HEQF credits: 72 at level 5.
Compulsory whole-year course.
FIN1001W
Fabian Saptouw
Drawing, two and three-dimensional problem-solving. Projects incorporating: object-drawing, use of different drawing materials, working procedures and processes, colour theory and its application in painting, three-dimensional sculptural work in an introduction to modelling and construction in various media such as clay, carboard and wax; introduction to New Media using Adobe Illustrator and creating stencil art, set design and stop-motion animation, Printmaking and Photography.
This course is open only to students registered for BA(FA).
Monday to Friday, 09h00 to 17h00.
At least 80% attendance of studio classes and critiques, satisfactory completion of all projects.
Mid-year coursework examination 50%, year-end coursework examination 50%.
HEQF credits: 36 at level 5.
Compulsory whole-year course.
FIN1005W
Fabian Saptouw
The course introduces creative thinking and critical and visual literacy, paying attention to academic reading and writing and communication skills. Case studies will be used to introduce core concepts, issues, theories and approaches to knowledge-construction. The common theme will be “representation and display” and the ways in which this reflects power, politics, gender and identity. Students will be introduced to both African and other comparative examples. This course aims to enable students to articulate and contextualise their own creative production. Visualisation and visual retention will be stressed. Fieldwork in the form of gallery visits introduces art criticism and reporting.
This course is open only to students registered for BA(FA).
Tuesday and Thursday, 12h00 to 13h30.
At least 80% attendance of tutorials, 80% of weekly assignments and satisfactory completion of 1 essay assignment per semester.
Semester coursework 70%, 2-hour examination in November 30%.
HEQF credits: 18 at level 5.
First-year, first-semester course, three lectures per week.
FIN1006F
Nomusa Makhubu
This course is an introduction to the theory of African Art across different historical periods. It is also an introduction to the complexities and contradictions of ‘modernity’ and ‘modernism(s)’ in postcolonial Africa. With a focus on ideology-driven interdisciplinary artistic movements and 20th Century art schools in Senegal, Nigeria, Sudan, Congo, Egypt, Ethiopia and South Africa, we will examine various schools of thought that were part of modern consciousness which characterised the independence decades. The course includes critical discussion of colonisation and the rise of Pan-Africanism, Pan-Arabism and nationalism during the independence decades. The anti-colonial nationalist struggle in Africa is characterised by the formal appropriation of languages and visual aesthetics, globally. We debate the complexity of this appropriation and its significance in the nationalist struggle through a critique of unilinear progress from tradition to modernity (transfer of technology and political systems [civil society and African state]). Aimed at undermining colonial ideological foundations, African nationalism is characterized by literacy, cultural revival (traditionalist and neo-African), and a quest for African history. Through dialogue, debate and discussion this course provides a forum for critical thinking on art history and African art.
None
Monday, Tuesday, Thursday 5th period, Upper Campus
At least 80% attendance of tutorials and satisfactory completion of 2 assignments per semester.
Semester coursework 60%, 2-hour examination 40%.
HEQF credits: 18 at level 5.
First year, second semester course
FIN1009S
Anna Tietze
This course examines some of the foundational issues of academic art history. How and where did the study of art history begin, and what were its founding principles? We consider its origins in the late 19th century and then trace how it has changed in the course of the succeeding century and into the contemporary period. We look at debates over issues of aesthetic quality, questions of the relationship between art and society, questions of the art-historical canon and its exclusions. The core theme is art history as a subject of academic study, but this inevitably links to broader issues of how art is taught within the art school and of how art is exhibited within the museum.
The course is taught by all members of the department and while aiming to offer an overview of its subject, it also aims to offer insight into how different art historians respond differently to the academic field they work within. How do they understand their task as art historians, how do they believe it should be taught? We foreground, via the example of our own different approaches, some of the diversity of opinion within the field
None
Three lectures, 1 tutorial, Monday, Tuesday, Thursday – 5th period.
At least 80% attendance of tutors and satisfactory completion of 2 assignments per semester.
Coursework (50%), 2 hour examination (50%)
Course description
HEQF credits: 24 at level 6.
Optional whole-year course.
Course code
FIN2011W
Course convenor(s)
Associate Professor Virginia MacKenny
Course outline
This course provides a broad exposure to a range of painting techniques including acrylic and oil. Projects emphasise mimetic skills, the development of colour and composition, and painting in the expanded field. The course demands a conceptual engagement with contemporary painting and the genres of landscape, narrative and still life are critically addressed.
Entrance requirements
FIN1001W Studiowork 1
Lecture times
Monday to Friday, 09h00 to 17h00
Dp requirements
At least 80% attendance of studio classes and critiques, satisfactory completion of all projects.
Assessment
Mid-year coursework examination 50%, year-end coursework examination 50%
HEQF credits: 24 at level 6.
Optional whole-year course.
FIN2012W
Jane Alexander, Johann van der Schijff
Intermediate problem-solving. Projects incorporating: metalwork: joining, brazing, welding; modelling and casting: plaster moulding, casting in wax, plaster, ciment fondu; ceramics: hand-building, slabwork, press-moulding, slip-casting; projects that incorporate woodcarving, construction and assemblage.
FIN1001W Studiowork 1
Monday to Friday, 09h00 to 17h00
At least 80% attendance of studio classes and critiques, satisfactory completion of all projects.
Mid-year coursework examination 50%, year-end coursework examination 50%
HEQF credits: 24 at level 6.
Optional whole-year course.
FIN2013W
Svea Josephy and Jean Brundrit
This course introduces the theory and practice of photography. Technical, conceptual and critical skills are taught through specific problem solving projects. Students are encouraged to refer to relevant contemporary and historical practice and theory to inform their work. This course may include an introduction to portraiture, documentary and narrative photography, street photography, and related topics such as ethics and voyeurism. A number of technical skills are taught including colour and black and white photography; digital and camera skills; artificial and low-light photography; and basic digital image manipulation for print.
FIN1001W Studiowork 1
Monday to Friday, 09h00 to 17h00
At least 80% attendance of studio classes and critiques, satisfactory completion of all projects.
Mid-year coursework examination 50%, year-end coursework examination 50%.
HEQF credits: 24 at level 6.
Optional whole-year course.
FIN2024W
Stephen Inggs and Fritha Langerman
Introduction to the theory and practice of printmaking including intaglio, relief and lithographic techniques and bookarts. Conceptual engagement with both historical and contemporary aspects of printmaking.
FIN1001W Studiowork 1
Monday to Friday, 09h00 to 17h00.
At least 80% attendance of studio classes and critiques, satisfactory completion of all projects.
Mid-year coursework examination 50%, year-end coursework examination 50%.
HEQF credits: 36 at level 6.
Compulsory whole-year course.
FIN2026W
Fritha Langerman
Traditional and contemporary approaches to drawing as well as the development of visual research methods.
FIN1001W Studiowork 1
Monday to Friday, 09h00 to 17h00
At least 80% attendance of studio classes and critiques, satisfactory completion of all projects.
Mid-year coursework examination 40%, year-end coursework examination 40%. 20% yearmark derived from the visual research book.
HEQF credits: 24 at level 6.
Second-year, second-semester course.
FIN2028S
Andrew Lamprecht
This course explores the urban environment in contemporary art practice and theory. We consider in particular the artist and artistic collectives focusing on the city, urban life, space, the body and technologies in Africa and across the globe. In part of the course students will engage the city in their own creative practice. Students will build skills in visual analysis, critical thinking and writing about art and visual imagery as well as approaches to visual and textual research.
FIN1006F and FIN1009S
Monday, Wednesday, Friday, 4th period
At least 80% attendance of tutorials and satisfactory completion of 2 assignments per semester. Late essays penalised by 5% per day (including weekends).
Semester coursework 50%, 2-hour examination 50%.
HEQF credits: 24 at level 6.
Second-year, first-semester course.
FIN2029F
Olga Speakes
The human body has been central to art throughout its history. This course examines some of the many ways in which the body has been visualized and some of the manifold expressive purposes it has fulfilled. Themes vary from year to year but may include: nakedness versus nudity, the tradition of figure drawing, the ideal and the abject body, the body in space, gesture and meaning, and the significance of dress.
FIN1006F and FIN1009S
Monday, Tuesday, Wednesday in 2nd period
At least 70% attendance of tutorials and satisfactory completion of 2 assignments per semester. Late essays penalised by 5% per day (including weekends).
Semester coursework 50%, 2-hour examination 50%.
HEQF credits: 60 at level 7.
Optional whole-year course.
FIN3011W
Virginia MacKenny
FIN2011W Painting 2.
Monday to Friday, 09h00 to 17h00.
At least 80% attendance of studio classes and critiques, satisfactory completion of all projects.
Mid-year coursework examination 50%, year-end coursework examination 50%.
HEQF credits: 60 at level 7.
Optional whole-year course.
FIN3012W
Jane Alexander
Advanced problem-solving and sculpture techniques. Large scale works based on FIN2012W Sculpture 2 including introduction to bronze casting, metal-working and ceramic techniques. Fieldwork introduces site-specific installations as an aspect of professional practice. Participants develop proposals for self-motivated creative projects in the second semester.
FIN2012W Sculpture 2.
Monday to Friday, 09h00 to 17h00.
At least 80% attendance of studio classes and critiques, satisfactory completion of all projects.
Mid-year coursework examination 50%, year-end coursework examination 50%.
HEQF credits: 60 at level 7.
Optional whole-year course.
FIN3013W
Svea Josephy and Jean Brundrit
This is an advanced course on the theory and practice of photography. It builds on the technical, conceptual and critical skills learnt during the second year of study. Projects encourage an exploration of the medium and emphasise the generation of ideas. Students are exposed to studio and advanced photographic lighting techniques, various format cameras and postproduction skills through specific problem solving projects. During the second semester students work on a self-motivated project, which draws upon their previous photographic knowledge and further develops personal expression and critical understanding. Students are encouraged to explore relevant contemporary practice and theory, as well as historical examples to inform their practice. Fieldwork introduces new technology and methodology as well as conceptual thinking in alternative environments.
FIN2013W Photography 2.
Monday to Friday, 09h00 to 17h00.
At least 80% attendance of studio classes and critiques, satisfactory completion of all projects.
Mid-year coursework examination 50%, year-end coursework examination 50%
HEQF credits: 60 at level 7.
Optional whole-year course.
FIN3024W
Stephen Inggs and Fritha Langerman
Photomechanical print technologies: lithography, screen printing; colour printing; digital applications used in the production of books; curatorship; catalogue and exhibition design. Conceptual emphasis on the expansion of notions of print. Fieldwork introduces industrial methodology and processing techniques.
FIN2024W Printmedia 2.
Monday to Friday, 09h00 to 17h00
At least 80% attendance of studio classes and critiques, satisfactory completion of all projects.
Mid-year coursework examination 50%, year-end coursework examination 50%.
36 NQF credits at HEQSF level 7
Compulsory (core) whole-year course. Students are required to choose two electives from the following options (in some years, not all options will be available): Videography, Animation and motion graphics, Curatorship, Lithography and screen-printing, Computer aided design, Social responsibility, Physical computing, Historical photographic processes and Environmental Interventions.
FIN3030W
Associate Professor B Searle
This course exposes students to alternative forms of art production outside of their major studio work areas. Contemporary in orientation, the various sub-courses will familiarise students with developments in digital image production, video editing and computer aided design as well as social responsiveness and curatorship. A strong creative relationship to other studio work options will be sought. Fieldwork introduces new technologies and methodologies as well as industrial applications of computer design and manufacturing techniques.
FIN2026W and two of FIN2011W, FIN2012W, FIN2013W, FIN2024W, FIN2025W
At least 80% attendance of studio classes and critiques, satisfactory completion of all projects.
Mid-year coursework examination 50%, year-end coursework examination 50%.
HEQF credits: 30 at level 7.
Third-year, first-semester course.
FIN3026F
Andrew Lamprecht
This course focuses on the way developments in technology have transformed contemporary artistic practice, theory and reception. Included here is coverage of weblogs the engage with African and global art practice, as well as artistic practice deeply involved with new forms of social networking. Students will develop advanced skills in visual analysis, critical thinking and writing about art and visual imagery, visual and textual research approaches.
FIN2027H and FIN2028S
Monday, Wednesday, Thursday, 3rd period.
At least 80% attendance of tutorials and satisfactory completion of 2 assignments per semester.
Semester coursework 50% and 2-hour examination 50%.
HEQF credits: 30 at level 7.
Third-year, second-semester course, one lecture per week.
FIN3027S
Portia Malatjie
This course focuses on a basic understanding the history and development key concepts underpinning contemporary art practice and theory, including ‘modernity’, ‘postmodernity’, ‘postcoloniality’ ‘subjectivity’, ‘otherness’, ‘image’, ‘art’, and ‘aesthetics’. This focus will enable students to situate their own creative practice within the contemporary moment. Students will develop advanced skills in visual analysis, critical thinking and writing about art and visual imagery as well as approaches to visual and textual research.
FIN2027F and FIN2028S
Monday, Wednesday, Thursday, 3rd period.
At least 80% attendance of tutorials and supervisory meetings. Adequate submission of semester assignments.
Semester coursework and presentation of seminar paper 50%; 2-hour examination 50%.
HEQF credits: 30 at level 7.
Third-year, first-semester course.
FIN3028F
Portia Malatjie
This course is a study of art as social engagement. Through a critical analysis of art theory, this course is aimed at facilitating discussions about intersecting discourses of class, gender and race. It is an interrogation of the changing conceptions of public space, collective action, collaborative practice and (artistic) citizenship. Based on debates and discussions, this course examines multiple perspectives to art, politics and social impact. The plurality of artistic approaches to persistent and emergent socio-political issues, bio-politics and political geography draws attention to uneven development. Focusing on the Global South, students will learn different approaches to transdisciplinary art forms such as live art, performance and popular cultural interventions.
FIN1006F, FIN1009S, FIN2029F, FIN2030S or FAM2004F
Monday, Tuesday, Thursday, 5th period.
At least 80% attendance at tutorials and satisfactory completion of written assignments.
Semester coursework 50%; 2-hour examination 50%.
HEQF credits: 30 at level 7.
Third-year, second-semester course.
FIN3029S
Nomusa Makhubu
Course outline
This course develops themes and competencies addressed in FIN3028F Art and Theory. Building on the knowledge of historiographic methods introduced in that course, this second semester course offers a deeper understanding of art and visual history as disciplinary practices. Focused seminars on methods and topics introduce students to high-level, independent research that results in an extended research paper on a subject of their choice.
FIN1006F, FIN1009S, FIN2029F, FIN2030S, FIN3028F or FAM2004F
Monday, Tuesday, Thursday 5th period.
50% of coursework completed and satisfactory submission of research paper.
Assignments 55%, Research paper 45%
HEQF credits: 108 at level 8.
Compulsory whole-year course.
FIN4015W
[Discipline specific]
This course is self-motivated study and research into a specialised area of contemporary fine art practice that may include painting, sculpture, printmaking, photography or new media.
A FIN3000W third-year studiowork course and FIN3026F or FIN3028F, FIN3027S or FIN3029S.
Monday to Friday, 09h00 to 17h00
Satisfactory presentation of coursework at mid-year assessment, at least 80% attendance of studio classes and critiques.
Year-end coursework examination 100%
48 NQF credits at HEQSF level 8
FIN4012W
Carine Zaayman
This course examines the place of the artist in contemporary society and the skills and tools (both practical and theoretical) that may be needed to traverse this terrain. Through the course students will be exposed to the conventions of professional art practice; examine the relationship between theory and practice; look at how the current internal art world is structured and discuss the economics and ethics of art production both globally and locally. They will learn to write catalogue essays and design exhibition catalogues.
FIN2027F, FIN2028S and a pass in both Studiowork 3 courses.
Wednesday, 3rd and 4th period
Attendance of all classes. The submission of satisfactory assignments and satisfactory participation in the work of the class.
Research essay on a South African artist: 30% Student portfolio of professional practice: 20% Senior theoretical essay: 50%.
The Postgraduate Diploma in Fine Art offers a coherent, graduate study path for artists and teachers who have Fine Art degrees and wish to upgrade their academic status, or those who have not yet acquired degree status, but who hold recognised diplomas in aspects of the visual arts.
This programme develops practical skills and conceptual thinking in fine art practice. Students work within a studio of senior students and develop a practical proposal of choice. This culminates in a professional exhibition at the end of the year of study that demonstrates a sound understanding of contemporary practice.
The submission is accompanied by a visual catalogue with an introductory essay. A weekly reading group introduces core readings and critical issues.
Applicants must submit the following:
(a) A portfolio of recent work on CD in PDF format not exceeding 10MB file size;
(c) A statement of motivation that outlines a research project for the year (500 -1000 words).
a) Portfolio:
The portfolio must represent a recent body of work or a previous body of work that gives the higher degrees committee an indication of the direction you wish to pursue while registered. This work, including your name, title of each work and medium used, must be submitted in PDF format on a CD not exceeding 10MB file size. Please check that your CD is working and is formatted to be read on all computers (MAC and PC)
FIN5008W
The diploma programme provides a framework for a one-year course of practical creative study, technical study or materials research in a chosen discipline, process or medium. The Michaelis School of Fine Art will appoint a supervisor for each candidate enrolled in the programme.
Assessment:
24 at NQF level 8
FIN4055S
Anna Tietze
This course will explore advanced topics in contemporary historiography through an examination of theories and literature.
Acceptance for an Honours or Master’s programme.
Attendance at all seminars and completion of all written work.
Formal examination (40%).
24 at NQF level 8
FIN4054F
Nomusa Makhubu
This course brings together a variety of theoretical texts that may assist in understanding the diverse production and complex character of the contemporary art world. Central to this inquiry stands the notion of identity, a concept that seems to inform much of contemporary art. We will trace shifting conceptions of this notion over the last three decades, from the initial moments of identity politics, to the articulation of identity as performative, to current ventures into a post-identitarian world.
Acceptance for an Honours or Master’s programme.
Attendance at all seminars and completion of all written work.
Examined by coursework 100%
24 at NQF level 8
FIN4053S
Portia Malatjie
Material artefacts are mute, but our understanding of them is communicated in words. With a focus on a topical issue or a genre of art, this course examines the relationship between artefacts and the texts that attempt to explain them. How do art-historical texts and related forms of writing offer insight into the works they discuss? Can they, contrary to intentions, sometimes form a barrier between viewer and work? And what is their role in gathering works into schools, movements and genres? This course examines aspects of the multi-faceted role of words as explicators of visual artefacts.
Acceptance for an Honours programme.
Attendance at all seminars and completion of all written work.
Examined by combination of coursework (60%) and formal examination (40%).
24 at NQF level 8
FIN4052F
Olga Speakes
This course studies art-collecting practices in the West from the 18th century to the present. Inter alia it considers the 18th century arguments for the establishment of private art collections, the 19th century growth of public museums, the 20th century development of modern art museums, and recent post-modern developments in exhibitionary practice. Throughout the course these issues are situated in socio-political context.
Acceptance for an Honours or Master’s programme.
Attendance at all seminars and completion of all written work.
Examined by combination of coursework (60%) and formal examination (40%)./p>
24 at NQF Level 8
FIN4051S
Andrew Lamprecht
ssues current in contemporary South African Art; developing the capacity for writing about them. Readings in the history of art criticism, with special reference to the practice of art criticism in Africa; workshops with leading South African art critics; and practical review sessions at art exhibitions in the Cape Town area.
Acceptance for an Honours or Master’s programme.
Attendance at all seminars and completion of all written work.
Examined by coursework (100%).
30 at NQF level 8
FIN4050W
A Tietze (Art Historical Studies specialization) and Professor P Skotnes (Curatorship specialization)
An appropriate research paper of approximately 15,000 words in length, or project with catalogue, chosen in consultation with the convener of the Art Historical Studies Honours programme OR the Curatorship Honours programme. Draft chapters of the research essay must be submitted by stipulated dates and the completed project must be submitted by no later than 30 October (Curatorship – 28 October).
Acceptance for an Honours programme.
Attendance at all seminars and completion of all written work.
Art Historical Studies - 15000 word essay, Curatorship – 15000 word essay or project with 7500 catalogue essay.
HEQF credits: 24 at level 8.
Elective course.
FIN4061S
Nina Liebenberg and Lyndall Cain
In this course, students will focus on developing their insight into the local and contemporary issues impacting curatorial practice, and specifically the way in which the colonial legacy of South Africa continue to affect this practice. At the heart of this investigation are the three areas of “care”, “visibility” and “embodiment”. These notions speak to the task of local curators in relation to justice and restoration, latent collections and absence, as well as public vs. private space, ownership and agency. In order to address these issues, students will critically engage with existing material in the University of Cape Town, IZIKO, and city collections; and draw on current events and developments in the local context. With this focus on local issues, students will be required to conceptualise the specific relationship between the museum and its publics in a way that is embedded in and speaks to the South African and African context. Students will further be challenged to imagine ways in which imaginative curatorship of historical material might serve to challenge existing hierarchies and knowledge production. Field trips will be organised with on-site discussions about current exhibitions and displays.
Acceptance into the Honours in Curatorship programme.
First semester course in 2018.
HEQF credits: 24 at level 8.
Elective course.
FIN4060S
Fabian Saptouw
In this course, students will be required to translate their Research Project into the virtual domain. They will need to take into account not only the context of this space, but also the objects/artworks discussed or exhibited as part of their research, investigating different taxonomies and displays, as well as various possible approaches to interpretation. A historical overview of the virtual (from the panorama and diorama to current artistic and curatorial practices in the virtual realm) will be paired with practical and successful strategies of artists, curators and gallerists using social networking as a tool for increasing global visibility and community outreach. The elective will result in the translation of the research project in multiple online curatorial platforms. Training and support will be provided by a developer who will facilitate online exhibitions.
Acceptance into the Honours in Curatorship programme.
1 double seminar per week x 10 (second semester)
HEQF credits: 24 at level 8.
Elective course.
FIN4059F
Hamish Robertson (Iziko Museums of South Africa)
This course explores museum collections as resources for research, interpretation and exhibition. To be an effective curator of a collection requires a broad, holistic understanding of the collection, including its historical, social, aesthetic and scientific contexts. A curator also needs to acquire specialized knowledge to unlock the research and educational potential of the collection, and make it accessible to broad audiences through exhibitions and public programmes. The focus of the course is interdisciplinary and outcomes include: ability to apply research methodology in interpreting and representing museum objects, tracing provenance and significance of collections; understanding of the relationship between the tangible and intangible aspects of collections, and hands-on experience of working with museum collections. Museum and site visits provide the basis for critical engagement with collections and curators. The course also introduces students to the ethical considerations and challenges that are presented by different objects in museum collections.
Acceptance into the Honours in Curatorship programme.
Second semester in 2018.
HEQF credits: 24 at level 8.
Elective course.
FIN4058F
Hayden Proud (Iziko South African National Gallery)
An ability to write precisely, effectively and creatively, as well as to edit a text, write a good précis and communicate on multiple levels is crucial to the success of the work of a professional curator. This course will look at ideas and issues raised by the need to communicate with museum stakeholders in the form of labels, text panels, essays, reports, catalogues and brochures, as well as formal written communications with lenders, donors and institutions. Crucial too is the need for effective written communication between different role-players inside museums, such as between conservators and curators. In this course, particular emphasis will be placed on the compilation of a detailed condition report on a specific work of art that will require the use of specialist equipment. Exhibition design and the effectiveness and role of text in exhibitions are also considered as vital components. A close study and critical examination of the role of text in landmark exhibitions from art history, such as the Degenerate Art exhibition in Munich (1937) and Joseph Kosuth’s The Play of the Unmentionable at the Brooklyn Museum (1991) will also be undertaken. A breakdown of our weekly sessions will be given at the first meeting of the class.
Acceptance into the Honours in Curatorship programme.
1 double seminar per week x 10 (first semester)
HEQF credits: 24 at level 8.
Compulsory course.
FIN4056F
Carine Zaayman
This course provides the central academic content of the course in the first semester. Students will be guided through a consideration of the history of curatorship, as well as contemporary concerns regarding archives, museums, exhibitions and projects. The local context, especially in relation to perspectives on the colonial structures in play in institutions will form a significant focus. Development of critical insight through academic research and exchange forms part of the course, and a reading list will be provided that students are expected to work through. However, curatorship is approached as praxis in this programme. Therefore the relationship between the scholarly and academic work, and that of practical knowledge and experience, is an important consideration here. In this regard, making meaning from objects, whether artworks, archival material or informal collections will be explored through practical tasks. The course will commence with a practical workshop in which students will, as a group, curate collections they have themselves instantiated. Throughout the course, students are expected to develop a critical perspective on their field and their practice, which in turn forms the basis of self-motivated work in the research module.
Acceptance into the Honours in Curatorship programme.
1 double seminar per week x 10 (first semester)
HEQF credits: 108 at level 8.
Compulsory whole-year course.
FIN4015W
[Discipline specific]
This course is self-motivated study and research into a specialised area of contemporary fine art practice that may include painting, sculpture, printmaking, photography or new media.
A FIN3000W third-year studiowork course
Monday to Friday, 09h00 to 17h00
Satisfactory presentation of coursework at mid-year assessment, at least 80% attendance of studio classes and critiques.
Year-end coursework examination 100%
Michaelis School of Fine Art
University of Cape Town
31 -37 Orange Street Gardens
8001 Cape Town
South Africa
Tell: 021 650 7111
Fax: 021 424 2889