by the majority of them. The projected

enrolments in Chart II include heavy participation of Minors in the area studios.

Status of Undeclared or Non-program Stüients in the Area Studios

Projected enrolments and capacities (cf. Chart II) indicated that it will

be possible to provide a number of spaces in the area studios for students who

are taking core studios in the Lower Division as free electives and who are

not pursuing any degree program in Visual Art. Since a number of places in all

Lower Division core studios are open to such students, they will also have

equal access to the area studios. Thus, an undeclared or non-program student

taking FPA.161 would be able to elect an area studio on equal terms with declared

majors and minors.

4. Exception to Core Studio Co-requisite for Area Studios

A small number of places

the area studios may be provided for students

not taking the core studios at all. This would be strictly contingent upon

enrolment levels among program students and students taking core studios, all

of whom have priority. This constitutes an exception to the general regulations,

and this exception is justified for two reasons.

First, It creates an additional route of access toward the Visual Art

programs for students in other areas of the University who are interested in

art but whose programs do not permit them to become seriously involved. Such

students bring diverse and interesting attitudes into the studio, and their

presence there will strengthen the roots of the program in the University as a

whole.

In this sense, the area studios would have a strictly limited 'service'

component. Furthermore, the experience of an area studio may be the first step

for those students whose interest in art has been subordinated to other concerns

to return to it by subsequently entering the program.

The second reason is that such an opening provides a small but worthwhile

addition to the possibilities for students in other EPA areas to obtain

interdisciplinary experience. There are many students carrying heavy programs

in other areas who could benefit from work in one of the area studios.

These students could constitute no more than 10% of the area studio

population (i.e., 1 or 2 per class). They would be admitted only after all

other students had been accommodated. Their entrance would of course be by

Departmental permission only.

CHART II

PROJECTED ENROLMENT LEVELS - ALL PROGRAMS

PROJECTED MAXIMUM COURSE CAPACITIES

Second year enrolment

These courses are esti-

Art enrolment, and are

FPA.176

(PH-I)*

•

administered through the

FPA.276

(pH_2)*

Interdisciplinary Area

of the Centre. Thus these

courses are computed at

TOTALS

50% capacity for purposes

PROJECTED ACTUAL ENROLMENT LEVELS

ALL DECLARED STUDENTS DEFINED AS TAKING 3 AREA STUDIOS IN LOWER DIVISION.

THUS 75% of DECLARED STUDENTS IN AREA STUDIOS IN EACH SEMESTER

TOTAL DECLARED STUDENTS IN LOWER DIVISION

50 x 75%

= 38

DECLARED STUDENTS IN UPPER DIVISION TAKING ONE AREA STUDIO.

THUS 25% OF DECLARED STUDENTS IN AREA STUDIO IN EACH SEMESTER.

TOTAL DECLARED STUDENTS IN UPPER DIVISION

24 x 25%

= 6

TOTAL DECLARED STUDENTS IN AREAS IN EACH SEMESTER

= 44

UNDECLARED STUDENTS TAKING CORE STUDIOS DEFINED AS TAKING 2 AREA STUDIOS

IN LOWER DIVISION.

•

THUS 50% OF UNDECLARED STUDENTS IN AREA STUDIOS EACH SEMESTER

UNDECLARED STUDENTS

26 x 50% = 13

OF 100 STUDENTS IN CORE STUDIOS, 57 TAKE AREA STUDIOS EACH SEMESTER

FALL: CORE STUDENTS CONSTITUTE 57/60 ENROLMENTS

SPRING: CORE STUDENTS CONSTITUTE 57/84 ENROLMENTS

30 ENROLMENTS PER YEAR REMAIN

•

THIS IS ABSORBED BY CORE STUDENTS TAKING EXTRA AREA STUDIOS AND BY

ACCEPTANCE OF A SMALL NUMBER OF NON-CORE PROGRAM STUDENTS (cf. NOTE 4, p. 16)

D. THREE MODEL STUDENT PROGRESSIONS IN THE MAJOR PROGRAM

The progress of three model students through the major program will be

followed to illustrate the flexibility of the structure. Students are assumed

to be full-time, and carrying 15 credit hours per semester.

STUDENT 2

1st YEAR: FALL: FPA.160-3

FPA.1 66-3

EPA. 162-2

(+ two other courses)

2nd YEAR: FALL: FPA.260-3

4th YEAR: FALL FPA.460-3

(+3 others incl. 100-level

studio in other FPA areas)

This is possibly the most typical progression. The student takes the

required area studio, FPA.162, in his first semester, and also completes the

Art History requirement in the first year. He also takes the required first-

year studio course in another discipline, which may have an effect on the work

done in Visual Art at this point. This program permits the student to take

at least four other courses in the University in the first year.

The fall semester of the second year is heavy with Major program require-

ments. The student chooses painting as an area interest, and takes the required

Arts in Context course. The student is seriously immersed in visual art work

in this very important semester. It is during the second year that students

establish the basis for their success in Upper Division and, indeed, for their

broad Intellectual issuesof art

the Context course. The art history survey,

completed in the first year, provides the student with a good frame of

reference for the Context' course. During the spring semester, the student takes

only the core studio and continues to work

the painting area, while taking at

least three other courses.

During the third year the student takes only the required core courses,

orienting himself to the demands of Upper Division work and concentrating on

developing his own artistic directions. He is likely to take at least one of

the recommended Upper Division FPA electives during this year.

In the fourth year, the student follows up a new interest, which has

grown out of the concentrated studio work done in FPA.360 and 361, and takes

FPA.165 as a free elective, learning the basics of video production. This

capability permits him to work in this medium, combining it with elements

drawn from the other studio work. This opens new possibilities and

perspectives for his work in the final year. The spring semester is made up

of core courses only. The student completes his final projects, possibly in

more than one medium or form. By the end of his program, several directions of

further development lie open to him. This student has taken only one course,

a 2-credit video area studio, over the minimum requirements.

A second example is that of a student involved in photography and video

from the beginning of his program. This student may be working consistently

in the Interdisciplinary

Area,

or in connection with Film or Theatre.

STUDENT 2

1st YEAR: FALL: FPA.160-3

2nd YEAR: FALL: FPA.260-3

3rd YEAR: FALL: FPA.360-3

FPA.489-5: Interdisc. Project

4th YEAR: FALL: FPA.460-3

SPRING: FPA.461-5

EPA.466-3

FPA.467-3

This student defers taking Art History to the second year in order to

obtain the maximum practical experience in photography in the first year. He

also takes his required drawing course, FPA.162, in the first semester. By

the spring term of the first year, such a student would be deeply involved in

studio practice and would complete his area requirements in one year. He

would be permitted to take a fourth area studio, video, in the fall of the

second year, on the basis of his performance in first year and a clear outline

of his ability to completehis academic requirements for the Lower Division in

the second year. Since FPA.261 is the first course in which student work proceeds

•

less through assignments and more in terms of the student's own interests, this

student would have the latitude to produce independent work in video or photography,

or some combination of those. Moreover, since he has been participating in

the core studios in a variety of other media, he will not have developed a

narrow perspective on these media as art, but has.drawn many connections with

sculpture and performance, for example. The student does more intense academic

work in the spring semester, taking the Context course and, in doing so, prepares

for the Upper Division. The fall semester in the third year is spent doing core

studio and seminar work, and in planning an ambitious project for the spring.

He designs an Interdisciplinary Project, which may, for example, take the form

of a video production. His core studio work in the spring semester may be

related in form to the Interdisciplinary Project or not, as thencase may be.

Such asemester would be extremely demanding, hectic, exciting, and productive

and may prove the high point of the student's program. We can expect some of

the, most stimulating interdisciplinary work to come from such situations, which

must be planned well in advance. The student would be advised and permitted to

undertake such a project on the basis of firm preparation, both techical and

conceptual, in the preceding one or two semesters.

The fourth year is given to consolidation and further investigation of

ideas developed during the ambitious third, and is likely to result in very

mature work.

The third model is that of a student with practical, non-academic

experience in, for example, sculpture, and who wishes to concentrate as much

as possible on that art. Such a student may have sufficient transferrable

credit and accumulated accomplishment to enter the program at the second or

even third year, but for the purposes of this model, this is disregarded.

STUDENT 3

1st YEAR: FALL: FPA.160-3

2nd YEAR: FALL: FPA.260-3

3rd YEAR: FALL: FPA.360-3

SPRING: FPA.361-3

FPA.366-3

FPA.367-3

FPA.372-3 Tech. Prod.

(CONTEXT 11-6)

4th YEAR: FALL: FPA.460-3

SPRING: FPA.461-5

FPA.466-3

EPA . 276-3

This student experiences some restrictions resulting from the 200-level

studios being given only in the spring, for he does not wish to take the 100-

level sculpture area, which is the only sculpture area studio available in the

fall of the first year. However, the student takes EPA.170: Introduction to

Technical Theatre as his required first year studio course in another discipline.

Here he learns a group of new skills, techniques and concepts, and becomes

interested in both stage design itself and its relation to sculpture.

In the second semester the student takes the sculpture area studio, EPA.264.

With the experimental framework of the core studio having its effect, he

interprets his assignments in FPA.161 in the directions suggested by the

scenography-sculpture link he is experimenting with. This naturally affects

his work in the sculpture area as well -- and illuminates some of the historical

material (for. example, Baroque sculpture's theatricality) concurrently being

studied in FPA.167. Thus, by the end of the first year this student has

opened a whole new direction for himself and has created a serious interdisci-

plinary connection.

In the fall of the second year the student does only the core studio and

the Context course, both of which permit him to work on and think about

sculpture in a broad way. It is possible that he is also working as a

scenographer on Theatre, Dance or Film productions either through elective

courses, or voluntarily. Thus, he may take FPA.370: Technical Theatre. In

the spring of the second year the student must complete his area studio

requirements, and so takes drawing and FPA.176, Introductory Photography, in

which he turns his assignments as far as possible in the directions in which he

is already interested.

This student would obviously understand a good deal

about lighting by this time from his work in Theatre and this, among other

things, would inform his photography work.

It should be clear that such ,a student would enter the Upper Division with

a very promising program and set of interests, as well as the basis of a

considerable range of skills.

His specialization -- his work as a sculptor --

which he now develops freely in the Upper Division studios, is informed by

all

this.

Sculpture for this student cannotbe a narrow interest but, rather,

a synthesis of many determinants.

The connection with scenography is continued

in this semester as the student elects FPA.372: Technical

Production, for which

he has all

the prerequisites.

All

these possibilities mature in the Upper Division.

The critical and

theoretical elements which become prominent in those courses can be received

by this student with great confidence and range.

By the end of the third year

the student may have made some exciting sculpture.

His decision to

take

second Arts in Context course is related to his broadened interest in the

relations between the arts.

The fourth year permits a concentration and

deepening of his sculptural work, but he also elects to gain more experience

with photography, taking the second area studio in that.

This student is

probably exceptional.

He has taken 37 EPA credit hours in the Lower Division,

only one above the required minimum, and 38 in the Upper Division, six over the

minimum.

This is accounted for by the elective second Context course, taken

for Upper Division credit.

E. BRIEF DESCRIPTION OF CONTENT OF AREA STUDIO COURSES

Course proposal forms and outlines for the proposed new area studio

courses may be found in Appendix A-I and provide more detailed descriptions

than those which follow.

EPA.162-2: Introductor

Drawing is already approved

and the SCUS Proposal Form and Outline are thus provided in the text:of this

proposal. FPA.176: Photography as an Art Form is an established course in

the Interdisciplinary Area.

SENATE COMMITTEE ON 11NDERCRANtT1: STUDHS

NlW COURSE PROPOSAL. FOR}t

1. Calendar Information

Department:

CENTRE

FOR THE ART

Abbreviation Code:

FPA.

Course Number:

162 -

Credit Hours:

Vector: 0-0-4

Title of Coureat

INTRODUCTORY DRAWING

Calendar Description of Course:

A studio

COW O

in basic drawing skills, media, and

techniques. Drawing is taught in the context of its functions in contemporary ar-i-.

Basic skills, approaches and techniques are practised both to develop students' physical

abilities and their capacities to use drawing as a creative and imaginative method in

all

artistic work. This course is based on life drawing and on methods of spatial

construction and depiction.

Nature of Course

Studio

Prerequisites

(or special instructions):

or Co-requisite with FPA. 160

What course (courses),

if any, is being dropped from the calendar if this course is

approved:

None

Schedu1i

How frequently will the course be offered?

Each lull and Spring

Semester in which the course ill first be offered?

Sprinc 1982

Which of your present faculty would be available to make the proposed offering

possible?

Jeff Wal I or Bruce Barber

Objectives of the Course

To introduce students to the functions of drawing a.; a working and conceptualizing

method and tool In all visual art; to prov i

an introduction to the basic perceptual

and graph ic skills, techniques and sensihiiitie, and an oppor fun ify for students to

practise drawing intensively under directed conHtions; to provide a basis for relating

drawing work

to all

other rrocesses characleri5tic of contemporary art.

8udetary and Space Requirements (for information only)

What additional réoourccs will be required in the, following areas:

Faculty

None

S;aff

Professional models (approx. 40 hours per semester)

Library None

Audio Visual

None

Space

None

Equipment

Augrnenttion of existing siudlo drawing furniture and equipment (drawing

benches and boards). sufficient equipment has been included in this year's capital

P 0Vfll

Date:

Dean

SCLIS 7-34b:- (When completing this form, for instructiono see Memorandum SCLJS 73-34a.

Spring 1982

FPA.162-2

Faculty

INTiO1JULi OIY DHAW I NU

This course provides an introduction to the basic drawing skills, media,

processes, approaches and techniques in the context of their function in contem-

porary art. Studio work in gestural dráwinq, life drawing and the technique

of spatial construction are aimed at developing students' perceptual sensitivity

to form, tone, light, and materials as well a;

training

their physical capacities

for all artistic work.

The course is based on:

I) study of the live model, nude and draped. This life drawing Is dealt

with in a variety of media, and is aimed not simply at developing

traditional academic drawing abilities (though these are not dispensed

with), but rather at The whole range of contemporary attitudes in drawing

toward gesture, representation, materials, and structures of meaning;

2) studies in spatial projection, construction and representation.

Work in basic perspectival systems and their variations, as well as

experiments in modern spatial structures which are critical of tradi-

tional solutions, are aimed at developing students' ability to visual-

ize and imagine complex situations qiaphically and to express them

creaHiely.

All class work is intended to investigate the possibilities of drawing as

basic working and thinking process in the visual arts. Sludents are not expected

merelyto conform to an established academic canon of'excol lenco' in drawing, but

rather -to work through the pracl ice of drawing toward an awareness of the funda-

mentals of visual expression. Through the activity of developing their own

resources in this

area,

students are expected to begin to define for themselves

the place and function of drawing in their own artistic work as a whole.

Class critiques arc held regularly in the studio and students are expected to

contribute to these. These critiques are in1endd to provide experience in assess-

ing works of art throuh the work of constructing a critical vocabulary which

authentically reIl

ects the situation of contemporary art and the place of drawing

within it.

PRE-REQUISITE/CO-REQUISITE: EPA. 60-3

Attendanceat

ri ll

classes is a requirement.

Students will be required to purchase their basft drawing materials. An

outline of recommended materials

•

wi II

given at the beginning of each semester.

NEW AREA STUDIOS

FPA . 163-2: Introductory. Paint i.ng.

FPA . 263-2.: Painting=

The'painting studio would, at the 100 level, deal seriously with the elaborate

technical and physical structure of that art. Students would learn how to

construct basic painting supports (panels, stretched materials, etc.), and how

to handle the various paints and

implements of application.

The materials dealt

with here would include a broad range of traditional and non-traditional ones.

Exercises in colour, gesture, and the relation between drawing and painting are

integrated with this instruction. This practical experience gives the course

the strong 'workshop' aspect, which in so many ways is inherent in the

tradition of the painter's studio. This tradition, then, is proposed as part

of the subject matter of the area. Thus, an idea which emerges naturally from

technical training in a highly institutionali-zed art form makes a link between

the physical and technical character of the 100 level painting course and the

thrust of the work in the core program. It thus provides the basis of the

aesthetic discussion i.n this studio, which is aimed at considering the

aesthetic implications of all basic technical decisions.

FPA.263, Painting II, is a serious working studio with a consistent critical

aspect. Here the students' practical knowledge of medium, technique and

process is developed and tested in the production of finished works. While

FPA.163 also provides opportunities for such work, its context permits the

student to-do experimental projects which do not always result in a definite

finished work. This may result at the 100 level in assignments whose final

forms are studies and experiments. Students capable of achieving more are

always encouraged to do so. In Painting II, though, it is assumed that

experimentation and study take place within an integrated process of making

paintings.. The notion of 'a painting' here is, of course, as broad as implied

in the contemproary context, and this notion forms the basis of the critical

sessions carried out.in

regard to students' own work and relevant contemporary

examples.

FPA. 164- 2: Introductory Sculpture

FPA.264-2: Sculpture II

The sculpture area will be circumscribed more strictly than painting or

drawing by the technical and physical characteristics of the shop facilities

to be established.

Generally, our sculpture area will not be able to support

work in welded metals or industrial molding or forming processes. However,

the full range of sculptural work based on carpentry, joinery and general

construction techniques will be an integral part of work in the area.

FPA.164-2, Introductory Sculpture, will deal with the techniques and skills

related to the sculptural areas included in the program. A representative

range of materials will be investigated for their structural and expressive

possibilities. In this process, issues such as weight, tension, balance and

spatial composition with three-dimensional elements are dealt with. The

relation between drawing, planning and sculpture will also be a constant

theme. FPA.164 will be based on assignments dealing with these related areas.

The work in this studio, as in Introductory Painting, is not predicated upon

students having only to make 'finished' works of sculpture, but rather upon

their creative discovery of the possibilities of sculpture in a practical

process. In this process, students are introduced to the critical language of

sculpture, its aesthetic standards, and its contemporary problems.

FPA.264-2, Sculpture II, is organized similarly to the 200 level studio in

painting. The further development of the skills and practical familiarity

with the form take place through the making of authentic sculptural works in

the broadest sense. Therefore, in FPA.264, a group of suggestive assignments

which students develop in individual ways is combined with encouragement of

individual conception of complete sculpture projects. Studio critiques

concentrate on the aesthetic effects of technique, and on the implications of

technical considerations for meaning in sculpture today.

FPA.165-2: Video as an Art Form

Video is a medium, or,

in some senses,

it is an institution, whose artistic

character is extremely problematic.

Precisely because of this, and because

of the enormous effect of television in the culture, video is a crucial area

of development for all the arts.

Video as an Art Form addresses two major

areas of concern, in which video's relation to the other arts are concentrated.

The first of these is Forms of Performance.

The medium of video, and

the institution of television, have given rise to forms of performance and

spectacle which draw upon a multitude of sources.

Theatrical areas such

as melodrama,

'variety',music performance, singing and dancing, etc., are

combined with visual

construction principles derived from photomontage and

cinematic montage, and visual

design principles related to all

these concerns.

The concentration of these elements into a compact visual

image raises many

issues for study .

FPA.165 works with these elements with the intention of

creating opportunities for the synthesis of them in a visual

image.

The second area is Forms of Exhibition.

The video system functions in

a variety of social contexts, which can be approached as architecture and

environment.

Primary areas are the private home, with the receivers as part

of the domestic furniture and utilities; and public or institutional

spaces,

in which video is an informational

or surveillance tool.

These settings

determine much of what appears on the screen, and therefore raise important

questions about the relation of an image to the space it occupies.

These

questions are central

for all artists dealing directly with space (sculpture

or those working with environmental

ideas), as well

as those interested in

the structure and meaning of imagery.

Thevideo area studio is intended to

provide students with the 'opportunity to gain practical

experience in

all these

production processes, and thereby to begin to investigate the

problematic character of video as art, or video in relation to art.

FPA.165 is organized similarly to the other area studios, especially photography.

Students learn the basics of the use of production equipment, including standards

of care and maintenance. This includes cameras, recorder, lighting equipment,

editing equipment, and the organization of production generally.

With this

preparation completed, assignments in basic types of production and in

specific elements of production (lighting schemes, camera movements, switching,

editing) form the practical schedule of the course. Students are also introduced

to the critical language of the field.

FPA. 176-3: Photography as an Art Form

FPA. 276: Photography II

The Photography area will be developed on the basis of existing FPA.176-3,

Photography as an Art Form. A second semester, FPA.276, Photography II,

completes the area. The minor anomaly of having the photography courses as

3-credits, while the other area courses are 2-credits, should be accepted.

Photography is a field of great importance to all the Areas, and should fit

into their credit requirement structures. The difference to the most serious

students in the major who take both photography courses will be 2 credits.

The structure of the existing FPA.176 will be retained. Added to it will be

introductory work in formats other than 35 mm, specifically 2½x 2½ and 4x5,

colour composition, lighting, and darkroom work, and an increased attention to

the current relationship between Visual Art ideas and Photography. Since this

course is already organized in terms very similar to those proposed for the

other area studios, it can be brought into the program without breaking its

continuity and reputation.

FPA.276-3, Photography II, would conform to the general pattern of the area

studios. This course would provide the opportunities for serious practical

work on location, in the studio, and in the darkroom in a variety of formats.

Again, a mixed system of suggestive assignments and individually-created

projects would be the basis. FPA.276 students would also be encouraged to

experiment in the various genres of photography and to familiarize themselves

with the rapidly-developing critical language in

the field.

Since photography pertains to students other than those just in Visual Art,

it is one of the areas in the Centre as a whole in which an extremely strong

interdisciplinary attitude will develop. For this reason, Photography, along

with Video, should be administered formally as part of the Interdisciplinary

Area of the Centre. But, because of its centrality as a Visual Art form,

its development, in terms of curriculum and personnel, Should :

be designed

in close co-operation with the Visual Art Area.

D. STATUS OF THE MINOR PROGRAM

The scale of the Minor program will be reduced to a certain extent with

the beginning of the Major. This de-emphasis has much to do with the

anticipated pressures on facilities. However, it should remain a Departmental

policy to maintain a certain number of places in the Upper Division for Minor

program students. These students will be fully integrated into the program at

every stage since their work, at least in the core studios, is identical to

that of Majors.

In the interests of greater flexibility and variety, consideration

is being given to changesin the Upper Division of the Minor program. These

would provide alternatives to the core studios for students interested in

working more academically, or in selected directions. This alternative

curriculum would combine the Upper Division seminars with other courses in the

Centre and the University.

Minors are not required to take the area studios. This obviously does not

mean that Minors will not be taking those studios, for it seems clear that they

will do so consistently on an elective basis. In any case, an effective

integration of these students into the mainstream of the program will be

maintained through the work of the core courses. Because of their relative

position in the program, and their ability to work in the area studios on a

completely elective basis, Minor students may become some of the strongest

practitioners

of interdisciplinary work. Students doing EPA Majors will be

able to do Visual Art Minors, for example. This interdisciplinary trend

should be strongly supported. Nevertheless, it should not be difficult for a

student who is interested primarily in, for example, painting to Minor and

to concentrate on painting just as any major may concentrate on a chosen

field.

II. FACULTY AND STAFF REQUIREMENTS

A. FACULTY

The current Centre for the Arts Five-Year Plan outlines the Major

program taught by four full-time studio faculty and one full-time Art

Historian, the latter being responsible for FPA.166-167, the Visual Art teaching

and organization of the Arts in Context courses, and some participation in

the Upper Division seminar work.

At present, three full-time faculty positions

(studio) are authorised. The fourth full-time studio faculty position is

planned for Fall 1982 in the Five-Year Plan, although it may be necessary to

authorise this position earlier (see: Proposal for Further Development-of

the Centre for the Arts,

31).

Chart III shows schematically the staffing situation with four full-time

studio faculty. This chart indicates the MAXIMUM requirements, based on the

projection of the heaviest enrolment.

With four full-time faculty, a full-

time Art Historian and use of the existing position in photography, the program

would require five courses to be taught by Sessional Instructors in the Fall

semester and six. courses to be taught by Sessional Instructors in the Spring.

'Sessionals 'could regularly be contracted to teach two, courses in a

semester.

In the Fall term, for, example, a sessional could teach FPA.160-sec.1

and FPA.164 (sculpture); another could teach FPA.163 (drawing) and FPA.163

(painting) and a. third teach video. Thus, only three sessional instructors

are required and one of them, teaching video, would be appointed through the

Interdisciplinary Area.

In the Spring semester the assignments are slightly different. Because

FPA.461-467 is done by individual

arrangement, no single (full-time) faculty

member carries the entire course. Responsibilities for fourth year supervision

would be distributed as equally as possible among the faculty. Two possibilities

emerge:

1. One full-time faculty member could be assigned to another course. This

assumes that that member would carry very few fourth year supervisions,

possibly no more than two. This also assumes that another full-time

faculty member would carry a l-arger number of fourth year supervisions,

as many. as six. If this were the case, three faculty members would teach

two courses plus supervise two fourth year students each, and one member

would teach one course and supervise about six fourth year students.

2. Fourth year supervision is distributed equally among the faculty,

and students would have to take this into account when contracting

for supervision. Under this scheme, each full-time faculty member

carries two courses. Since this is in fact an overload, it would be

fair to have one member each Spring teach an area studio rather than

a core studio. This assignment would be on a rotating basis from

year to year.

Chart III assumes the first situation. In a Spring Semester six courses

are to be taught by sessionals. Again, these sessionals could be contracted for

two courses. For example, one person to teach Drawing (FPA.162)

; one to teach

both painting area studios (FPA.163..and 263), one person for both sculpture areas

(FPA.164 and 264), and one for. Video (FPA.165). The total is four teachers, one

of whom, again, is contracted through the Interdisciplinary Area.

Sessional Instructors would be engaged primarily to teach in the area

studios. Our policy should be to work as closely as possible with the artists

in the city. The Visual Art section should consistently employ the best, most

competent and most serious working artists as part-time teachers. This would

be easiest in the area studios, where the overall problems of the intellectual

continuity of the program are not as acute as in the core courses.

However, we should not permit the situation to develop where the area

studios are always taught by sessionals. Permanent faculty should be assigned

to area studios on a regular basis. Courses such as FPA.160 and 260 can be

taught by sessionals. They have regularly been taught by them within the

minor, and the results have been good.

CHART III

FACULTY REQUIREMENTS FOR PROGRAM OF 75 DECLARED MAJOR AND

MINOR STUDENTS (ENROLMENT LEVELS AS ESTABLISHED IN CHART II)

TOTAL OFFERINGS (INCLUDING CONTEXT COURSE): 17

FACULTY: 4 FULL-TIME FACULTY (8 CORE COURSES)

1 FULL-TIME ART HISTORIAN (FA 5)

1 EXISTING SESSIONAL IN PHOTOGRAPHY (INTERDISCIPLINARY) - x

5 SESSIONAL ASSIGNMENTS (TO BE FILLED BY 3 TO 5 PEOPLE)

DIVIDED AMONG FACULTY

WITH FA 4 TAKING LARGEST NUMBER

CHART III - continued

TOTAL OFFERINGS INCLUDING CONTEXT COURSE: 19

FACULTY: 4 FULL-TIME FACULTY (8 CORE COURSES, 1 AREA STUDIO)

1 FULL-TIME ART HISTORIAN (FA 5)

1 EXISTING SESSIONAL IN PHOTOGRAPHY (INTERDISCIPLINARY) x

6 SESSIONAL ASSIGNMENTS (TO BE FILLED BY 4 PEOPLE)

TOTAL FACULTY: 10

(end of Chart III)

B. SUPPORT STAFF

The following personnel are essential for the major program:

Slide Librarian. A Fine Art slide librarian must be appointed as soon

as possible. The developftient of the ArtHistory courses, the Upper Division

seminars, and the-Arts in Context courses make this an urgent matter. The

independent library consultant, Helen Moore, has strongly concurred in this.

This position, which will probably be within the Library, should be searched in

collaboration with Centre for the Arts faculty.

Studio Technician.

This staff position is similar to those existing

in Film and Music. It is of fundamental importance for the establishment,

maintenance and running of all workshop facilities, particularly in the downtown

studios. The technician would be responsible for the organization and running

of these studios, and would report to the Centre's Operations Manager. He or

she would be in charge of maintenance of all shop equipment and tools, and would

give basic instruction in the operation of machinery. The technician would

co-ordinate supply, stock, replacements shipping and receiving, etc. He or

she would have to work in close co-operation with faculty in these areas. His

or her office would be in the downtown studio. The technician would be in

charge of security at the downtown studio.

The technician would require some

assistance from temporary staff.

III FACILITIES AND SPACE

If the Major program is to begin in Fall 1982, all problems in this

area must be resolved by Spring 1982.

The following is an account of the

requirements and a perspective on the nature and function of the new

facilities.

A Non-recurring Operating Budget is given in Appendix D and

a Recurring Operating Budget is given in Appendix E.

The plan below assumes that second year studio courses must continue to

be held off-campus. However, because second-year students are always so

deeply involved in course work on campus, it is difficult for them to organize

their schedules to include constant travelling to the downtown studio. This

tends to mean that these classes are held in the evening, which is generally

a less desirable situation. The University should make every effort to

provide anadequate studio space on campus for FPA.260 and FPA.261 for the

interim period betweenthebeginning of this program and the completion of

permanent campus facilities for the Centre for the Arts. Should such space

become available, the corresponding amount could be eliminated from the

downtown section of this plan

A. ON CAMPUS STUDIOS

1. Centre for the Arts Visual Art Studio (CAVISA)

The plan calls for FPA.160 and 161 (the two largest single courses)

to be entirely run on campus in CAVISA.

In addition, the new drawing course,

FPA.162, will be housed in CAVISA, at least in part.

All other courses will

be located downtown in the interim.

With FPA.160-161 class sizes at 16 to 17

per section, the existing studio will be hard pressed, but will suffice until

permanent accomodation is provided.

A basic workshop must be established.

This will be based on hand power tools, and will take up relatively little

space if it is properly designed.

Consultation with Ken Didrich, CA Resident

Stage Manager, should be continuous on this project.

There will be some

equipment costs involved here, but they should be relatively minor.

connection with this, arrangements must be made for the development of

conditions for the use by Visual Art students of the Theatre scene shop power

equipment.

2. Photographic Studio and Darkroom Facilities

In order to house the Photography courses described in the area studio

curriculum, studio space for shooting and multiple darkrooms adequate for

about 35 students per semester must be established. The existing darkroom

facilities for FPA.176, while quite good, are not in themselves adequate.

They can accommodate only about 16 students, and are equipped only for black

and white work in 35mm format.

Considerable development of photography facilities and equipment base is

necessary if photography is to play a significant role not only in Visual Art

but in all the art areas where it is so important in society today.

a.) Photography studio. Enormous ranges of photographic representation

depend upon studio conditions, with

controlled lighting. The existing program

has been forced to emphasize those types of photography not requiring these

conditions because of lack of a studio. This is a severe drawback. A photography

studio can be very simple: a clean, medium-sized studio space, approximately

1500 sq. ft., with high ceilings, and windows which can be easily covered and

uncovered.

b.) Camera equipment. Existing photography is restricted to 35mm SLR

format. This restriction is a direct corollary of the lack of studio facilities.

Students must be able to work in larger formats, specifically 2½ square, the

basic small-scale studio format, and 4x5 inches, the smallest of the 'large

format' professional sizes. These formats permit the students to have

practical experience in extremely important types of photography.

c.)

Lighting equipment.

The studio must be equipped with a basic range

of standard photographic lighting equipment. This is: 6

8 tungsten lights

with accessories in portable cases, and studio electronic flash equipment.

d.)

Darkroom facilities and equipment. The darkroom capacity must be

approximately doubled. Basic equipment for processing and printing colour film

must be included.

There are considerable costs in developing a proper photography facility.

This will have implications and applications for students in all the academic

areas of the Centre.

The existing facilities would provide only the bare minimum support for

FPA.176 as an area studio in Visual Art. Their expansion and improvement would

make photography an integral part of the Visual Art program, and of Film as well.

Should space problems delay the availability of a shooting studio for

photography, this area can be maintained in the interim in the following

way.

If adequate, and adequately-equipped, darkroom facilities are

established on-campus, shooting studio space may be made available for

specific projects over specific time periods in other, studios, e.g.

painting,

or the student gallery.

Since photographic projects can be shot with studio-

type lighting

conditions in temporary quarters, this practice will

not

distort the teaching of many aspects of studio technique.

It would, of course,

restrict the role these types of projects can play in the Area program.

But,

assuming that the University will

provide a studio such as described above as

soon as possible, such difficulties can be absorbed into the program for a

limited time.

This limitation, therefore, should not affect the program for establishing

darkroom facilities as described and camera and lighting equipment planned

for studio projects.

Since the photographic area studio is not entirely

committed to students in the Visual Art program, the budget

necessary for

the development of the facilities and equipment

is given separately in

Appendix B.

3. ,

Video Production and Editing Facilities

Video editing will

develop along lines currently laid down:

it will

located in the Film area and shared by Film and Visual Art students on an

exactly equitable basis.

On campus, the only video studio facilities are likely

to be in the Film studio area.

Visual 'Art students will

have access to these

under existing agreements.

Further video production will

take place within

the core studio program using its studios.

The video area studio will

developed in collaboration between Film and Visual Art and the Interdisciplinary

Areas.

Since the video

area studio is not entirely committed to students in

the Visual Art program, the budget necessary for additional equipment is

separated from the overall budget of the proposed Visual Art program in

Appendix C.

Visual Art Slide Collection

We support the recommendations of Library Consultant Helen Moore.

The

development of critical seminars in the Upper Division will require an immediate

acquisition of about 6,000 'slides of contemporary and 20th century art

generally. The costs for these slides is included in the budget proposal

under 'Library' in Appendix E.

B. DOWNTOWN STUDIOS

1. Studio Space Provisions

All discussions about space needs downtown have led to the following

outline: the program requires six distinct spaces, each approximately 3000

sq. ft. The spaces must be of a light-industrial type, similar to those now

occupied at 112 W. Hastings Street. Ceilings must be a minimum of ten feet

high. There must be adequate loading dock facilities and a freight elevator if

the arrangement is vertical.

The distribution of studio space is as follows:

2nd year core studio (FPA.260-261): 1 studio 3000 sq. ft.

3rd year core studio (FPA.360-361): 1 studio 3000 sq. ft.

4th year core studio (FPA.460-461): 1 studio 3000 sq. ft.

Painting area studio (FPA.163-263): 1 studio 3000 sq. ft.

Sculpture area studio (FPA.164-264): lstudio 3000 sq. ft.

Multi-purpose workshop facility: 1500 sq. ft.

Student exhibition space: 1500 sq. ft.

Density (ft2/student)

Density (ft 2/student)

Fall semester occupation' of the painting studio is relatively light, and is

the only situation in the Lower Division where space pressure is lessened.

However, because of the intense crowding in FPA.260-261, it may be necessary to

accommodate some of those students in the painting studio, at least in the fall

semester.

It is less likely that this could be done in the sculpture studio,

although some space might be made use of here in the fall semester. Although

students occupy space in more than one studio (since 'they are taking both area

and core courses) it is not feasible to attempt to condense their work space on

this basis since they are members of different groups doing different work in each

Course.

These density figures are calculated on the basis of the estimated total

floor space in each studio. 'However, this total will not in fact be available

for student work as it must include some common materials and equipment

storage, sinks, bathrooms, etc.

The maximum projected square footage per student is 250, which would be

an area approximately 12 x20 feet. In this area the student would have to

carry out his projects and studies, and store most of his completed work.

This amount of space would be assured for Upper Division core studio students

only, and possibly to sculpture students each fall. Aside from these, students

must work in half that area or less.

Thus the two Upper Division core studios will be the least crowded.

Students in, third and fourth year should be able to look forward to some

relief from what will be extremely congested conditions in the entire Lower

Division core and, to a

slightly lesser extent, the area studios as well.

Third and fourth year work is demanding, and students are expected to carry

Out fully realized projects, and often ambitious ones. 'Upper Division

students should be permitted the basic physical conditions for serious and

sustained involvement in work which is not overly limited by space problems.

NOTE: No specific space is allocated for video production. The location of

the Video course depends in part on its relation to the Film and Interdisciplinary

program and, in part, on the character of the proposed Centre for the Arts Audio

Visual Centre. These considerations indicated that the video area studio work

will .be done primarily on campus. However, sheer space pressures may force it

to be centred downtown. If so, it may be located in part of the sculpture area

studioin the fall semester only. In any case, video projects will continue

to be part of core studio work at each level, making it possible for some

flexible temporary arrangements to be conceived in this connection.

2. General Facilities and Equipment Needs

The program is based on the idea that what is essential to art education

is systematic practical experience under contemporary conditions, and an

informed and constructively critical atmosphere. A broad range of Visual Art

objects are built from a relatively simple carpentry, joinery and construction

craft basis. This is especially true of student work. All painting and

drawing, most wood, and wood-related sculpture., basic 'environmental' work,

and many components of other, more sophisticated projects are included here.

The Lower Division work is almost entirely developed in terms of these processes

and skills, in addition to the photographic and electronic media which are

already part of the program's technical capabilities.

Other forms of work, carried on more in the Upper Division, are linked

to technical processes which exist in the

city. Few professional artists own

all the technology involved in making their own work. They regularly obtain

needed equipment on a temporary basis, or collaborate with professional craftsmen

or fabricators for parts of their projects

. It is part of their skill as artists

to organize their productions in these terms.

A studio program on the scale of this one not only cannot afford the

fixed machinery .required . for. some of these

The provision of expensive, specialized machinery

in an educational situation invariably turns much of the technjcal training in

that situation in the direction of utilizing capital investments, whether or not

the machinery in question is of interest to most, or even many students. Students

whose development leads them toward technology which is not available in the

studio workshop are taught to create the appropriate collaborative situation,

to learn how to obtain needed equipment in the real world. Some financial

support for this can be made available through the studio production budgets

(see below, p.45-46).

The skills required in connection with such techniques

and means can be taught in the studio context, either by the instructors

themselves, or by professionals on a 'guest' basis.

Such fixed equipment must therefore be kept to an absolute minimum in

the program. 'A basic carpentry and joinery shop, capable of supporting large

scale work in materials ranging from plywood to certain kinds of sheet

metals and plastics, is sufficient. This is combined with an adequate selection

of hand power tools, hand tools, and related light equipment (such as paint

sprayers, etc.). This equipment is distributed throughout the studios from

the central workshop, described below. The studios remain basically 'empty'

open to all possibilities.

The-shop is then the production centre

for the studio facility. All

types of work in. many media, for all courses, ar organized and executed

in part in the shop. Some equipment moves to the different studios as needed.

Sets of hand tools are issued to each studio by an in-house distribution system.

An 'empty' studio is one which is provided only with adequate basic

work furniture: easels or desks and tables, storage racks for completed work,

proper sink and toilet facilities, etc. Proper lighting must be provided in

each studio. The building must have at least one shower. There must be a

decent lounge area for students, with kettles and comfortable (usually old)

furniture, and a pay telephone.

3. Specific Facilities on Shop Floor

The shop floor is based on fixed power equipment as well as hand power

tools. It must therefore be organized to account for WCB regulations. 'Table

and radial-arm saws are a basic requirénient, as are a band saw, a joiner planer,

a drill press, etc.. A full range of hand power tools and equipment in sufficient

quantities for three or fourdifferent groups of students using the place

simultaneously must be included. Other basic carpentry., joinery, and basic

construction tools and equipment are a necessity. Proper worktables and

benches must.be

provided. All necessary protective gear must be in place.

All kinds of construction and fabrication work, from the making of

stretchers and frames for paintings and drawings, to the building of

sculptures and environments, can be done on this floor, Many projects will.

require only brief stages to be carried out on the shop floor;, work then

can be shifted back to the particular studios. Work in these studios is

.43

carried out with tools and equipment signed out of the shop on an in-house

• loan system. Whole classes may sign out tool sets on a semester basis, for

example, or the instructor will Work

in a studio with a special piece

of equipment brought in. Details cf equipment supply can be worked out.

Linked to the Lab Instructor's office, and also located on the shop

floor, is the Downtown AV Centre. This includes our slide projectors, opaque

projectors, tape recorders, some photographic equipment (although this generally

will be signed out through Photography on campus, somethings will be kept

downtown for convenience). Downtown AV must have at least one first-quality

sound 16mm film projector and some super 8mm filmmaking equipment, or constant

arrangements for such equipment.

Since video production is likely to be a continuing aspect of course

work throughout the major program, some video equipment must be kept in the

Downtown AV. Editing remains, of course, on campus. The specifics of the

distribution of production equipment will be worked out. Downtown AV will

likely be organized in the process of developing the projected Centre for the

Arts Audio Visual Centre.

The Lab Instructor's office is in many ways the 'central command' of the

downtown studio building, and is located on the shop floor level. This office

must have a telephone. Here all sign-in-and-out procedures for equipment will

be centralized.

There must be a second office in the building.for.the faculty. Since

faculty will rotate in their use of the downtown building, and have offices

on campus, the office downtown will be very basic, providing a locked space,

files, and a telephone.

4. The Student Gallery

The gallery is discussed as an institution in the program under IV-B,

below

(p.

46-47). Itisdiscussed here as a physical facility. The projected

space available for the galleryis one-half a standard studio floor, that is an

area about 1500 sq. ft.

This facility is important in planning for the

public visibility of the studio program as well as for the immediate needs of

students for exhibition space. This gallery, with the program described below,

as part of a well-organized studio building, can attract audiences to frequent,

interesting and provocative student exhibitions. It thus could become an

extremely productive element in the University's relations with the cultural

and intellectual community.

The gallery's program is to be financed with a special production budget.

The physical requirements are very simple. The gallery should be a clear, empty

space with good walls and proper lighting. Expensive track lighting is not

necessary. A selection of portable floodlamp fixtures is sufficient. It should

preferably be at street level in the downtown context. The physical preparation

of this space is no more elaborate than that for the studios around it. Students

should feel free to paint and repaint the walls, and generally to make the

kinds of minor temporary alterations and additions to the room which are

characteristic of contemporary shows. Students are to put. work from the

various studios on display there on a regular basis, and the gallery is to

become the site of a continuous artistic discUssion.

IV. PRODUCTION COSTS AND PRODUCTION BUDGETS

A. STUDIO PRODUCTION BUDGETS

The program has been designed with a minimum investment in fixed capital

equipment and with priority given to the provision of adequate studio space.

The other component of physical support is that for direct costs of studio

work and of exhibition of that work.

The basic form of support is that of adequate budgets for materials and

supplies in each of the courses. These budgets function differently in the

Lower and Upper Divisions. The setting of workable budgets for course materials

and expenses is an absolute priority in the development of the program.

It is

at this level that Visual Art students, in contrast to those in performing arts,

require support the most. The relatively modest levels of support for public

exhibition in the program is directly related to the strength of the support for

studio production budgets.

i. —

Lower Division

In the Lower Division it is necessary to ensure that each student has

sufficient basic consumable materials to carry out course assignments in a

representative range of media. Consumable materials generally include paper,

some portion of paints used, lumber, board, some canvas, some film, etc. All

students will be charged a lab fee, which contributes toward the costs of such

materials. In practice, the lab fee is used to provide each student with a

set of basic personal supplies (pencils, knives, chalks, brushes, etc). The

prgram then provides the bulk of the additional materials required for each

project.

The area studios are supported in this regard similarly to the Lower

Division core studios.

2. Upper Division

The Upper Division work is more individualized and so cannot be supported

with bulk purchases of materials used by all students in a course, as in the

Lower Division. Some such purchasing can be done, but this is a relatively

small portion. The individualized work done requires a more individualized

support structure.

Part of the student's education is the understanding that the material

and technical basis of any art form represents not just a set of skills and

objects and equipment, but a whole way of existing in society and the

world in general.

As they

become more independent in their art, they

must '

be taught to deal with the extremely concrete problems of materials costs,

problems which are faced constantly by all serious artists. This is a crucial

part of the teaching in the program. Providing each Upper Division student

with an equal but sufficient material cost support creates the optimum

conditions for them to approach these problems with some confidence. Since the

production costs support is combined with the use of equipment in the studio,

and the help of instructors

and fellow students, a considerable amount can

be done with it. Students who can depend upon this kind of support are more

willing and capable to work for and to secure the additional resources necessary

for their projects, and less inhibited by the challenge of costs. This

support structure is combined, at each stage of each project, with discussions

and guidance from the instructors. Faculty have the responsibility to

educate students in the economics of art production, and to make certain that

students can actually afford the projects they wish to do.

In addition to the support budgets established through a cost-per-student

figure, each course must have a small amount extra to cover expenses not directly

concerned with production. This applies to costs of xeroxing readings, renting

films, or paying for documentation of projects, etc.

B. EXHIBITION BUDGETS

In the performing arts sections of the Centre various forms of public

performance or presentation by students are regularly supported. Student

participation in these performances draws constantlyon work done for credit

in regular courses, although the performances themselves are often not done

directly for credit. Thus", the productions form a central part of the actual

curricular development, for without them students would have few opportunities

to realize a project before an audience.

While Visual Art students do not require the kind of support which the

performing arts do for public presentation, a regular provision for exhibition

of student work is an integral part of the major program.

Exhibition support takes four basic forms.

1. Support for the student gallery as an informal but organized facility

for exhibiting student work both to the general art public and within the program,

Centre, or University. This gallery, to be run by a volunteer group of students

with a faculty advisor, will have the mandate of presenting student work on a

regular basis. This work will usually be done within credit courses. Preparation,

organization and installation of the exhibitions, as well as all necessary infor-

mation and publicity work will be handled by members of the volunteer group and

the exhibiting students.

This gallery will be supported with an operating budget sufficient for

the basic physical upkeep of the space, for minimum installation expenses, and

a minimum publicity program. This budget will be supervised by the faculty.

This support will be very modest, but the gallery will definitely become a

significant element in the program.

•

2. Since the student gallery will necessarily be located off-campu

s, a

certain number of exhibitions or events should be presented on the campus. These

may have their origin either on campus or downtown, but their presentation will

be part of the gallery's mandate. Temporary spaces will be secured for such

exhibitions.

There should be provision, either in the budget for the student

gallery, or separately, for the kinds of unpredictable special projects, on or

off campus, which are characteristic both of contemporary art and of students.

Many such projects begin with the class framework and soon reveal possibilities

in a broader context. Such things as special publications maybe included here.

A small budget, administered by faculty, should be established here.

The Simon Fraser Gallery will present a Graduating Exhibition of work

by major and minor students each spring semester. For details of this, and

other aspects of the Gallery's function in the Visual Art program, see below,

section V.

THE SIMON FRASER GALLERY IN RELATION TO THE VISUAL ART PROGRAM

The Simon Fraser Gallery has a long history of providing a varied program

of exhibitions, ranging from contemporary group shows and print shows (often

touring exhibitions), to displays which are often anthropological

in character.

In this connection, the Gallery has made something of a specialty of exhibiting

the work of Native

North and South American artists.

With the emergence of the major program in Visual Art, the relationship

between the Gallery's role as a service to the University in general, and as

a major

resource of the Centre for the Arts and its academic program in Visual

Art in particular, should change somewhat.

The Gallery's present programming

policy has too little immediate connection with the central concerns of the

teaching program.

Since the Gallery is funded entirely by the Centre,

its

function as a resource for the academic programs needs to be increased.

The Gallery should begin to work in consultation with the Visual Art faculty

to develop a serious and cOnsistent contemporary program of carefully curated

exhibitions whose subjects are of interest and relevance to the program, its

students, and to the Centre as a whole.

These can be combined with certain

elements of the existing program to create a new balance between exhibitions of

primary interest to the general university community, and exhibitions which

represent the concerns of the Centre and the Visual Art program.

There need be

no contradiction between the two types of exhibitions.

Decisions regarding curatorial direction of the Gallery and related

matters should be decided through a consultative committee consisting of

the Director of the Centre for the Arts, the Director of the Gallery, a

representative of the Visual Art faculty and, once the major program is

underway,,a representativeof the students.

The exhibition and activity schedule

of the Gallery for the 1982-83 year, the first year of the major program, should

be developed through this process.

The contemporary program in the Gallery may also be combined in part with an

extension of the program of visiting artists, which has been carried out in

collaboration with the

Emily Carr College of Art.

The combination of a teaching

visit by an artist with an exhibition of his or her work in the Gallery would be

an excellent educational

situation.

Students would become involved in the

organization of such an exhibition through their contact with the visitor,

and thereby gain

valuable experience in

working with artists in a professional

situation.

The presentation of an annual Graduating Exhibtion of major and minor

students in the Simon Fraser Gallery is a central element in the support

for student work. This exhibition is dealt with as a completely public event,

and receives the full support and publicity characteristic of the Gallery's

other shows.

The Graduating Exhibition is held toward the end of the spring semester,

but early enough for it to be seen by the student body. Major and Minor

students who are completing their final semester

are eligible to exhibit. The

exhibition is curated by the facultyreSPOflSible for fourth year students in a

process of discussion with the eligible students. Exhibiting students carry

out the work of installation co-operatively, under the general direction of

the Gallery Director. Installation, publicity, and related costs are borne

FPA. 163-2 Introductory Painting - Area Course

This course provides an introduction to the materials, techniques,

skills and artistic issues of painting. The

• schedule of subjects

covered is as follows: .

1. The vocabulary of painting and its relation to technique. Methods

of analysis of the artistic implications of technical matters.

2. Elements of construction:

a.)

Fabrication

-of supports

-traditional (stretched canvas, prepared panels)

-non-traditional (sheet metal, plastics, polyesters, etc.)

-support discovered/invented by the student

b.)

Preparation of surfaces

c.)

Paint as chemical compound and paint as color

d.) Implements and applicators

3. Drawing into Painting.

4. Mechanical aids, tools and techniques.

5. Painting as Image and painting as Object.

PREREQUISITES: FPA. 160, or 161, or 260 or 261 as co-requisite, and

permission of the department.

REQUIRED TEXTS: Ralph Mayer: The Painter's Craft: An Introduction

to Artists' Methods & Materials,

Viking, NY. 1975

Louise Bowen Ballinger: Perspective/Space & Design,

Reinhold, NY, 1969

Articles on technical questions and artistic issues in contemporary

painting will be distributed regularly.

SPECIAL REQUIREMENTS: Students should expect to pay a lab fee.

COURSE REQUIREMENTS: Students are evaluated

on the following:

1.) Their creative response to the issues raised in

assigned projects and/or independent work.

20 Their demonstrable development of technical

abilities and knowledge within the context of

the course.

3.) Their participation in the critical discussions.

SENATE COMMITTEE ON UNDERGRADUATE STUDIES

NEW COURSE PROPOSAL FORN

1. Calendar Information

Department:

Abbreviation

Introductory Painting

Calendar Description of Course: Area Course. An introduction to the materials,

techniques, skills and artistic issues of painting. Instruction covers

basics in fabrication of all types of painting surfaces, both traditional

and non-traditional, and in the use of all implements.Other areas studied

include the relation between paint and color, and between drawing and

painting.This practical work is the basis of the courses aesthetic discussion

Nature of Course

which analyzes the artistic and creative impli-

Prerequisites (or special instructions): cations of technical xnatters.Rogular

critiques are held.

FPA 160 or 161 or 260 or 261 as co-requisite and permission of the department.

What course (courses), if any, is being dropped from the calendar if this course is

approved: none (new course)

Scheduling

How frequently will the course be offered? Each Fall and Spring.

Semester in

which the course

1ill

first be offered? 1982-3

Which of your present faculty would be available tomake the proposed offering

possible? See resources tabulation chart.

Objectives of the Course

To provide a practical introduction ot the fundamentals of painting. The

course concentrates on the nature of materials and techniques of painting,

and on the kinds of skills required by them. Through the physical process

of working on those materials and developing technical skills, students

are introduced to the aesthetic implications of technical issues in

painting, and thereby to the standards and ideas idntified with that art form.

Budgetary and Space RequIrements (for information only

What additional resources will be required in the following areas:

Faculty

Staff

Library

See resources tabulation chart.

Date:

SCUS 73-34b:- (Whencompleting this form, for

instructions see Memorandum

SCUS 73-34a.

Vector: 0-0-4

Dean

. Approval

Date:

SENATE CO1ITTEE ON UNDERGRADUATE STUDIES

NEW

COURSE

PROPOSAL. FORM

Calendar Information

Department

Abbreviation

Introductory Sculpture

Calendar Decription

of Course: Area Course. An introduction to the materials,

techniques, skills and artistic issues of sculpture.Tcchniques, tools, and

skills required for the building of sculptural objects are a major aspect

of the course. Instruction covers a representative range of materials which

are investigated for their structural characteristics and expressive possi-

bilities.The relation between drawing, planning and sculpture is an important

Nature of Course

aspect of the course. This practical work

Studio

Prerequisites (or special instructions):

is the basis of the aesthetic discussion

FPA.160, or, 161, or 260, or 216 as

in the studio, which analyzes the

co-requisite and permission. of

artistic and creative implications of

the department.

technical matters.Regular critiques are held.

What course

(courses), if any, is being dropped from the calendar if this course is

approved:

none (new course)

Scheduling

How frequently will the course

be offered? Every Fall and Spring semester.

Semester in

which the course ill first be offered? 1982-3

Which of your present faculty would

be available to make the proposed offering

possible? See resources tabulation chart.

Objectives of the Course

To provide a practical introduction to the fundamentals of sculpture.

The course concentrates on the nature of materials and techniques of

sculpture, and on the kinds of skills required by them. Through the

physical process of working on those materials and developing technical

skills, students are introduced to the aesthetic implications of technical

issues in sculpture, and thereby to the standards and ideas identified with

Budgetary and Space Requirements (for information only) that art form.

What additional

resources will be required in the following areas:

Faculty

Staff

Library

See resources tabulation chart.

Audio Visual

Space

Equipment

SCUS 73-34b:-

(When completing this form, for instructions see Memorandum SCLJS

73-34a.

FPA. 164-2 INTRODUCTORY SCULPTURE - Area Course

An introduction to the materials, techniques, skills and artistic issues

of sculpture. Techniques, tools and skills required for the building of

sculptural objects is a major aspect of the course.

Instruction

covers

a representative range of materials which are investigated for their

structural characteristics and expressive possibilities. The relation

between drawing, planning and sculpture is an important aspect of the

course. This practical work is the basis of the aesthetic discussion

in the studio, which analyzes the artistic implications of technical

matters. The schedule of subjects is as follows:

1. The vocabulary of sculpture and its relation to

,technique.

2. Elements of construction:

a.)

Basic sculptural materials (as limited by facilities)

b.) Use of basic tools and machinery in sculpture

-hand tools

-hand power tools

-fixed power equipment.

This section of the course consists of a series of assigned

exercises in which specific materials are worked with the

appropriate tools, and skills are developed.

3. Drawing, conceptualizing, planning and building.

4. Composition in space (Sculpture and Architecture)

•

5. Color, paint, light and sculpture.

6. Sculpture, assemblage and the Readymade.

PREREQUISITES: FPA. 160, or 161, or 260, or 261 as co-requisite and

permission of the Department.

REQUIRED TEXTS: RosalindKrauss: Passages in Modern Sculpture, Viking, NY,1977

Geoffrey Clark & StroudCornock: A Sculptor's Manual, Reinhold,

NY, 1970.

Articles on technical questions and artistic issues in

contemporary sculpture will be distributed regularly.

SPECIAL REQUIREMENTS: Students should expect to pay a lab fee.

COURSE REQUIREMENTS: Students are evaluated on the following:

1.)

Their creative response to the issues raised

assigned projects and/or authorized independent

work.

2.)

Their demonstrable development of technical

abilities and knowledge within the context of

the course work.

3.)

Their participation in critical discussions.

•

SENATE COMMITTEE ON

UNDERGRADUATE STUDIES

NLV cOURSF PROPOSAL. FORM

Calendar Information

Department:

Centre for the Arts

Abbreviation Code:

FPA.

Course Number:

165

Credit ours:

or-o-

Title of Course:

Video as an Art Form.

Calendar Description

of Course:

Area Course. An introduction the the equipment,

techniques, skills, and artistic issues of video.Instructioñ covers the

use of all production equipment and the organization of production

generally. Assignments in basic types of production and in specific phases

of production form the practical schedule of the course.Consideration of

the relation between video and other art forms is a consistant aspect of

Nature of Course

STUDIO

this course. The practical work is the

Prerequisites (or special instructions):

basis for the aesthetic discussion in

FPA. 160, or 161, or 260, or 261

the studio,which analyzes the artistic

as co-requisite and permission

implications of technical matters.

of the Department.

Regular critiques are held.

What course (courses), if any, is being dropped from the calendar if this course is

approved:

none (new course)

Scheduling

How frequently will the course be offered?

Every Fall and Spring.

Semester in which the course

ifill

first be offered?

1982-3

Which of your present faculty

would

be available' to make the proposed offering

possible?

See resources tabulation chart.

Objectives of the Course

To provide a practical introduction to the

fundamentals of video art. The course concentrates on the nature of

the equipment,. processes, and techniques of video production and

representation, and on the kinds of skills required by them. Through the

physical process of working with this equipment and developing technical

skills, students are introduced to the aesthetic implications of technical

issues in video, and thereby to the standards and J,1eas 'identified with it.

Budgetary and Space Requirements (for information only

What additional resources will be required in the following areas:

ideas id

Faculty

Staff

See resources tabulation chart.

Library

•

Audio Visual

Spare

Equipment

Approval

Date:

)nhairman

Dean

an, SCUS

SCUS 73-34b:- (When completing

this form, for instructions see Memorandum SCUS 73-34a.

FPA. 165 VIDEO AS AN ART FORM -,Area Course

•

An introduction to the equipment, techniques, skills and artistic issues

of video. Instruction covers the use of all basic production equipment and

the organization of production generally. Consideration of the relation

between video and other art forms is a consistent aspect. The practical

work is the basis for the aesthetic discussion in the studio, which

analyzes the artistic implications of technical matters.

Regular

critiques are held. The schedule of subjects is as follows:

1. The language of video and its relation to technique.

2. Elements of Production:

a.)

Basic electronic theory: what is a video image?

b.)

Camera, recording, lighting

c.)

Organization of shooting

d.)

Care and maintenance

e.)

Transferring material onto tape, switching

f.). Editing, special effects

3. Two major assignments. Students produce a short (2-5 mm.)

work, dealing with each of the following topics:

a.)

Forms of Performance in Video

- documentary and fiction as modes of representation

- performance art and video

- conception and, construction of scripts

- production organization and design

b.)

Forms of Exhibition for Video

- recorded works for broadcast

- closed circuit systems, 'live' TV, and video in

architecture and sculpture

PREREQUISITES: FPA. 160, or 161, or 260,. or 261 as co-requisite and

permission of the department.

REQUIRED TEXTS: Ira Schneider & Beryl Korot; Video Art, Harcourt Brace, N.Y., 1976

Horace Newcomb, Television: The Critical View, Oxford U.P., 1979

Raymond Williams, Television: Technology & Cultural Form,

Schocken Books, N.Y., 1974

Gene Youngblood, The Future of Desire, 1981

Dan Graham, Video Architecture Television: Writing on Video

and Video Works 1970-1978, NSCAD/NYU Press, 1979

COURSE REQUIREMENTS: Students are evaluated on the following:

1.)

Their creative response to the issues raised in

assigned projects and/or independent work.

2.)

Their demonstrable development of technical

abilities and knowledge within the context of

the course.

3.)

Their participation in the critical discussions.

SATE CO

MMITTFF ON UNDERGRADUATE

STUDIES.

NLV C

OURSE

PROPOSAL

FORM

Calendar

Information

Department: Centre for the Arts

Abbreviation Code:

FPA.

Course Number:

263

Credit Hours:

Vector:

0-0-4

Title of

Course:

Painting II

Calendar DecriptiOfl of Course:

Area

Course. A practical and critical studio

for students with basic experience and skills in painting. Consistent

technical instruction at an intermediate level is

combined

with artistic

criticism to develop awareness of the significant aesthetic issues in

contemporary painting. The relation between technique and the overall

artistic effect and meanings of paintings is a central concern. Regular

Nature of Course

critiques are held.

Studio

Prerequisites (or special instructions):

FPA. 161, or 260, or 261 as co-requisite and

permission

of the Department

What

course (courses), if any, is being dropped from the calendar if this course is

approved: none

(new course)

Scheduling

How frequently will the course

be offered?

Each Spring.

Semester in

which the

course

%rjill

first be offered?

1983

- 1

Which

of your present faculty

would

be available to

make

the

proposed offering

possible? See resources tabulation chart.

Objectives of the Course

To provide a serious practical studio course at an

intermediate level for students interested in painting. To combine

thorough technical teaching with a consistent investigation into the

aesthetic implications of technique. To create a critical awareness

of the situation of contemporary painting, and to encourage the student's

development as a skilled

and

resourceful painter who is conscious of the

character of his or her work in the contemporary context.

Budgetary and Space Regu1reme

(for

information

only)

What additional reoourccs will be required in the following areas:

Faculty

Staff

Library

See resources tabulation chart.

Audio Visual

Space

Equipment

5. Approval

Chairman.

i1T \.. t

Dean

'Chairman,

SCUS

SCUS 73-34b:- (When completing

this

form,

for

instructions see

Memorandum

SCUS

73-34a.

FPA. 263- PAINTING II - Area Course

This is a practical and critical studio for students with basic experience

and skills in painting. Consistant technical instruction at an inter-

mediate level is combined with artistic criticism to develop awareness

of the significant issues in contemporary painting. The relation between

technique and the overall artistic effect and meanings of paintings

is a central concern. The student's practical knowledge of medium,

technique and process is developed through the production of a group of

paintings of various types.

Instruction in FPA. 263 is highly individualized. Students are

expected to develop their own interests as painters. Teaching takes

two main forms: technical instruction and advice, and artistic

criticism based upon the relation of technique and meaning.

The student proposes a certain direction for his or her painting.

This is combined with a number of assignments which may either be

integrated directly into the student's own proposed work, or may form a

separate body of work.

Paintings must be completed for a series of deadlines, after which

group critiques are held. Students are expected to contribute to

these discussions and to bring to them some conceptual grasp of the

situation of contemporary painting.

PREREQUISITES: FPA. 163. FPA. 161, or 260, or 261 as co-requisite

and permission of the Department.

REQUIRED TEXTS: Ralph Mayer: The Artist's Handbook of Materials &

Techniques, (3rd Ed.) Viking,NY. 1970.

Articles and other readings will be distributed

regularly.

SPECIAL REQUIREMENTS: Students should expect to pay a lab fee.

COURSE REQUIREMENTS:

students are evaluated on the following:

1.) Their creative response to the issues raised in

assigned projects and/or independent work.

2.)

Their demonstrable development of technical

abilities and, knowledge within the context of

the course.

3.)

Their participation in the critical discussions.

SENATE aPflhITTEE ON UNDERGRADUATE STUDIES

URSE PROPOSAL. FORM

Calendar Information

Department:

Centre

for the Arts

Abbreviation Code:

FPA.

Course Number:

Credit Hours:

Vector:

004

Title of Course:

Sculpture

Calendar Decripti0n of Course:

Area Course. A practical and critical

studio for students with basic experience and skills in sculpture.

Consistent technical instruction at an intermediate level is combined

with artistic criticism to develop awareness of the significant issues

in contemporary sculpture.. The relation between technique and the overall

artistic effect and meanings of sculpture is of central concern.

Prerequisites (or special instructions):

FPA. 164. FPA. 161, or 260., or 261 as co-requisite and permission .of

the Department.

What course (courses), if any, is being dropped from the calendar if this course is

approved:

Scheduling,

How frequently will the course be offered?

Each Spring.

Semester in which the course ill first be offered?

1983-1

Which of your present faculty would be available to make the proposed offering

possible?

See resources tabulation chart.

Objectives of the Course

To provide a serious practical studio course at an

intermediate level for students interested in sculpture. To combine

thorough technical teaching with a consistent investigation into the

aesthetic implications of technique. To create a critical awareness of the

situation of contemporary sculpture, and to encourage the student's

development as a skilled and resourceful sculptor who is conscious of

the character

of his or her work in the contemporary context.

Budgetary and Space Regufrements (for information only)

What additional resources will be required in the following areas:

Faculty

Staff

Library

See resources tabulation chart.

Audio Visual

Space

Equipment

5. Approval

Date:

22 October, 1981

%tmentairman

•77

iifl) \.

Dean

"thairman,

scus

SCUS 73-34b:- (When completing this form, for instructions see Memorandum SCUS 73-34ii.

FPA. 264-2 SCULPTURE II Area Course

This is a practical and critical studio for students with basic experience

and skill in sculpture.

Consistent technical instruction, at an intermediate

level is combined with artistic criticism to develop awareness of

the

significant issues in contemporary sculpture.

The relation between technique

and the overall artistic effect and meanings of sculpture is a central

concern.

The student's practical knowledge of medium, tools, techniques

and processes is developed through the production of a group of sculptures.

Instruction in FPA. 264 is highly individualized.

Students are expected

to develop their own interests as sculptors. Teaching takes two main forms:

technical instruction, correction and advice about new possibilities, and

artistic criticism based upon the relation of technique and meaning.

The student proposes a certain direction for his or her sculpture.

This

is combined with a number of assignments which may either be integrated

directly into the student's own proposed work, or may form a separate body

of work.

Sculptures must be completed for a series of deadlines, after which

group critiques are held.

Students are expected to contribute to these

discussions and to bring to them some conceptual grasp of the situation

of contemporary sculpture.

PREREQUISITES:

FPA.164, FPA.16.1 or 260, or

261 as co-requisite and

permission of the Department.

REQUIRED TEXTS:

Wilbert Verhelst,

Sculpture: Tools, Materials & Techniques,

Prentice Hall, Englewood Cliffs, N.J., 1973

Science and Technology on Sculpture of

This Century, Braziller, N.Y., 1968

Jack Burnham,

Great Western Salt Works:

Essays on

the Meaning of Post-Formalist Art,

Braziller, N.Y.,

1974

Articles and other readings will be distributed regularly.

SPECIAL REQUIREMENTS:

Students in sculpture must keep in mind the limitations

of facilities in planning their work.

Students should

expect to pay a lab fee.

COURSE REQUIREMENTS: Students are evaluated on the following:

1.)

Their creative response to the issues raised in

assigned projects and/or independent work.

2.)

Their demonstrable development of technical

abilities and knowledge within the context of

the course.

3.)

Their participation in the critical discussions.

SENATE COMMITTEE ON tJNUERC)ADUATE STUDIES

NE'W COURSE PROPOSAL FORN

Calendar Information

Department:

Centre

for the Arts

Abbreviation Code:

FPA.

Course Number:276

Credit 11ours:3 Vector:

_0-0-6

Title Of Course:

Photography II

Calendar Description

of CoUrse:Area Course. A practical and critical studio for

students with basic experience and skills in photography. Instruction is given in

camera technique in 35mm and larger formats; in studio work generally and

lighting in particular; and in darkroom work iii black and white and color.

Consistent technical instruction is combined with artistic criticism to develop

awareness of the significant aesthetic issues in contemporary photography. The

Nature of Course

relation between technique and the overall artistic effect and

Studio

Prerequisites (or

special instructions): meaning of photographs is a central

concern. Regular critiques are held.

FPA.176. FPA. 161, or 260, or 261 as co-requisite and permission of the

Department.

What course (courses), if any, is being dropped from the calendar

if this

course is

approved:

none (new course)

Scheduling

How frequently will

the course be offered? Every Spring Semester.

Semester in

which the course will first be offered?

1983-1

Which

of your present

faculty would be available to make the proposed offering

possible?

See resources tabulation chart.

Objectives of the Course To provide a serious practiäal studio course at

an intermediate level for students interested in photography. To combine

thorough technical teaching with a consistent investigation into

aesthetic implications of technique. To create a critical awareness of the

situation of contemporary photography, and to encourage the student's

development as a skilled and resourceful photographer who is conscious

of the character of his or her work in the contemporary context.

Budgetary and Space Requirements (for information only)

What additional

resources will be required in the following

areas:

Faculty

Staff

Library

Audio Visual

See resources tabulation chart.

Space

Chairman,

SCUS

5. Approval

Date:

(When completing this form, for instructions see Memorandum

SCUS 73-34a.

Attach course outline).

FPA. 276-3 PHOTOGRAPHY II - Area Course

•

This is a practical and critical studio for students with basic experience

and skills in photography. Consistent technical instruction is combined

•

with artistic criticism to develop awareness of the significant issues in

contemporary photography. The relation between technique and the overall

artistic effect and meanings of photographs is a central concern.

The

student's practical knowledge of medium, equipment, technique and process

is developed through the production of a group of photographs of various

types.

Instruction in FPA. 276 is highly individualized. Students are expected to

develop their own interests as photographers. The student proposes a

certain direction for his or her photography. This is combined with a

number of assignments which may either be integrated directly into the

student's own proposed work, or may form a separate body of work.

Teaching takes two main forms: technical instruction, correction, and

advice, and artistic criticism based on the relation of technique and

meaning.

Photography projects must be completed on a series of deadlines, after

which group critiques are held. Students are expected to contribute to

these discussions and to bring to them some conceptual grasp of the

situation of contemporary photography. Of particular concern is the

relationship of photography to other visual art forms.

PREREQUISITES: FPA. 176, FPA. 161, or 260, 261 as co-requisite and

permission of the Department.

REQUIRED TEXTS: Aaron Scharf,

Art & Photography, Penguin, London, 1968

Gisele Freund, Photography & Society, D.R. Godirie, Boston,

1980

SPECIAL REQUIREMENTS: Students should expect to pay a lab fee.

COURSE REQUIREMENTS: Students are evaluated on the following:

1.)

Their creative response to theissues raised in

assigned projects and/or independent work.

2.)

Their demonstrable development of technical

abilities and knowledge within the context of

the course.

3.)

Their participation in the critical discussions.

SENATE cO1ITTEE ON UNDERGRADUATE STUDIES

NEV COURSE PROPOSAL FORM

1. Calendar

Information

Departinent:Cefltre

Abbreviation

Hours:

Vector:

0-0-8

Title of Course:

Studio in Visual Art V

Calendar DecriptiOfl of Course: Core Course. An open critical studio course.

Students are required to have a developed program of proposed work prepared

at the beginning of the semester. This forms the basis of the student's

work in the course and is the subject of a continuing critical, dis-

cussion. This discussion will be integrated with studies in the parallel

seminar course, FPA. 466-3, Seminar in Visual Art. Studio work must be

Nature of Course

completed to public exhibition standards as outlined

Studio

Prerequisites (or

special instructions):

by the Instructor.

FPA.361 and 367 and/or written permission of the Department. Students

without course prerequisites must present a portfolio for placement

and have completed all readings required for FPA.361 and/or 367. Students

in FPA. 4&O axe.required to take FPA. 466 . aa co-requi8itQ.

What course (courses), if any, is being dropped from the calendar if this course is

approved?

FPA 469-5: Directed Project in Visual Art.

2. Scheduling

How frequently will

the course be offered? Every Fall semester.

Semester in

which the course will first be offered? 1982-3

Which of your

present facultywou

be available to

make the proposed offering

possible?

see resources' tabulation chart

3. Objectives Of the Course

To provide an intensive working studio for students in their final year.

FPA.460-3 follows the pattern established in FPA. 360-366'and FPA.361-367,

and the work situation is similar. The criical discussion is more demanding

and far-reaching. Students must prepare work explicitly forpublic exhibition

conditions.

Budgetary

and Space ReguJreme

(for information only)

What additional

resources will be required in the following

areas:

Faculty

S af f

Library

See resources tabulation chart.

Audio Visual

Space

Equipment

[IJ

Dean

5. Approval

Date:

22 October, 1981

partmen Chairman

)

SCUS 73-34b:- (When completing this form, for instructions see Memorandum SCUS 73-34a.

Attach •couroc outline).

FPA. 460-3 STUDIO IN VISUAL ART V - 'Core Course

An open critical studio course. Students are required to have a program of

work prepared for approval of the instructor at the beginning of the semester

This program need not be definitive and will not be considered unchangeable

It forms the basis of the student's work, and that work is the subject of

continuing critical discussion, both on an individual level and with the

class as a whole.

The student is required to complete a number of works in the

medium/media of his or her choice during the semester, meeting a series

of deadlines established by the 'instructor.. All work must be completed and

prepared for viewing to

public exhibition standards. Group critiques will

be held at these times. Students 'are expected to bring a well-grounded

critical and analytical vocabulary into these discussions. Critical and

theoretical issues raised by the student's work will be analyzed systemati-

cally. The function of these discussions is to develop the student's

awareness of the relation of his.or her own work to the significant

issues in contemporary art. Problems under study in the parallel seminar,

FPA. 466, will be brought into the critiques where relevant.

PREREQUISITES: FPA. 361 and 367 and written premission of the department.

Students without course prerequisites must present a portfolio for placement

and have completed all readings for FPA. 361 and FPA. 367. Students in

FPA. 460 are requested to take FPA. 466 as co-requisite.

SPECIAL REQUIREMENTS: Students should expect to pay a lab fee.

COURSE REQUIREMENTS: Evaluation is made on the basis of the student's

total response to

the working situation of the studio and the critical

discussion. . Students are required to meet deadlines.. Assessment is

made of completed work and of the demonstrated development of both'

technical ability and creative treatment of chosen material.

/L.

4#Chairman, SCUS

Dean

SENATE COMMITTEE ON 1JNDERCNADUATE STUDIES

NEW COURSE PROI'OSA[. 'FOR}t

1. Calendar Information

Department:

Abbreviation

Course

Directed Studio in Visual Art

Calendar DecriPtiOfl

of Course: Core Course This is an independent guided studio

course for students completing the Visual Art Major. Students are required to

have a developed program of work prepared for the approval of their chosen

faculty advisor at the beginning of the semester. This work is the subject

of the continuing critcal discussion between student and their advisor. Studio

work must be completed to public exhibition standards.

Nature of Course

Directed Study Studio

Prerequisites (or

special

instructions):

FPA.460 and FPA.466 and permission of the

department. Consent of the Supervisors and Department must be obtained prior to

registration. Registration in FPA.467 is a co-requisite.

What course (courses), if any, is being dropped from the calendar if this course is

approved:

none

Schedul&

How frequently will the course be offered?

Every Spring semester. Summer semester by

Semester in

which the course will first be offered? 83-1

arrangement.

Which of your

present faculty would

be available to

make the proposed

offering

possible?

See resources tabulation chart.

Objectives

of the Course To provide the student with the opportunity to work

independently in the studio in close individual consultation with the faculty

advisor of his or her choice. To create a high level of sustained critical

analysis of the student's work, ideas and development. To permit the student

to complete works of art which may be exhibited publicly.

Budgetary and Space Requirements (for information only)

What additional

resources will be required in the following

areas:

Faculty

Staff

Library

See resources tabulation chart.

Audio Visual

Space

Equipment

Approval

Date:

22 October, 1981

4 r t m e n t airman

SCUS 73-34b:- (When completing this form, for instructions see Memorandum SCUS

73-34a.

Attach course outline).

FPA. 461-5 DIRECTED STUDIO IN VISUAL ART - Core Course

This is an independent ,

guided studio course for students completing the

Visual Art Major. Students must arrange with a faculty member for supervision

in this course and its co-requisite. FPA.467.

Students are required to provide afully-developed proposal of a

program of studio work to their supervisor at the beginning of the

semester. . This proposal must include an outline of resource requirements and

materials costs. This outline must take into account the requirement that,

all work be completed to public exhibition standards.

The student must develop a critical dialogue with the Supervisor

involving the formal, technical and stylistic elements of their work, its

structures of meaning, and its relationship to contemporary art. Issues from

studies being made concurrently in FPA. 467 will be included.

Works must be completed to deadlines established by the instructor,

and regular critiques sessions will be organized.

PREREQUISITES: FPA.460 and 466 and permission of the department. Consent

of the Supervisor must be Obtained prior to registration. 'Registration in

FPA. 467 is a co-requisite.

SPECIAL REQUIREMENTS: Students will be responsible for a part of the cost

of their materials.

COURSE REQUIREMENTS: Students will be evaluated on the basis of their success

in meeting the terms of the contract which they drew up with their instructor.

REGISTRATION: Students are advised to design a project the semester preceeding

the one in which the course is to be taken. A faculty member must approve

the project and agree to supervise the student through the completion Of the

project. Departmental approval is also required. The student must obtain

the contract from the Centre for the Arts, and make his/her official request

for this course before the deadline for proposals.

SENATE COMMITTEE ON UNDERGRADUATE STUD! ES

COURSE. PROPOSAL. FORM

1. Calendar Information

Department:

Centre

for the Arts

Abbreviation

Code:FPA. Course Number:466

Credit Hours:3 - Vector:p_4..p

Title of Course:

Seminar in Visual Art

Calendar DecriPtiOfl

of Course:

Core

Course. This is a seminar to be taken by

all students in FPA. 460. It deals with visual art topics of an historical,

critical and theoretical nature which concern practising artists in the

contemporary context. Students are required to write two full-researched

papers on topics developed by them in consultation with the instructor.

One paper must be formally presented in the seminar. Each topic will be

Nature of Course

discussed in relation to the student's own artistic

Seminar

Prerequisit es

(or

special instructions .

work.

Admission to FPA.460. Adeqately prepared students not, concurrently enrolled

in FPA. 460 may be admitted by written permission of the department.

What course (courses), if any, is being dropped from the calendar if this course

approved:

FPA. 469-5: Directed Project in Visual Art.

Schedul,!

How frequently will

the course be offered? Every Fall semester.

Semester in

which the course will first be offered?

1982-3

Which of your present faculty wriu.1d

available to make 'the proposed

offering

possible?

see resources tabulation chart

Objectives

of the Course To create a seminar situation in which upper-

division students can develop serious studies of artistic issues raised in

their own studio work. Building on the experience of the FPA.366 and FPA.

367 seminars and structured similarly to them, FPA.466 permits students

to work with critical concepts and methods developed in the third year, and

to relate them more deeply to their own art..

Budgetary

and Space Requirements

(for Information only)

What additional resources will be

required in

the following

areas:

Faculty

Staff

Library .

See resources tabulation chart.

Audio Visual

Space

Equipment

Approval

Date:

22 October, 1981

Dean

SCUS 73-34b:- (When completing this form, for

instructions see Memorandum

SCUS 73-34a.

Attach course outline).

FPA. 466-3 SEMINAR IN VISUAL ART - Core Course

This is a research seminar required for all students taking FPA. 460.

It may be made open to adequately prepared students from other areas.

Students are required to have prepared a number of proposed

research topics at the beginning of the semester. Essays may deal, for

example, with aspects of the work of a single artist, with historical and

theoretical issues as they are reflected in specific works, with the

analysis of the construction of meaning in a work or group of works, etc.

Students will consult with the instructor to finalize two such topics, to

establish methodology and resources, and to set deadlines. Papers are 15

pages generally.

The instructor will hold seminar meetings in which problems of

methodology,, general perspectives, and shared concerns will be discussed.

Students will report regularly to the class on the progress of their work.

One essay must be presented formally in class as an illustrated seminar,

and one paper is submitted to the instructor. Considerable reading is

required.

PREREQUISITES: Admission to FPA.460. Adequately prepared students not

concurrently enrolled in FPA. 460 may be admitted by written permission

of the department.

REQUIRED TEXTS: Herschel B. Chipp: Theories of Modern Art: A Source Book

By Artists & Critics

U. of California Press, 1968

Max Raphael:. The Demands of Art, Princeton U.Press, 1968

Meyer Schapiro: Modern Art:Nineteenth & 20th Century

Selected Papers Vol.111,

Braziller, NY, 1978

Irwin Panofsky: Meaning in the Visual Arts,

Doubleday, Anchor, NY, 1955.

COURSE EVALUATION: Two., essays - minimum 15 pages each - 70%

Presentation of one essay

, in seminar - 10%

Seminar participation

- 20

SENATECO

MMITTEE

ON UNDERGRADUATE STUDIES

NEW COURSE PROPOSAL. FOR}1

Department:

Abbreviation

Title of Course: Directed Studies in History and Theory of Modern Art.

Calendar Decription of Course: Core Course. This course must be taken con-

currently with FPA.461 by all students completing the Visual Art major, and

with the same faculty advisor. Students are required to prepare and present a

substantial research paper on a topic in history and theory of modern art which

is connected with issues related to the student's own studio work. Students

are required to report regularly to their advisor on their research, and to

NSLur e

of Course

present a version of their essay in a forth-year

uirected Study.

Prerequisites

(or special instructions): colloquium.

FPA.460 anc FPA.460 and FPA.466, and registration in FPA.461. Consent of

the advisor must be obtained prior to registration.

What course (courses), if any, is being dropped from the calendar if this course is

approved:

none

Scheduling

How frequently will the course be offered? Every Spring semester. Summer

Semester in

which the course will first be offered? semesters by arrangement.

83-1

Which of your present faculty would be available to make the proposed offering

possible?

see resources tabulation chart

Objectives of the Course

To provide students with the opportunity to complete a serious and comprehensive

study of a theoretical, historical and critical topic in visual art which has

direct relevance to his or her studio work. To train the student in research

techniques and analytic methods,. and to create the conditions for him or her to

make a thoughtful statement about the issues considered most important to him or

her as an artist and as a student of art

Budgetary and Space Requirements (for information only)

What additional resources will be required in the following areas:

Faculty

Staff

Library

See resources tabulation chart.

SCUS 73-34b:- (When completing this form, for instructions see Memorandum SCUS 13-34a.

Attach course outline).

FPA. 467 DIRECTED STUDIES IN HISTORY AND THEORY OF MODERN ART - Core Course

Students must arrange with a single faculty member for supervision in this

course and its co-requisite, FPA.461.

Students are required to provide proposed topics at the beginning of

the semester. The essays may deal, for example, with aspects of the work of a

single artist, with historical and theoretical issues as they are reflected in

specific works, with the analysis of the construction of meaning in a work

or group of works, etc. Papers are approximately 30 pages.

Students must report regularly to their supervisors on the progress of their

research.

A forth-year colloquium, to be attended by all students taking FPA. 467 and

their Supervisors, will beheld in the latter part of the semester. Students

will present a shortened version of their papers - fully illustrated - for

discussion at this colloquium. The completed papers are formally evaluated

by the individual instructor.

PREREQUISITES: FPA. 460 and 466 and registration in FPA. 461. Consent of

the Supervisor and Department must be obtained prior to

registration.

REQUIRED TEXTS: Reading lists will be developed on an individual basis.

SPECIAL REQUIREMENTS: Students are advised to design a project in the

semester preceding the one in which the course is to

be taken. A faculty advisor must approve the project

and agree to supervise the student through its

completion. The student must obtain the contract

form form.the Centre for the Arts' office, and make

his/her official request for this course before

the deadline for proposals.

COURSE REQUIREMENTS:

Students will be graded on the essay submitted (65%),

the presentation of a version of the essay at the

colloquium (15%), and their participation in

discussion generally (20%).

TABULATION OF ADDITIONAL RESOURCES

REQUIRED FOR NEW COURSES

1i-i;

•O'd

4-IZ.H

rxi

Lr\

0I(

PCO

qdl

Rlt

r-4

C,)

¼ 0

APPENDIX B

BUDGET FOR

EQUIPPING PHOTOGRAPHY

STUDIO

PHOTOGRAPHY

Cameras, tripods, light-meters,

accessories

Three (3) lighting units @ $1,500

Two (2) studio electronic flash units and

accessories

Studio furnishings

Construction of.darkroom (including basic

equipment

tanks and plumbing)

Eight (8) black and white enlargers with lens

and capacity for large-format negatives

Two (2) enlargers with color printing heads

Studio space renovation - contingency

ADDITIONAL VIDEO PRODUCTION EQUIPMENT

Two (2.) color.canieras @ $4,000 ea.

$12,000

One

(1) portable recorder and accessories

recorder and accessories

7,500

4. Two (2)

lighting units @ $1,500 ea.

NON-RECURRING OPERATING BUDGET

Equipment

$ 49,400

Renovations and furnishings

Facilities and furnishings

RECURRING OPERATING BUDGET

1. Secretarial

7,900

Supplies and Services

Sessional Instructors

46,794

Technician (Grade. 08)

^_l

For Library

Date:

For Faculty Department

Date:

Deadline Date__________________

(This document updates S82-1A distributed earlier)

SIMON FRASER UNIVERSITY LIBRARY

COLLECTION EVALUATION

(To be completed only for new course proposals; not needed for re-numbering)

Course number and name

VISUAL ART MAJOR

Evaluation of current library collection (indicate method used, as applicable):

2. Recommended additions

collection (monographs, serials, other); attach sup-

plementary lists as necessary:

3. Estimated costs:

serials

500 (+ annual inflation)

Total

31,500

Special budget and scheduling factors (include special processing, equipment,

and servicing costs):

Other petirient details:

LIBRARY NEEDS FOR NEW VISUAL ART MAJOR

Art History Survey - 1000 additional slidesx$2 $2000

Slide Total

$6000

2. MONOGRAPHS

Two kinds of books must be added to the collection:

books dealing with techniques (how to do books)

contemporary monographs on particular artists

Drawing

EPA. 162/262 50 titles x $40$2000

Painting

EPA. 163/263 100 titles x $40

4000

Sculpture

EPA. 164/264 100 titles x $40 4000

EPA. 176.276 50 titles x $40 2000

Seminar in Modern Art!

Directed Studies in

History & Theory of

Modern Art

Contemporary Artists FPA. 466/467 100 titles x $40 4000

Monograph Totals $18000

3. CATALOGUES

Major Exhibitions from Museums

Problems

Visual

Art I/Il

EPA. 366/367 100 titles x $25=$2500r.

Directed Studies

History & Theory

of Modern Art EPA. 466/467 100 titles x $25= 2500

irman-Library Committee

164/264163/263162/262

- 1000 additional slides

books must be added to the collection:

books dealing with techniques (how to do books)

contemporary monographs on particular artists

FPA. 162/262 50 titles x $30=$1500

FPA. 163/263 100 titles x $30

3000

FPA. 164/264 1100 titles x $30

3000

FPA. 165 50 titles x $30

1500

FPA. 1761276 50 titles x $30

1500

466/4671100 titles x $20= 2000

Seminar in Modern Art!

xhibitions from Museums

Problems in Visual Art

FPA. 366/367 100 titles x $25=$2500

FPA. 466/467 100 titles x $25=$2500