Outline

Overview

This unit explores the historical emergence and rapid growth of contemporary international surveys of art since the 1960s. The Biennales, Triennales, Documentas and related international exhibitions are a spectacular cornerstone of today's global art industry. The proliferation of museums, exhibitions, art fairs and cultural events at the international level are now competing with other areas of mass entertainment. In particular, the international contemporary art survey has become a pre-eminent, critical platform for art, trade and cultural politics. The unit is run in conjunction with the Biennale of Sydney. It is an intensive class, with a large component held in situ at Biennale exhibitions, performances, conferences and satellite events.

Unit details and rules

Academic unit	Art History
Credit points	6
Prerequisites ?	None
Corequisites ?	None
Prohibitions ?	None
Assumed knowledge ?	None
Available to study abroad and exchange students	Yes

Teaching staff

Coordinator	Yvonne Low, yvonne.low@sydney.edu.au
Lecturer(s)	Yvonne Low, yvonne.low@sydney.edu.au

Assessment

The census date for this unit availability is 2 April 2024

Details
Criteria

Type	Description	Weight	Due	Length
Assignment	Critical Response Critical reflection, short write-up	15%	Mid-semester break Due date: 01 Apr 2024 at 23:59	500wd
Outcomes assessed:
Assignment	Field Notes and Presentation Development of field notes and presentation of case-study proposal	35%	Week 12 Due date: 13 May 2024 at 23:59	2000wd equivalent; 15 min presentation
Outcomes assessed:
Assignment	Final Research Essay Written research essay	50%	Week 13 Due date: 26 May 2024 at 23:59	2000wd
Outcomes assessed:
= group assignment ?

Assessment summary

Field Notes and Presentation (2000 words equivalent) 35%

Individual/Pair work. Develop field notes from your visits to the Biennale of Sydney in small groups (across the four weeks of on-site seminars). They may be responses to the guest speakers, or to key works or themes, as drawn from the talks and discussions. Where relevant, you may wish to include images or sketches to support your notes. Each set of field notes should be between 2-4 pages in length (including images, should you wish to include any). Dot points are permissible. Please see attached template on Canvas for structure. Submission: 4 sets of fieldnotes (one per week, by end of class). This constitutes 15% of the overall grade.
Give a presentation no longer than 15 minutes based on select issues as drawn from your field notes. The presentation is NOT a summary of your observations over the weeks but as close to a case-study as possible – where you would focus on a topic or select issues centred around specific works/artists. It can also be site-specific where you nominate to look closely at one particular location/gallery. As far as possible, the presentation should demonstrate understanding and reflection of key ideas in the prescribed readings across the unit. Students should refer to and reflect on at least two readings in the presentation and discussion. This constitutes 20% of the overall grade.
There are three components to the presentation: (1) Overview and observations (2) Critical reflection and elaboration (3) Discussion and problematization; more details will be provided on Canvas.

Critical Response (500 words) 15%

- Students may choose to respond critically to any one of the key readings prescribed in the weeks 2-5. Students may reflect on key issues raised in lecture/seminar and discussions relevant to the week’s topic and reading nominated. The write-up should be about 500 words in length and is due the following week. This component constitutes 15% of the overall grade.

Note: Students will be provided with a (1) Presentation Brief, and (2) Critical Response Brief in the first seminar which will provide further guidelines for the assessment.

Final Research Essay (2000 words) 50%

The Final Essay is designed for students to develop extensive research skills and experience in writing critically and theoretically informed art historical discourses on select topics highlighted in this unit. Further details will be provided on Canvas.
Generally, a good research essay of this length should contain a bibliography of at least 10-15 references made up of books and journal articles. All research essays must have an argument. You will have the opportunity to consult with your lecturer/tutor immediately after the session break (by appointment).
The Final Essay of 2000 words will account for 50% of your final mark. Please ensure that you include the word count at the end of the essay. You can be over or under the word count by 10% but no more than that. Please ensure that you adhere to the Chicago Manual of Style online guide when incorporating references in your essay.

Assessment criteria

85%+ (High Distinction)

Work of exceptional standard. Work demonstrates initiative and originality in research, analysis and argumentation

75-84% (Distinction)

Work of a superior standard. Work demonstrates an intelligent understanding of, and individual engagement with, material.

70-74% (High Credit)

Highly competent work. This level of work is considered “above average”.

65-69% (Low Credit)

Very competent. The work shows some understanding of relevant critical and theoretical considerations and of the conceptual issues raised by a unit of study.

58-64% (High Pass)

Work of a good, satisfactory standard. Work demonstrates a broad and reasonably accurate command of the subject matter and some sense of its broader significance.

50-57% (Pass)

Work of acceptable standard.

For more information see guide to grades.

Late submission

In accordance with University policy, these penalties apply when written work is submitted after 11:59pm on the due date:

Deduction of 5% of the maximum mark for each calendar day after the due date.
After ten calendar days late, a mark of zero will be awarded.

This unit has an exception to the standard University policy or supplementary information has been provided by the unit coordinator. This information is displayed below:

Work not submitted on or before the due date is subject to a penalty of 5% per calendar day late. If work is submitted more than 10 days after the due date, or is submitted after the return date, the mark will be 0. Details of the Faculty Resolutions and Provisions regarding late work: http://sydney.edu.au/handbooks/arts/rules/faculty_resolutions_arts.shtml All assessments must be submitted through the Turnitin online system, via the University's LMS.

Academic integrity

The Current Student website provides information on academic integrity and the resources available to all students. The University expects students and staff to act ethically and honestly and will treat all allegations of academic integrity breaches seriously.

We use similarity detection software to detect potential instances of plagiarism or other forms of academic integrity breach. If such matches indicate evidence of plagiarism or other forms of academic integrity breaches, your teacher is required to report your work for further investigation.

Use of generative artificial intelligence (AI) and automated writing tools

You may only use generative AI and automated writing tools in assessment tasks if you are permitted to by your unit coordinator. If you do use these tools, you must acknowledge this in your work, either in a footnote or an acknowledgement section. The assessment instructions or unit outline will give guidance of the types of tools that are permitted and how the tools should be used.

Your final submitted work must be your own, original work. You must acknowledge any use of generative AI tools that have been used in the assessment, and any material that forms part of your submission must be appropriately referenced. For guidance on how to acknowledge the use of AI, please refer to the AI in Education Canvas site.

The unapproved use of these tools or unacknowledged use will be considered a breach of the Academic Integrity Policy and penalties may apply.

Studiosity is permitted unless otherwise indicated by the unit coordinator. The use of this service must be acknowledged in your submission as detailed on the Learning Hub’s Canvas page.

Outside assessment tasks, generative AI tools may be used to support your learning. The AI in Education Canvas site contains a number of productive ways that students are using AI to improve their learning.

Learning support

Simple extensions

If you encounter a problem submitting your work on time, you may be able to apply for an extension of five calendar days through a simple extension.  The application process will be different depending on the type of assessment and extensions cannot be granted for some assessment types like exams.

Special consideration

If exceptional circumstances mean you can’t complete an assessment, you need consideration for a longer period of time, or if you have essential commitments which impact your performance in an assessment, you may be eligible for special consideration or special arrangements.

Special consideration applications will not be affected by a simple extension application.

Using AI responsibly

Co-created with students, AI in Education includes lots of helpful examples of how students use generative AI tools to support their learning. It explains how generative AI works, the different tools available and how to use them responsibly and productively.

Support for students

The Support for Students Policy 2023 reflects the University’s commitment to supporting students in their academic journey and making the University safe for students. It is important that you read and understand this policy so that you are familiar with the range of support services available to you and understand how to engage with them.

The University uses email as its primary source of communication with students who need support under the Support for Students Policy 2023. Make sure you check your University email regularly and respond to any communications received from the University.

Learning resources and detailed information about weekly assessment and learning activities can be accessed via Canvas. It is essential that you visit your unit of study Canvas site to ensure you are up to date with all of your tasks.

If you are having difficulties completing your studies, or are feeling unsure about your progress, we are here to help. You can access the support services offered by the University at any time:

Support and Services (including health and wellbeing services, financial support and learning support)
Course planning and administration
Meet with an Academic Adviser

Weekly schedule

WK	Topic	Learning activity
Week 01	Biennales, Triennales and Contemporary Art: An Introduction	Seminar (3 hr)
Week 02	From the Political to the Spectacular	Seminar (3 hr)
Week 03	Contemporary Indigenous art in Biennales	Seminar (3 hr)
Week 04	Re-alignments: Asia in Triennials and Asian Triennials	Seminar (3 hr)
Week 05	Biennale legacies? Feminist curatorial strategies and the ‘Big Exhibition’	Seminar (3 hr)
Week 06	[Workshop I] Developing Case Studies for Research: Sydney Biennale, Past to Present	Seminar (3 hr)
Week 07	Sydney Biennale at Chau Chak Wing Museum	Field trip (3 hr)
Week 08	Why is this happening now? Relocating the past in the present	Field trip (3 hr)
Week 09	Art and the city: Biennales as the sites where art, gentrification and tourism collide	Field trip (3 hr)
Week 10	Where to now? Art and the climate crisis	Field trip (3 hr)
Week 11	[Workshop II] Developing Case Studies for Research: Sydney Biennale, Past to Present	Seminar (3 hr)
Week 12	Final Presentation	Presentation (3 hr)
Week 13	A Coda: Biennales and Postnationalism?	Seminar (3 hr)

Attendance and class requirements

According to Faculty Board Resolutions, students in the Faculty of Arts and Social Sciences are expected to attend 90% of their classes. If you attend less than 50% of classes, regardless of the reasons, you may be referred to the Examiner’s Board. The Examiner’s Board will decide whether you should pass or fail the unit of study if your attendance falls below this threshold.

If a unit of study has a participation mark, your attendance may influence this mark.

For more information on attendance, see http://sydney.edu.au/policies/showdoc.aspx?recnum=PDOC2014/345&RendNum=0.

Study commitment

Typically, there is a minimum expectation of 1.5-2 hours of student effort per week per credit point for units of study offered over a full semester. For a 6 credit point unit, this equates to roughly 120-150 hours of student effort in total.

Required readings

DETAILED SCHEDULE OF READINGS AND LECTURES

Week 1: 19 February 2024

Biennales, Triennales and Contemporary Art: An Introduction

This introductory lecture will provide a broad overview of scholarship centred on the rise and emergence of the Biennale format in the international arena, beginning with World Exhibitions. We will identify the contexts in which the display, collection and viewing of contemporary art were made where we will also explore the issues and politics that centre around this cultural phenomenon, tracing its history. Details on the structure of the seminars across the units, as well as key assessments will be provided in this first session.

Prescribed Readings

. Terry Smith, What is Contemporary Art?, Chicago, University of Chicago Press, 2009, Chapter 13. ‘What is Contemporary Art?’, 241-271

. Curating the World’, Okwui Enwezor talks to Rex Butler’, Australian & New Zealand Journal of Art, Vol 9, No. 1-2, 2008/09, IMA. Brisbane, pp.15-22.

. Green, Charles and Gardner, Anthony. “Biennials of the South on the Edges of the Global,” Third Text 27, no. 4 (2013): 442-455.

Week 2: 26 February 2024

From the Political to the Spectacular

This seminar examines the challenges of making and exhibiting contemporary art in relation to issues of contemporaneity and sites of such production, namely the Biennales/Triennales. Students will be provided with a number of case studies that examine the relationship between art collecting/display of contemporary art and nationalist agendas against the rise of globalisation and internationalism.

Prescribed Readings

. Hans Belting, ‘Contemporary Art and the Museum in the Global Age’ in Peter Weibel and Andrea Buddenstein, eds., Contemporary Art and the Museum, Ostfildern-Ruit, Hatje Cantz, 2007, 16-38

. Clark, John. “Asian artists as long-distance cultural specialists in the formation of modernities” in Asia through Art and Anthropology: Cultural Translation across Borders, Fuyubi Nakamura, Morgan Perkins and Olivier Krischer, eds. (London: Bloomsbury, 2003) 19-32.

Week 3: 4 March 2024

Contemporary Indigenous art in Biennales

Guest speaker: Dr Gerard McMaster

Please see Canvas for further information.

Week 4: 11 March 2024

Re-alignments: Asia in Triennials and Asian Triennials

This seminar explores the role Triennials have played in shaping the production and reception of contemporary Asian art. The lecture will examine regional developments, such as the roles Australia and Japan have variously played in spearheading and driving certain initiatives in the Asia-Pacific/Asia region (namely, the Fukuoka Asian Art Triennial and the Asia-Pacific-Triennial). What are some of the political, economic and cultural implications and issues raised in the readings? Discuss how the exhibition of contemporary Asian in such transnational spaces have shaped its production and reception, internationally and/or locally.

Prescribed Readings

. Clark, John. “Contemporary Asian Art at Biennales and Triennales: The 2005 Venice Biennale and Fukuoka Asian Triennale. the Sigg Collection, and the Yokohama and Guangzhou Triennales”, CAA.reviews (New York, N.Y.), 2006. Online

. Maravillas, Francis. “Cartographies of the Future: The Asia-Pacific Triennials and the Curatorial Imaginary,” in Clark, John, Peleggi, Maurizio, and Sabapathy, T.K., eds., Eye of the Beholder: Reception, Audience and Practice of Modern Asian Art, (Wild Peony, Sydney: 2006), 244-270.

Additional Readings

. Turner, Caroline. “Introduction: Internationalism and Regionalism: Paradoxes of Identity”, in Turner, Caroline, ed. Tradition and Change: Contemporary Art of Asia and the Pacific (Brisbane: University of Queensland Press, 1993), xii-xviii.

. Clark, John. “Histories of the Asian ‘New’: Biennales and Contemporary Asian Art” in Vishakha N. Desai, ed., Asian Art History in the Twenty-First Century (Williamstown, New Haven and London: Clark Institute and Yale University Press, 2007).

. Schoppert, Peter. “Asia in the 50th Venice Biennale of Art 2003”, Inter-Asia Cultural Studies 6, no. 1 (Aug 2006): 136-140.

Week 5: 18 March 2024

Biennale legacies? Feminist curatorial strategies and the ‘Big Exhibition’

At the 2015 New York CAA Conference on art history, the issue of ‘Feminism meets the Big Exhibition’ was under discussion where scholars and curators have identified a series of recent ‘blockbuster’ exhibitions of women artists work as a topical, renewed iteration of feminist art and curatorial strategies. In Australia, we have also seen the 2012 blockbuster Contemporary Australia: Women at Brisbane’s Gallery of Modern Art (GoMA), A Different Temporality: Aspects of Australian Feminist Art Practice 1975-1985 (Monash University, 2011), The Baker’s Dozen (University of Technology, Sydney, 2012) and others. This seminar explores the ‘Big Exhibition’ as a ubiquitous curatorial model.

Prescribed reading

. Julie Ewington, ‘Here and Now’, in Contemporary Australia: Women, exhibition catalogue, Brisbane: GoMA, 2012

. Maura Reilly, ‘Global Feminisms’, in Maura Reilly and Linda Nochlin (eds), Global Feminisms: New Directions in Contemporary Art, Brooklyn Museum, 2007

. Cornelia Butler, ‘Art & Feminism: An Ideology of Shifting Criteria’, in WACK! Art and the Feminist Revolution, LA: The Museum of Contemporary Art, (curator: Cornelia Butler), 2007, pp.14-25

Week 6: 25 March 2024

[Workshop I] Developing Case Studies for Research: Sydney Biennale, Past to Present

This is the first of two workshops aimed at giving students the opportunity to design their own case-study, and to engage with the history and politics of Sydney Biennale. As a workshop, students will also be guided to identify requisite research materials at the Schaeffer Fine Arts Library as well as requisite writing and theoretic tools for devising a case-study. One key outcome is a collaboration on a dynamic digital timeline about the Sydney Biennale which students may then use for their later projects.

More information will be provided on Canvas.

MID SEMESTER BREAK 1-5 APRIL 2024

Week 7: 8 April 2024

Sydney Biennale at Chau Chak Wing Museum

This session is co-taught with CCWM curators and OBL academic team. Please see Canvas for further information.

Week 8: 15 April 2024

Why is this happening now? Relocating the past in the present
Guest speaker: Dr Matt Cox

As artists are situated in international contexts the merits of their artistic production and contemporary relevance are frequently measured in terms of their cultural and/or historical origins. This lecture examines the tension that arises between the tracings of culture and history presented within a context of the new and asks how does the curatorial gesture register these differences in space and time without succumbing to curatorial fetish?

Prescribed Readings

. Matt Cox, “Sharing time with the past and caring for the future”, The National 4: Australian Art Now, AGNSW: Online, 2021

. Anneke Jaspers, “Past origins, present politics”, In The National 2017: New Australian Art, Art Gallery of New South Wales, Carriageworks, Museum of Contemporary Art Australia, Sydney, 207.

Week 9: 22 April 2024

Art and the city: Biennales as the sites where art, gentrification and tourism collide
Guest speaker: Dr Matt Cox

This lecture looks at the relationship between artists, biennales, and the city. It will discuss the increasing demands on cultural institutions to engage new audiences and provide attractions for local and international visitors. It will examine the commerce that informs the categorisation of art as cultural industry, and asks what are we to make of the relationship between cultural and economic growth?

Prescribed Readings

. Zanny Begg, “Public art, gentrification and spatial justice”, In., ed. Blair French and Anne Loxley, Civic Actions. Artists’ practices beyond the museum, MCA, Sydney, 2017.

. Ian Millis, “Love among the ruins: The ends of art in the Anthropocene”, Artlink, December 2014

Week 10: 29 April 2024

Where to now? Art and the climate crisis
Guest speaker: Dr Matt Cox

This lecture will invite discussion around the call to address the climate crises through collective and joyous action for a shared future as proclaimed by the Biennale of Sydney under the rubric of Ten Thousand Suns which states that “The 24th Biennale of Sydney …acknowledging the deep ecological crises derived from colonial and capitalist exploitation while refusing to concede to an apocalyptic vision of the future. The Biennale of Sydney proposes instead solar and radiant forms of resistance that affirm collective possibilities around future that is not only possible, but necessary to be lived in joy and plenitude…”

Prescribed Readings

. Jane Chin Davidson, Performance Art, Performativity and Environmentalism in the Capitalocene. Oxford research encyclopedia literature, Oxford University, USA, 2019 [select chapters]

. Simon Soon, “Images without bodies: Chang Mai social installation and the art history of cooperative suffering”, Afterall, no 42, Autumn/winter 2016

Week 11: 6 May 2024

[Workshop II] Developing Case Studies for Research: Sydney Biennale, Past to Present

This is the last of two workshops designed to give students the opportunity to develop a case-study of their own. Time will be allocated in class for students to refine their field notes and prepare for the presentation in Weeks 12 and 13.

Please refer to Canvas for more information.

Week 12: 13 May 2024

Final Presentation

Students to present their case-studies as drawn from their field notes from the Biennale field trips.

Please refer to Canvas for more information.

Week 13: 20 May 2024

A Coda: Biennales and Postnationalism?

In this final week, we will complete all presentations from students and reflect on key issues raised throughout the unit.

Please refer to Canvas for more information.

Staying on Top of Your Study

The Learning Centre offers workshops in Academic Reading and Writing, Oral communications Skills, Postgraduate Research Skills, Honours, masters Coursework Program, Studying at University, and Workshops for English Language and Learning. Further information about The Learning Centre can be found at http://sydney.edu.au/stuserv/learning_centre/.

The Write Site provides online support to help you develop your academic and professional writing skills. All University of Sydney staff and students who have a UniKey can access the WriteSite at http://writesite.elearn.usyd.edu.au/.

The FASS Writing Support for Coursework has a wide range of programs at both Undergraduate and Postgraduate levels that focus on writing across the curriculum. The Department of Writing Studies offers drop-in sessions to assist students with their writing in a one-to-one setting. No appointment is necessary, and this service is free of charge to all FASS students and/or all students enrolled in WRIT units. To find out more visit http://sydney.edu.au/arts/teaching_learning/writing_studies/writing_support/index.shtml.

Pastoral and academic support for Aboriginal and Torres Strait Islander students is provided by the STAR Team in Student Support services, a dedicated team of professional Aboriginal people able to respond to the needs of students across disciplines. The STAR team can assist with tutorial support, mentoring support, cultural and pastoral care along with a range of other services. More information about support for Aboriginal and Torres Strait Islander students can be found at http://sydney.edu.au/current_students/student_services/indigenous_support.shtml.

Free online Library tutorials are available at http://sydney.edu.au/library/skills, with one designed especially for students studying in the Humanities and Social Sciences at http://libguides.library.usyd.edu.au/.

Other Support Services

Disability Services is located on Level 5, Jane Foss Russell Building G02; contact 8627 8422 or email disability.services@sydney.edu.au. For further information, visit their website at http://sydney.edu.au/stuserv/disability/.

Counselling and Psychological Services (CAPS) are located on Level 5, Jane Foss Russell Building G02; contact 8627 8433 or email caps.admin@sydney.edu.au. For further information, visit their website at http://sydney.edu.au/current_students/counselling/.

International Student Services are located on Level 3 of the Jane Foss Russell Building G02. You can call the office on 1800 SYD UNI (1800 793 864) or +61 2 8627 1444. For Further information, visit http://sydney.edu.au/study/academic-support/support-for-international-students.html.

Student Representative Council (SRC) are located on Level 1, Wentworth Building G01; contact them on 9660 5222 or email help@src.usyd.edu.au. For further information, visit their website at http://srcusyd.net.au/.

Sydney University Postgraduate Representative Association (SUPRA) are located on Level 2, Holme Building A09; 9351 3715 or toll free within Australia on 1800 249 950 or email admin@supra.usyd.edu.au. For further information, visit their website at http://www.supra.net.au.

Bullying, harassment, discrimination or sexual assault
If you have experienced bullying, harassment, discrimination or sexual assault, you can make a formal complaint through the Student Affairs Unit here: http://sydney.edu.au/student_affairs/complaints/index.shtml, or by calling 1800SYDHLP. Sexual assault is a crime, and you have the right to report it to police: call 000 or visit your nearest police station to make a formal complaint. You can also make an anonymous crime report online here: https://www1.police.nsw.gov.au/mobile/cs.aspx. If you have experienced sexual harassment or assault and require advice, or you know someone who has, you can call NSW Rape Crisis Centre (1800 424 017) 24 hours a day. The NSW Rape Crisis Centre also provides counselling online at http://www.nswrapecrisis.com.au/. There is a Sexual Assault Clinic at RPA Hospital, which provides medical care and counselling. Call 9515 9040 for more info.

Learning outcomes

Learning outcomes are what students know, understand and are able to do on completion of a unit of study. They are aligned with the University's graduate qualities and are assessed as part of the curriculum.

Outcomes
Graduate qualities

At the completion of this unit, you should be able to:

LO1. Achieve a better historical understanding of the emergence and growth of contemporary exhibitions as well as in-depth knowledge of the global art industry in the early 21st century, including the proliferation of museums, exhibitions, art fairs, and cultural events at the international level
LO2. Develop the ability to critically analyze the role and significance of Biennales/ Triennales, and other international exhibitions in shaping the global art industry and evaluate the impact of these events on artistic practices, trade, and cultural politics
LO3. Enhance awareness of the cultural and political aspects of international contemporary art surveys and critically explore how these events serve as critical platforms for addressing cultural, social, and political issues on a global scale
LO4. Broaden perspectives of diverse forms of contemporary art and integrate theoretical knowledge with real-world examples by engaging with the Biennale of Sydney
LO5. Expand research experience and develop requisite research and analytical skills essential in the study of art history, museum studies and visual culture

Graduate qualities

The graduate qualities are the qualities and skills that all University of Sydney graduates must demonstrate on successful completion of an award course. As a future Sydney graduate, the set of qualities have been designed to equip you for the contemporary world.

GQ1	Depth of disciplinary expertise Deep disciplinary expertise is the ability to integrate and rigorously apply knowledge, understanding and skills of a recognised discipline defined by scholarly activity, as well as familiarity with evolving practice of the discipline.
GQ2	Critical thinking and problem solving Critical thinking and problem solving are the questioning of ideas, evidence and assumptions in order to propose and evaluate hypotheses or alternative arguments before formulating a conclusion or a solution to an identified problem.
GQ3	Oral and written communication Effective communication, in both oral and written form, is the clear exchange of meaning in a manner that is appropriate to audience and context.
GQ4	Information and digital literacy Information and digital literacy is the ability to locate, interpret, evaluate, manage, adapt, integrate, create and convey information using appropriate resources, tools and strategies.
GQ5	Inventiveness Generating novel ideas and solutions.
GQ6	Cultural competence Cultural Competence is the ability to actively, ethically, respectfully, and successfully engage across and between cultures. In the Australian context, this includes and celebrates Aboriginal and Torres Strait Islander cultures, knowledge systems, and a mature understanding of contemporary issues.
GQ7	Interdisciplinary effectiveness Interdisciplinary effectiveness is the integration and synthesis of multiple viewpoints and practices, working effectively across disciplinary boundaries.
GQ8	Integrated professional, ethical, and personal identity An integrated professional, ethical and personal identity is understanding the interaction between one’s personal and professional selves in an ethical context.
GQ9	Influence Engaging others in a process, idea or vision.

Outcome map

Learning outcomes	Graduate qualities
Learning outcomes

Responding to student feedback

This section outlines changes made to this unit following staff and student reviews.

A more integrated experience of close reading of art in-situ has been cultivated for this unit in response to previous student feedback. This unit was previously taught by Dr Mimi Kelly. The current course for 2024 has been substantially revised. Parts of it has been developed in collaboration with industry partners, CCWM and AGNSW.

Additional information

Assessment Submission

Work not submitted on or before the due date is subject to a penalty of 5% per calendar day late. If work is submitted more than 10 days after the due date, or is submitted after the return date, the mark will be 0.

Details of the Faculty Resolutions and Provisions regarding late work: http://sydney.edu.au/handbooks/arts/rules/faculty_resolutions_arts.shtml

All assessments must be submitted through the Turnitin online system, via the University's LMS.

Academic Dishonesty and Plagiarism

Academic honesty is a core value of the University, so all students are required to act honestly, ethically and with integrity. This means that the University is opposed to and will not tolerate academic dishonesty or plagiarism, and will treat all allegations of academic dishonesty and plagiarism seriously. The consequences of engaging in plagiarism and academic dishonesty, along with the process by which they are determined and applied, are set out in the Academic Honesty in Coursework Policy 2015. You can find these documents University Policy Register at http://sydney.edu.au/policies (enter “Academic Honesty” in the search field).

Definitions

According to the Policy, plagiarism means representing another person’s work (i.e., ideas, findings or words) as one’s own work by presenting, copying or reproducing it without appropriate acknowledgement of the source. Academic dishonesty means seeking to obtain or obtaining academic advantage for oneself or others (including in the assessment or publication of work) by dishonest or unfair means. Academic dishonesty includes, but is not limited to:

Resubmission (or recycling) of work that is the same, or substantially the same as work previously submitted for assessment in the same or in a different unit of study. Every unit of study expects each student to produce new material based upon research conducted in that unit;
Dishonest plagiarism;
Engaging another person to complete or contribute to an assessment in your place; and
Various forms of misconduct in examinations (including copying from another student and taking prohibited materials into an examination venue).

Academic Honesty Education Module (AHEM)

As set out in the Academic Honesty in Coursework Policy 2015, all students commencing their study at the University of Sydney are required to complete the Academic Honesty Education Module (AHEM).

From February 2018, AHEM will be located in the open section of Canvas. It should take less than one hour to finish. You need not do the module all at once, however, it must be completed by 31 March for Semester 1 and 31 August for Semester 2. Students who do not complete the entire module by the end of that session will be required to start over.

For further information on academic integrity, check the Academic dishonesty and plagiarism webpage.

Use of Similarity Detection Software

Students should be aware that Assignments submitted in this unit of study may be submitted to similarity detection software. This software searches for matches between text in your written assessment task and text sourced from the Internet, published works, and assignments that have previously been submitted for analysis.

There will always be some degree of text-matching when using this software. Text-matching may occur in use of direct quotations, technical terms and phrases, or the listing of bibliographic material. This does not mean you will automatically be accused of academic dishonesty or plagiarism, although this software reports may be used as evidence in academic dishonesty and plagiarism decision-making processes. Further information about this software is available at http://sydney.edu.au/students/academic-dishonesty-and-plagiarism/detecting-and-reporting-academic-dishonesty.html.

Site visit guidelines

As we will be visiting Biennale of Sydney venues, all students are expected to arrive at least 10 minutes prior to class, and bring with them a A5 note book/journal and pencil or iPad/laptop (if preferred).

Disclaimer

The University reserves the right to amend units of study or no longer offer certain units, including where there are low enrolment numbers.

To help you understand common terms that we use at the University, we offer an online glossary.

Current students

Overview

Overview

Unit details and rules

Teaching staff

Assessment

Assessment

Assessment summary

Assessment criteria

Late submission

Academic integrity

Learning support

Learning support

Simple extensions

Special consideration

Using AI responsibly

Support for students

Weekly schedule

Weekly schedule

Attendance and class requirements

Study commitment

Required readings

DETAILED SCHEDULE OF READINGS AND LECTURES

Learning outcomes

Learning outcomes

Graduate qualities

Outcome map

Responding to student feedback

Responding to student feedback

Additional information

Additional information

Site visit guidelines

Disclaimer

On this page

Useful links

Media

Student links

About us

Connect

Current students

ARHT6936: Biennales, Triennales and Contemporary Art

Semester 1, 2024 [Normal day] - Camperdown/Darlington, Sydney

Overview

Overview

Unit details and rules

Teaching staff

Assessment

Assessment

Assessment summary

Assessment criteria

Late submission

Academic integrity

Learning support

Learning support

Simple extensions

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Using AI responsibly

Support for students

Weekly schedule

Weekly schedule

Attendance and class requirements

Study commitment

Required readings

DETAILED SCHEDULE OF READINGS AND LECTURES

Learning outcomes

Learning outcomes

Graduate qualities

Outcome map

Responding to student feedback

Responding to student feedback

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Additional information

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