tut letter 101
DESCRIPTION
1501TRANSCRIPT
ARH1501/101/3/2013
Tutorial Letter 101/3/2013 Visual Literacy Semesters 1 and 2
Department of Art History, Visual Arts and Musicology This tutorial letter contains important information about your module.
Bar code
ARH1501
2
CONTENTS
1 INTRODUCTION AND WELCOME ................................................................................................ 3
1.1 Tutorial matter ................................................................................................................................. 3 1.2 Inventory letter ................................................................................................................................ 4
2 PURPOSE AND OUTCOMES FOR THE MODULE ...................................................................... 4
2.1 Purpose .......................................................................................................................................... 4 2.2 Outcomes ....................................................................................................................................... 4
3 LECTURER AND CONTACT DETAILS ......................................................................................... 5
3.1 Lecturer ........................................................................................................................................... 5 3.2 Department ..................................................................................................................................... 5 3.3 University ........................................................................................................................................ 6
4 MODULE-RELATED RESOURCES .............................................................................................. 6
4.1 Prescribed books ............................................................................................................................ 6 4.2 Recommended books ..................................................................................................................... 6 4.3 Electronic Reserves (e-Reserves) .................................................................................................. 7 4.4 Additional Books ............................................................................................................................. 7 4.5 Additional Journal Articles .............................................................................................................. 8 4.6 Internet Sources ............................................................................................................................. 8
5 STUDENT SUPPORT SERVICES FOR THE MODULE ................................................................ 9
6 MODULE-SPECIFIC STUDY PLAN ............................................................................................. 10
7 MODULE PRACTICAL WORK AND WORK-INTEGRATED LEARNING ................................... 10
8 ASSESSMENT ............................................................................................................................. 10
8.1 Assessment plan .......................................................................................................................... 10 8.2 General assignment numbers ....................................................................................................... 11 8.3 Unique assignment numbers ........................................................................................................ 11 8.4 Due dates of assignments ............................................................................................................ 11 8.5 Presentation of assignments ........................................................................................................ 12 8.6 Submission of assignments .......................................................................................................... 13 8.7 Assignments for 2013 ................................................................................................................... 14
9 EXAMINATIONS .......................................................................................................................... 22
10 OTHER ASSESSMENT METHODS ............................................................................................. 23
11 FREQUENTLY ASKED QUESTIONS .......................................................................................... 23
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1 INTRODUCTION AND WELCOME Dear Student
Welcome to the ARH1501 module, ‘Visual Literacy’. We trust that you will find your art history studies both stimulating and challenging!
In this tutorial letter you will find all the information and instructions pertaining to your ARH1501 art history studies in 2013. It contains the assignments for both semesters. However, before you start thinking about assignments — or for that matter about course content — you must be in no doubt regarding the aims and objectives of the course. For this purpose you should consult the study guide for ARH1501: Visual literacy.
Although the module is composed of three study units, only two have been selected for assignment and examination purposes.Two study units make up the present module. In the study unit on the “Interpretation and Art Criticism”, you are introduced to some concepts and methodological concerns of art criticism. In the study unit “Architecture in the Life World” the focus is on architecture and your environment. Your assignments will deal with both these study units. Both assignments are challenging and designed to test your reading and thinking skills.
Although the history of art is based on visual perception it is a discursive study. The department consequently aims to promote a study of art which, while it is rooted in an analytical examination of artworks, also engages the wider realm of cultural life. It is important to understand an artwork in relation to its historical and cultural contexts, formative influences and relationship to other (comparable) works. This will be facilitated by the application of selected methods and skills.
1.1 Tutorial matter
Unisa’s Department of Despatch should supply you with the following tutorial matter for ARH1501:
• Only Study Guide for ARH1501: Visual Literacy. • This tutorial letter, namely Tutorial Letter 101/2013 and subsequent Tutorial Letters
which you will receive during the course of the semester. • Tutorial Letter ARHALLY/301/2013: Reference techniques and presentation of
assignments, articles, research articles, dissertations and theses.
NOTE: Tutorial matter will be sent to you shortly after registration. Tutorial matter that is not available when you register will be posted to you as soon as possible, but is also available on myUnisa.
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1.2 Inventory letter When you register, you will receive an inventory letter containing information about your tutorial matter. More details are contained in the brochure entitled my Studies @ Unisa (which you received with your tutorial matter).
2 PURPOSE AND OUTCOMES FOR THE MODULE
2.1 Purpose The purpose of this module is: • to equip you with the methodology and conceptual basics of art history. This module deals with the broad concept of visual literacy. It aims to introduce you to art, art making and art history with reference to a wide variety of examples. The focus lies quite strongly on the local visual arts scene, mainly because it renders the art history course more directly relevant and easily accessible. You will be expected to apply the skills gained through the study of local examples to objects of art and material culture from other times and places.
2.2 Outcomes
The learning outcomes for this module form the basis of our assessment of your answers to the assignments and especially in marking your examination script. Essentially, your success in this module depends on the extent to which you can demonstrate your understanding of these outcomes.
After you have worked through this module you ought to be able to demonstrate that:
• You can describe contemporary artworks in art critical terms applying an appropriate conceptual framework.
• You can analyse contemporary artworks to reveal the content, subject matter and message(s) as part of a coherent interpretation.
• You are familiar with some examples of the different types of most recent contemporary artworks, and particularly can identify and articulate the broader conceptual issues addressed by the artwork.
• You can identify and evaluate buildings or other built structures from your own life world and built environment for purposes of heritage.
• You can identify and describe the use of vernacular elements in the built environment. • You can convey in writing your own experience of genius loci (sense of place) with
reference to a single building or built structure. How will you accomplish these outcomes? Your assignments form the most important part of your study efforts. The assignments for 2013 deal with “Interpretation and Art Criticism” –and “Architecture in the Life World”. For 2013 no assignment dealing specifically with the study unit “Art and Technology” will be set. However, it is strongly recommended that you
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familiarise yourself with the contents of this study unit in order to broaden your knowledge and benefit from this module. You need to work through the various study units in your study guide, each with its own learning outcomes which are indicated at the beginning of the unit. Keep in mind, however, that the study units are only the basis for your own research when answering assignments or exam questions. You will find it necessary to follow up particular issues on your own. Wide-ranging reading is essential. Then you should remember that your personal taste or cultural attitudes should not deter you from interpreting and evaluating works that arose from conditions which you may be learning about for the first time.
3 LECTURER AND CONTACT DETAILS 3.1 Lecturer
The coordinator for this module is Mr Nicolaas Jan Coetzee. Queries and problems concerning the ARH1501 module as a whole should be addressed to him - Tel: (012) 429-6212, or 083 326 9802 (all hours). You may also communicate with the coordinator by means of “myUnisa”, or e-mail: [email protected].
3.2 Department
Queries concerning assignments, activities and examination preparation are of an academic nature and must be addressed to the Department of Art History, Visual Arts and Musicology. Queries and problems concerning a specific assignment or part of the syllabus should be directed to the lecturer responsible. If your queries concern an assignment which you are submitting, they may be attached to the assignment script. Should you wish to come to the university to see the lecturers, it is essential that an appointment be made, either by telephone or email.
All correspondence with the department should be addressed to the Department of Art History, Visual Arts and Musicology at:
Address: Postal Address:
Sunnyside Campus P O Box 392 Building 12C UNISA Sunnyside 0003
Tel: (012) 429-6459 (departmental secretary) Fax No (012) 429-3556
E-mail: [email protected]
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3.3 University
In your correspondence with the university, please make the necessary distinction between the academic and the administrative aspects of your studies. Correspondence concerning admission or registration, fees, dispatch of study material, etc should be addressed to the relevant administrative department.
Please do NOT address queries of a purely administrative nature to this department. Contact addresses of the various administrative departments are included in my Studies @ Unisa, which you received with your study package.
In all your correspondence with the university — whether the letter is being sent to the Registrar (academic) or to this department — you must quote your student number and the relevant course code (ARH1501).
4 MODULE-RELATED RESOURCES 4.1 Prescribed books
The department does not favour prescribing books for each module. The main reasons for
this are the following:
The nature of art historical study is such that students should read as widely as possible and not regard one or two sources as gospel. The subject matter is essentially visual and students must study as many good reproductions of the artworks under discussion as possible. One or two prescribed books, however good they may be, will not suffice in this regard. Finally, illustrated art books are very expensive and the department cannot expect students to incur great costs.
4.2 Recommended books
Recommended readings are those books of which multiple copies are available in the study collection of the Unisa library. In each assignment, an indication is given of those recommended titles which are specifically applicable to the topic at hand. You should aim at using two or three of the titles recommended for the assignment you are doing, or for the section of the syllabus on which you are compiling notes and working out answers to the activities.
The various books listed in the study guide and in this tutorial letter 101 are, of course, not necessarily the only books which may be used. Make use of any relevant material to which you have access. Make use of your local libraries. The Unisa library will do its best to supply you with the required books, but there are times when the demand for certain books is too great and you will have to wait, or do another assignment for which the demand for the relevant literature is less heavy.
A consolidated list of recommended titles appears at the end of this tutorial letter. Each title has been allocated a book number which must be entered on the request form when requesting books from the Library.
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Recommended books may be requested telephonically from the main library in Pretoria at telephone number (012) 429-3133. You will need to give both the book numbers and your student number. The library does not provide photocopies of portions of books listed as recommended reading to students.
4.3 Electronic Reserves (e-Reserves)
ELECTRONIC RESERVES
ARTICLE LIST
ARH1501 - 2013 .
Oxford history of western art: p. 280-293 / M. Kemp. Oxford history of western art / edited by Martin Kemp. Oxford : Oxford University Press 2002. p. 280-293. Oxford history of western art: p. 400-403/ M. Kemp. Oxford history of western art / edited by Martin Kemp. Oxford : Oxford University Press 2002. p. 400-403. Oxford history of western art: p. 514-519 / M. Kemp. Oxford history of western art / edited by Martin Kemp. Oxford : Oxford University Press 2002. p. 514-519. The periodical articles recommended in this tutorial letter, also known as (Electronic) Reserves, can be downloaded from the library’s catalogue at http://oasis.unisa.ac.za. First click on Login and create your library PIN (personal identification number). Under search options click on Course code search and type in the relevant course code, for example ARH1501, then click on the Electronic reserves for the current year. The articles are made available in portable document format (PDF).
You can also request photocopies of the recommended journal articles which are listed with request numbers as stated above. These request numbers have to be written on the periodical request cards when the material is requested from the library.
Please consult my Studies @ Unisa on how to order and pay for photocopies from the library, as well as for indications of how to access the electronic format of these articles.
4.4 Additional Books
Books listed under this heading are not necessarily "additional" in the sense of their being of lesser importance. They are listed as "additional" because the majority of these titles are out of print and the university library is consequently unable to provide them in sufficient quantities. The library cannot undertake to meet your requests for these titles, and no waiting lists will be kept for them. Books on the "Additional reading" lists should thus be
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requested well in advance. Students who have ready access to other libraries should endeavour to obtain these additional titles from those libraries.
Students are recommended to use the online request function on OASIS, the library’s catalogue. Go to http://oasis.unisa.ac.za
Books may also be requested by filling book request cards issued upon registration, which must be mailed to:
Unisa Library Request Services PO Box 392 UNISA 0003
or by copying the request cards and faxing the requests to +27 12 429 2925; or by making a telephonic book request to +27 12 429 3133.
Enquiries about books requested should be addressed to [email protected]; telephonic enquiries can be made at +27 12 429 3133/3134. An after-hour voicemail service is also available at these numbers.
4.5 Additional Journal Articles Additional journal articles may be requested by using the online request function on OASIS; or by completing article request cards, which should be mailed to the library’s Request Services (see full address above); or by copying the request cards and faxing them to +27 12 429 2925.
Enquiries about articles requested should be addressed to [email protected]; telephonic enquiries can be made at +27 12 429 3432.
4.6 Internet Sources
Internet sources can be extremely useful, but you should remember that for serious academic work many Internet web pages are not always reliable. One reason is that there is often no way of knowing how accurate the information is that they provide.
Increasing numbers of students are using the Wikipedia website and similar sources such as www.answers.com in order to do their research. Please note that we do not consider these sites to be reliable. They have not undergone the strict editing and fact-checking process which most published sources and reputable reference dictionaries have to complete. As university students, we expect you to consult reliable and academically acceptable sources for your research. Note that your assignment marks may be negatively affected if you consult websites such as these.
A suitable online resource for the subject of art history is, for example, Grove Art Online which is available via OASIS under Oxford Art Online. Go to the a-z list of electronic resources and click on “o” for Oxford Art Online. In general, however, be aware that consulting ONLY Internet sources will not be sufficient for your assignment and examination preparation.
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5 STUDENT SUPPORT SERVICES FOR THE MODULE
The my Studies @ Unisa booklet, which is part of your registration package, lists all the services offered by the Unisa library at https://my.unisa.ac.za/portal/
Students are encouraged to make use of the library’s excellent facilities on the main campus in Pretoria, or to use the library online. To find the library’s homepage, point your browser to http://www.unisa.ac.za , then click on library, then on library catalogue. The page header is oasis library catalogue, and library services listed under search options and other options respectively.
You will need a library PIN for most of your library transactions. To create your PIN or if you have problems with it, go to http://oasis.unisa.ac.za > Login
You will now have access to all the request services listed under other options, be able to open your recommended journal articles (aka electronic reserves) in full text PDF by clicking on library course material, and use the library’s other digital information resources via search subject databases.
The Adobe Reader should be loaded on your computer so that you can view or print scanned PDF documents. This can be downloaded free of charge from http://www.adobe.com
The librarian responsible for the information needs of the department of Art History, Visual Arts and Musicology is Dawie Malan. His contact details are: e-mail: [email protected]; phone: +27 12 429 3212; fax: +27 12 429 2925
If you intend visiting the Pretoria campus, you are welcome to make an appointment with your personal librarian for a training session on how to use the library’s information resources or consult the branch librarians at the information desk.
A list of Unisa’s branch libraries is available at http://www.unisa.ac.za/Default.asp? Cmd=ViewContent&ContentID=6981
The branch librarians at each Unisa regional centre offer training in the use of the library’s catalogue and keyword searches.
If you are a person with special needs, please contact your Branch Librarian for assistance or for more information, go to: http://www.unisa.ac.za/Default.asp?Cmd= ViewContent&ContentID=7095 myUnisa If you have access to a computer that is linked to the internet, you can quickly access resources and information at the university. The myUnisa system is Unisa’s online campus that will help you communicate with other students, your lecturers and the administrative departments of the university.
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To go to the myUnisa website, start at the main Unisa website, http://www.unisa.ac.za and then click on the ‘Login to myUnisa’ link on the right-hand side of the screen. This should take you to the myUnisa website. You can also go there directly by typing in http://my.unisa.ac.za.Please consult the publication my Studies @ Unisa which you received with you study material for more information on myUnisa.
6 MODULE-SPECIFIC STUDY PLAN Use your my Studies @ Unisa brochure for general time management and planning skills. 7 MODULE PRACTICAL WORK AND WORK-INTEGRATED LEARNING There are no practicals for this module.
8 ASSESSMENT 8.1 Assessment plan
Requirements for examination entry
The minimum requirement for entry to the examination is the submission of ONE compulsory assignment BEFORE 25 February 2013 (in Semester 1) or 19 August 2013 (in Semester 2), irrespective of whether you pass or fail this assignment.
You are advised to keep a copy of the completed compulsory assignment. In the event that the assignment is lost before it can be assessed, you will have the necessary proof.
The university requires the submission of ONE compulsory assignment, the reason being that the university must prove that you are an “active” student in order to receive subsidy for you. You MUST select Assignment 01 as your compulsory assignment and submit it before 25 February for semester 1 students or 19 August 2013 for semester 2 students. If you fail to submit an assignment before this closing date, your registration will be cancelled and you will not be allowed to continue with your studies or write the examination.
Please note that the submission of one assignment answer is a mere administrative requirement. A student who wishes to benefit from the course will obviously aim at more than this. It is in your interest to write and submit more than one assignment in order to receive personal comments from your lecturers and to find out whether you are “on the right track”. It will also prepare you more adequately for the examinations and give you the opportunity to increase your year mark.
In the event that you fail the examination, admission to a supplementary examination is not automatic. You must have obtained 40 % in the examination.
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Year mark
The College of Human Sciences has introduced the use of a year mark. This means that the work you have done during the semester will contribute to your final mark obtained for a module. It works as follows:
• Your examination mark counts 80% of your final mark. You must achieve a subminimum of 40% in the examination in order to pass the module. • Your year mark constitutes the remaining 20% of your final mark. The calculation of the year mark is based on the marks of the two assignments. This implies that you will be rewarded for submitting more than one assignment.
8.2 General assignment numbers Assignments are numbered consecutively per module, starting from 01. 8.3 Unique assignment numbers
Assignment 01 Unique Assignment No: (1st semester) 281383
Unique Assignment No: (2nd semester) 219651
Assignment 02 Unique Assignment No: (1st semester) 292975
Unique Assignment No: (2nd semester) 319652
8.4 Due dates of assignments
Assignment number Closing date
Semester 1: Assignment 01 25 February 2013
Assignment 02 25 March 2013
Semester 2: Assignment 01 19 August 2013
Assignment 02 16 September 2013
THE CLOSING DATES ARE TO BE STRICTLY OBSERVED. YOUR ASSIGNMENT ANSWER MUST REACH THE ASSIGNMENT SECTION OF THE UNIVERSITY, ON OR BEFORE THE CLOSING DATE.
You must therefore allow for the time it takes for the assignment to be delivered. Aim at posting your assignment a full week before the closing date, and even earlier if you live in an area where postal delivery is likely to take some time.
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All assignment answers will be marked, but those which reach the University after a closing date will receive only minimal commentary and a mark.
THE DEPARTMENT WILL NOT GRANT ANY EXTENSIONS OF TIME. The lecturers work to a tight schedule, involving many courses and modules. We cannot disrupt our programme because you are unable to complete your work on time. If you "miss" a closing date (for whatever reason) you have no choice but to go on to the assignment for the following closing date.
All the assignments are given to you in this first Tutorial Letter in order that you may plan your assignment programme for the semester; a programme that will ensure timeous submission. Many students habitually delay their assignment work until just before a closing date and then, because of illness or other unforeseen circumstances, fail to meet the deadline. Their work consequently receives little commentary.
You are advised to work out those assignments which you did not submit for evaluation on your own and to evaluate them with the help of the feedback tutorial letters. You will receive feedback tutorial letters on all the assignments — as soon as possible after their respective closing dates. It is the declared policy of the department to write as feedback letters that are as extensive as possible. These tutorial letters will be of assistance in the self-evaluation of the assignment which you did not submit and in preparation for the examination.
8.5 Presentation of assignments
The correct presentation of assignment work is an important requirement. The instructions in tutorial Letter ARHALLY/301 (point 3: Assignments: Approach and presentation) must be carefully studied and applied in your written work. It is in your best interest to familiarise yourself with the conventions of academic writing as early as possible in your career as art historian.
Assignment essays may not exceed 1700 words. When the essay is typed, you are required to use font size 12, 1 ½ line spacing, with ample margins (5cm margin on right hand side) for the lecturer's comments.
An academic requirement that warrants special mention is the acknowledgement of your sources. Whenever you borrow an idea from an author, whether quoted literally or paraphrased, you must ALWAYS include a source reference in your text. If you fail to do so, you are guilty of plagiarism which is the most serious academic offence.
In order to prevent this, you are required to submit a signed declaration with each assignment you send to Unisa, which reads as follows:
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DECLARATION
Name: Student number: Module: Assignment number:
I declare that this assignment is my own original work. Where secondary material has been used (either from a printed source or from the internet), this has been carefully acknowledged and referenced in accordance with departmental requirements as explained in Tutorial Letter ARHALLY/301. I understand what plagiarism is and having read Tutorial Letter ARHALLY/302 I am aware of the department’s policy in this regard. I have not allowed anyone else to copy my work.
Signature:
8.6 Submission of assignments
For detailed information and requirements with regard to the submission of assignments, see my Studies @ Unisa which you received with your tutorial matter. Do NOT post or deliver your assignment answer directly to the department of Art History, Visual Arts and Musicology. All assignments must be addressed to:
ASSIGNMENTS P O Box 392 UNISA 0003
Alternatively, you can submit your written assignment electronically through myUnisa. To submit an assignment via myUnisa: • Go to myUnisa. • Log in with your student number and password. • Select the module from the orange bar. • Click on assignments in the left menu. • Click on the assignment number you want to submit. • Follow the instructions.
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8.7 Assignments for 2013 ASSIGNMENT 01 Due date: 1st semester
25 February 2013 Unique assignment No (1st semester):
281383
Due date: 2nd semester
19 August 2013 Unique assignment No (2nd semester)
219651
THEME: Art Criticism and Interpretation
INTRODUCTION This assignment aims to introduce you to some of the more acceptable criteria of looking at and writing about art, particularly contemporary artwork. In this assignment, images of the artworks are not included. It is a fact of studying art that one has to rely on printed and published images, as well as those available on the internet. You are encouraged to find and peruse multiple images of the same artworks. Better still would be to look at them ‘in the flesh’, so to speak. Many of the works chosen are available in the Unisa Art Collection available at http://www.unisa.ac.za/default.asp?Cmd=ViewContent&ContentID=19757 and can be viewed by appointment.
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QUESTION
Terry Barrett provides a number of principles and guidelines for a comprehensive interpretation of an artwork. Select the five guidelines that you deem to be the most important and explain in your own words the purpose of each when interpreting an artwork. Demonstrate the application of these guidelines with reference to any five of the following artworks:
1. Gerard Sekoto, Four Figures at a Table. Oil on board, 34 x 43,9 cm. Unisa Art Collection, Pretoria. (http://library-btext.unisa.ac.za/dbtw-wpd/exec/dbtwpub.dll)
or
2. Gerard Sekoto, Portrait of the Artist's Mother. Oil on board, 49,3 x 36,7 cm. Unisa Art Collection, Pretoria. (http://library-dbtext.unisa.ac.za/dbtw-wpd/exec/dbtwpub.dll)
3. David Goldblatt, Kwa-Ndebele 1984. 7:15pm Pulling Out of Pretoria... (1983). Photograph, 19 x 29 cm. Unisa Art Collection, Pretoria. (http://library-dbtext.unisa.ac.za/dbtw-wpd/exec/dbtwpub.dll)
4. Jane Alexander, The Butcher Boys (1985/86). Mixed media, size unknown. Iziko South African National Gallery, Cape Town. (http://www.artthrob.co.za/Artists/Jane-Alexander.aspx)
5. Sue Williamson, Messages from the Moat (1997). Installation, size unknown. Iziko South African National Gallery, Cape Town. (http://www.artthrob.co.za/00jun/listings.html)
6. Nicolas Hlobo, Izithunzi (2009). Rubber inner tube, ribbon, organza, lace, found objects, steel, couch, variable dimensions. Monument Gallery, Grahamstown. (http://www.stevenson.info/exhibitions/hlobo/sbya.htm with photographs by Carla Liesching)
7. Frikkie Eksteen, Cephalophore (2011). Oil and inkjet print on canvas, 123 x 295 cm. Unisa Art Collection, Pretoria. (http://frikkieeksteen.blogspot.com)
or
8. Frikkie Eksteen, Deleted Scene (2012). Oil, spray paint and inkjet print on canvas, 210 x 164 cm. Collection of the artist. (http://frikkieeksteen.blogspot.com)
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GUIDANCE
1. The first step is for you to read Study unit 1 ‘Interpretation and Art Criticism’ from the study guide ARH1501, pages 1-16. The purpose of this section of the study guide is to provide you with guidance and orientation that will enable you to engage with contemporary and even older artworks.
2. The next step is to gather the images of the artworks so that you can make your selection. These artworks were selected because there are multiple images of the artwork, as well as related artwork by the same artist, available on the internet.
3. As we assume that you are not familiar with the artworks remember that an image or artwork requires concentrated visual perusal. Really look at the images closely making notes (in writing!) of what you observe. At this point you may still feel lost and unsure; that is natural. Whilst looking at the images, make notes of the ideas, associations and even memories that come to mind. It is important even at this stage that you capture your response, raw and fragmentary as it might be, by articulating it clearly.
4. As you look at the images and keep notes, keep in mind the guidelines in the study guide that you have read as a first step. At this stage, it is not a superfluous idea to re-read the section, keeping in mind what you have observed and noted in the images.
5. Remember, not all the guidelines suggested would be applicable to all the artworks. Before you make a final selection of the five artworks, consider which of the five guidelines appear to be most relevant. Only then do you make your final selection.
6. It is axiomatic that in order to engage with artworks, correct, reliable and attested information is required. This assignment is no different. However, in this assignment we do not require you to assess the information retrieved from the sources listed, but rather to use the information (that is, harness it in your answer) in a measured, thoughtful and rational argument. We do not require an exhaustive analysis or interpretation of the artworks. Your text should show a balance in applying the guidelines of Barrett while engaging with the artwork.
7. Although we are not prescribing a set limit of words used, you must understand that selectivity, conciseness and precision are essential academic skills that you need to acquire. Long (and usually boring) assignments will not score highly.
8. And finally, a warning regarding plagiarism. We are sure that there are many internet sources you could access and use. There is nothing inherently wrong with the internet. However, not all websites have been subjected to the usual process of quality control that characterise the sources used in academic discourse (although there are exceptions). The sources listed are useful for this assignment. To copy an amount of text from an internet site is easy to detect (Unisa uses a number of search packages). Gross or unacceptable copying, unacknowledged sourcing, copying from another student’s work will be penalised.
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9. In conclusion, enjoy art. It is a huge voyage of discovery in the land of ideas, pleasure and
personal development.
BIBIOGRAPHY ADDITIONAL RESOURCES Alexander, J. 2002. Jane Alexander: DaimlerChrysler award for South African sculpture
2002. New York, N.Y: Ostfildern-Ruit: Hatje Cantz.
Bester, R. 2005. Sue Williamson: plasticienne = visual artist. Montreuil: Oeil.
Gevisser, M, Ratele, K & Mergel, J. 2009. Nicholas Hlobo: Standard Bank Young Artists Award 2009. Cape Town: Michael Stevenson.
Goldblatt, D & Lawson, L. 2001. David Goldblatt. New York, N.Y: Phaidon.
http://frikkieeksteen.blogspot.com
Manganyi, N. c2004. Gerard Sekoto: 'I am an African': a biography. Foreword by Eskia Mphahlele. Johannesburg: Wits University Press.
Powell, I. c1995. Jane Alexander: sculpture and photomontage. Grahamstown: Standard Bank National Arts Festival.
Subirós, P (ed). 2011. Jane Alexander: surveys (from the Cape of Good Hope). New York: Museum for African Art.
Weinberg, P & Godby, M. 2007. Then & now: eight South African photographers. Johannesburg: Highveld Press.
Williamson, S. 2003. Sue Williamson: selected work. Cape Town: Double Storey.
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ASSIGNMENT 02
Due date: 1st semester 25 March 2013 Unique Assignment No: (1st semester):
292975
Due date: 2nd semester 16 September 2013 Unique Assignment No: (2nd semester)
319652
THEME: Architecture and the Life World.
The purpose of this assignment is to give you a chance to acquire and practice the fundamental skills of general critical observation and interpretation of your own ‘everyday’ environment. You will be equipped with the tools and knowledge (concepts, ideas and enhanced awareness and observation) to allow you to evaluate and interpret your built environment.
QUESTIONS
This assignment brief consists of two parts. They must each be answered separately. 1. Which buildings or built structures in your neighbourhood would you identify as
worthy of protection and preservation as heritage? Clearly identify the buildings or built structures and argue why you make this selection.
2. Choose one public building in your vicinity and write an essay in which you briefly
evaluate it according to the guidelines in the study guide, with special reference to genius loci (sense of place).
Please try to use drawings (your own drawings, also lay out plans and other) and/or photographs to illustrate your text.
GUIDANCE
1. Each section of your answer should not exceed 1000 words; but this is merely a guide.
2. You are required to read the chapter entitled ‘Architecture and the Life World’ in the study guide. This section serves as an introduction and provides you with some conceptual perspectives - tools - to evaluate your chosen building.
3. The buildings you choose to evaluate should be part of your own life world. In respect of the second part of the assignment brief this is a firm requirement. In other words, it should be a building in your locality with which you identify and with which you are well acquainted, inside and out. Motivate your choice of building in your introduction. (Do not select famous
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buildings unless you happen to live near one of them and have more than a passing touristic relationship with the building).
4. The following types of buildings may NOT be used for this assignment : • Residential buildings • Shops/strip malls/shopping centres • Factories, warehouses (and farm buildings) • Residential buildings that have been converted into museums (for example Jan
Smuts' house in Irene; Cecil Rhodes’ Cottage in Muizenberg; the Mandela house in Soweto and so on)
• Schools • Hotels.
In other words, you must choose a building that was specifically conceived to be a public building from the beginning of its existence. Clearly it is unwise to exclude and eliminate even some of the buildings above absolutely, but the aim of the assignment is not to test your powers of description, but for you to articulate your own relationship – the sense that YOU make of the building – with the building. (Thus a school building, a farmstead, and even a hotel could be included but you will have to motivate your choice clearly.)
Suitable buildings include:
• City / town halls • Accessible government buildings • Court buildings • Museums and libraries • Train stations • Airports • Universities • Large scale cultural buildings, such as theatre/music complexes • A place of religious worship ● Memorial/monument architecture
It is strongly recommended that you do not choose a church, mosque, synagogue or temple, or a museum, monument or memorial. The reason for this cautionary note is that those buildings are at times overburdened with history, predetermined ideas and (political or historical) associations. This will detract from the purpose of this assignment, namely to awaken and sharpen your awareness of your own environment, and to encourage you to articulate your own responses.
5. The emphasis in this assignment is on your own primary research, therefore you must physically investigate and explore your chosen architectural environment. Record how you respond to the building, for example to the materials with which it is constructed, its size, its
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forms, spaces, colours, textures, et cetera. Bear in mind that our appreciation of architecture is multi-sensory, not merely visual. It draws on our senses of sight, hearing (acoustics), touch, kinaesthesia, and even smell. It goes without saying that you will be required to visit the building more than once.
6. Although it is strongly recommended that you include well considered and evocative illustrations, they need not be expensively procured; sketches and photocopies are perfectly acceptable. A plan view (layout) of the building and its environment is particularly useful.
7. Illustrations alone cannot adequately communicate the full experience of architecture. It follows that the written component of your answer should take priority over the illustrations and should focus on those aspects which are not adequately communicated via the illustrations, such as scale, interrelationships, colour, et cetera. The illustrations should merely complement the text. All illustrations should have extended captions.
8. As the question requires you to evaluate the building, a critical and discriminating approach as opposed to an unquestioning laudatory approach is necessary. The issue of whether a building is good or bad architecture is not at issue; the purpose is not to pass aesthetic and/or critical judgement. Therefore in evaluating a building, the use of architecture specific terminology is not all important.
9. The use architectural terminology is encouraged as far as possible. But do not use terms if you are not sure; it merely causes confusion.
10. Public buildings are designed to fulfill specific practical and symbolic functions. Therefore you will need to concisely document the history of your chosen building: why was it built, when was it built, at what cost, with what materials, who commissioned it, who was the architect, why the particular location, what function/s and community was it designed to serve, does it still serve the same functions, et cetera? Clearly, it is not required to dwell on this part but it is especially pertinent for section of the assignment dealing with heritage.
11. As architecture is a social art and most buildings were designed also for certain communities. The way these buildings, as architectural structures speak to the members of the community (if appropriate, including yourself) could be called the symbolic function of the structure. It is clear that the practical functions and the symbolic function should not be a disjunction, or even contradict one another. If they do, then so be it (but that is probably what we call ‘bad architecture’). You will have to consider the function(s) that your chosen building was designed to fulfill and whether or not it still serves those functions. How do the aesthetics of your chosen building relate to its symbolic and practical functions? Are the aesthetics appropriate to those functions? Ultimately you have to evaluate whether or not your chosen architectural environment successfully creates a humane life world.
12. Remember that looking at architecture is not passive and requires time. In this sense a building is not like a painting or a drawing. As you move through the space that defines the structure, time elapses, the spaces possibly change and the observer is exposed to other or new aspects of the building. Perhaps you response changes as well; that is the essence of
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what you are required to articulate. If you keep this in mind, you should avoid the pitfalls of mere or over descriptiveness.
13. Structure your essay carefully. Remember, what you need to convey to the reader is your own experience of and familiarity with the building.
14. Follow the guidelines as set out in Tutorial Letter ARHALLY/301 for the correct presentation of your title page, list of illustrations, bibliography and images.
15. You are not required to consult any specific literature for this assignment. However, many
public South African buildings have been documented; therefore a bibliography of additional reading has been supplied as a mere sampling of such documentation (it is not exhaustive). Church organisations, companies or other institutions often produce brochures detailing the history of significant or famous buildings. Acknowledge your sources as per the guidelines in Tutorial Letter ARHALLY/301. Failure to acknowledge your sources is regarded as plagiarism.
BIBLIOGRAPHY
ADDITIONAL BOOKS
Bennett, DR. 1987. A guide to the history and architecture of Durban: with accompanying maps. Durban: City Council of Durban in co-operation with the Natal Architectural Heritage Committee.
Conway, H & Roenisch, R. 1994. Understanding architecture: an introduction to architecture and architectural history. New York: Routledge.
Deckler, T. 2006. Contemporary South African architecture in a landscape of transition. Cape Town: Double Storey Books.
Fisher, RC, Le Roux, S, Maré, E (eds). 1998. Architecture of the Transvaal. Pretoria: University of South Africa.
Fransen, H (ed). 2004. A Guide to the old buildings of the Cape: a survey of extant architecture from before c1910 in the area of Cape Town - Calvinia - Colesberg – Uitenhage. Johannesburg: Jonathan Ball.
Fransen, H. 1980. The old buildings of the Cape: A survey and description of old buildings in the Western Province. Cape Town: Balkema.
Goldblatt, D. 1998. South Africa: the structure of things then. Cape Town: Oxford University Press.
Greig, DE. 1971. A guide to architecture in South Africa. Cape Town: H. Timmins.
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Hartdegen, P. 1988. Our building heritage: an illustrated history. Halfway House: Ryll's.
Kearney, B. 1973. Architecture in Natal from 1824 to 1893. Cape Town: Balkema.
Joubert, D, Schwager, C & Köppe, W. 1992. Stellenbosch. Stellenbosch: Voorbrand.
Meiring, H. 1980. Pretoria 125. Cape Town: Human & Rousseau.
Meiring, H. 1986. Early Johannesburg, its buildings and its people. Cape Town: Human & Rousseau.
Muwanga, C. 1998. South Africa: a guide to recent architecture. London: Ellipsis. Norwich, R. 1988. Synagogues on the Witwatersrand and in Pretoria before 1932: their
origin, form and function. M.Arch. thesis, University of the Witwatersrand, Johannesburg.
O'Meara, E. 1995. Grahamstown reflected. Grahamstown: Albany Museum.
Pearse, GE. 1968. Eighteenth century architecture in South Africa. 3rd edition. Cape Town: AA Balkema.
Peters, W. 1987. Rhodes: towards the conservation of a unique South African town. Durban: University of Natal.
Picton-Seymour, D. 1989. Historical buildings in South Africa. Cape Town: Struikhof.
Schoeman, K. 1985. Boukunsskatte van die Vrystaat - Free State heritage. Roodepoort: CUM-Boeke for Stigting NALN.
Van der Waal, G-M. 1986. Van mynkamp tot metropolis: die boukuns van Johannesburg 1886-1940. Johannesburg: C. van Rensburg.
Von Meiss, P. 1990. Elements of architecture: from form to place. London: Van Nostrand Reinhold.
Walton, J. 1965. Homesteads and villages of South Africa. 2nd edition. Pretoria: Van Schaik.
For additional sources, please consult the bibliography in the study guide.
9 EXAMINATIONS
Please note that you receive admission to the examinations with the submission of your first assignment, on the date as indicated on the Academic Calendar.
As mentioned in the Introduction above, the syllabus which will be examined at the end of the semester is based on the two assignments. The examination paper (one paper of two hours duration) will consist of one or more questions on the study areas covered in each unit and addressed in the assignments. There will be no compulsory questions on any field or topic. The questions will test the methodological skills and art-historical insights
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gained through your study of this particular module. You will be asked to answer TWO of these questions.
A further tutorial letter, on preparation for the examination, will be sent to you in the course of the semester. In the interim, the topics set for the assignments and the feedback tutorial letters which will be sent after each closing date may be taken as a clear indication of areas and aspects of the syllabus requiring special attention for examination purposes. In order to prepare yourself for the examination, it is best to do more than one assignment to ensure that you have sufficiently covered this year’s specified areas of focus.
Use your my Studies @ Unisa brochure for general examination guidelines and examination preparation guidelines.
10 OTHER ASSESSMENT METHODS
There are no other assessment methods for this module.
11 FREQUENTLY ASKED QUESTIONS
The my Studies @ Unisa brochure contains an A-Z guide of the most relevant study information. Please refer to this brochure if you cannot find an answer to your question in this tutorial letter.
Tutorial Letter compiled by Mr NJ Coetzee and Ms C Terblanche