JCU Logo
JOHN CABOT UNIVERSITY

COURSE CODE: "AS 460"
COURSE NAME: "Research Methods and Practices"
SEMESTER & YEAR: Fall 2025
SYLLABUS

INSTRUCTOR: Catherine Biocca
EMAIL: [email protected]
 HOURS: T12:30 PM 3:15 PM
TOTAL NO. OF CONTACT HOURS: 45
CREDITS: 3
PREREQUISITES: Prerequisites: Junior Standing
OFFICE HOURS:
COURSE DESCRIPTION:
This is an intensive class designed to support Art and Design majors in developing research proposals and strengthening their ability to communicate clearly through both visual and written language. Writing about the process of creating, displaying, and articulating the meaning of their own work will be emphasized. The course will offer an overview of current themes and issues within the Art and Design field. The class is structured around research prompts, experimental approaches to making, and critique. Central to the course is the aim to deepen students’ understanding of the role of Art and Design within contemporary society and how they, as emerging practitioners, can engage with these debates. Through various texts, screenings, in-depth critique, and visiting artist lectures this course will support students in developing individual research proposals, forming the basis of their Senior Capstone Exhibition.
SUMMARY OF COURSE CONTENT:

This intensive course is designed to guide students in discovering and refining their individual artistic working practices while developing a cohesive body of work. Focusing on the intersection of research and artistic creation, the course supports students in articulating their creative processes, methodologies, and the underlying concepts that inform their art. Emphasis will be placed on both visual and written communication, enabling students to effectively present and contextualize their work. 

 

The course provides an overview of contemporary themes and issues within the Art and Design field, encouraging students to engage with these topics through their artistic practice. Structured around research prompts, experimental approaches, and constructive critique, the class aims to deepen students’ understanding of their role as artists within contemporary society. 

 

Through a variety of texts, screenings, in-depth critique sessions, and guest lectures by visiting artists, students will develop a focused body of work supported by a well-articulated research proposal. This course is essential for students seeking to establish sustainable artistic practice and create meaningful, impactful art. 
LEARNING OUTCOMES:

LEARNING OUTCOMES 

  • Identify and develop a sustainable artistic working practice. 

  • Create a cohesive body of work that reflects individual artistic vision. 

  • Learn how to use research to inform and expand artistic concepts and techniques. 

  • Enhance skills in visual and written communication for presenting artwork. 

  • Improve critical thinking and analytical skills through critique and analysis. 

  • Engage with current debates in the Art and Design field through artistic practice. 
TEXTBOOK:
NONE
REQUIRED RESERVED READING:
NONE

RECOMMENDED RESERVED READING:
NONE
GRADING POLICY
-ASSESSMENT METHODS:
AssignmentGuidelinesWeight
Body of Work : A cohesive series of artworks that reflect individual artistic vision and practice.  40%
Artist Statement: A written statement articulating the concepts, processes, and significance of the body of work. 20%
Research Journal: A journal documenting the research process, experimental approaches, and development of artistic ideas.  20%
oral presentation of the body of work and artistic practice 10%
Active engagement in class discussions and critiques 10%

-ASSESSMENT CRITERIA:
AWork of this quality shows excellent mastery of the course content along with exceptional levels of technical skill, artistic awareness, originality, resourcefulness, commitment, quantity of work and improvement. There has been excellent collaboration and leadership in group projects, and there have been no attendance problems.
BA highly competent level of performance with work that directly addresses the content of the course, with a good quantity of work produced.
CAn acceptable level of performance: the work shows awareness of the course content, but is very limited in quantity, quality, commitment and skill.
DThe student lacks a coherent grasp of the course material and has failed to produce much work.
FNegligent in attendance, academic honesty, engagement with the course content, or production of work.
-ATTENDANCE REQUIREMENTS:

ATTENDANCE REQUIREMENTS AND EXAMINATION POLICY

Regular attendance is expected. More than two unexcused absences may affect the final grade. Two or more unexcused absences will determine a grade deduction.

You cannot make-up a major exam (midterm or final) without the permission of the Dean’s Office. The Dean’s Office will grant such permission only when the absence was caused by a serious impediment, such as a documented illness, hospitalization or death in the immediate family (in which you must attend the funeral) or other situations of similar gravity. Absences due to other meaningful conflicts, such as job interviews, family celebrations, travel difficulties, student misunderstandings or personal convenience, will not be excused. Students who will be absent from a major exam must notify the Dean’s Office prior to that exam. Absences from class due to the observance of a religious holiday will normally be excused. Individual students who will have to miss class to observe a religious holiday should notify the instructor by the end of the Add/Drop period to make prior arrangements for making up any work that will be missed.  

Attendance is required. If a student has two or more unexcused absences this will cause a grade deduction on the final evaluation.
ACADEMIC HONESTY
As stated in the university catalog, any student who commits an act of academic dishonesty will receive a failing grade on the work in which the dishonesty occurred. In addition, acts of academic dishonesty, irrespective of the weight of the assignment, may result in the student receiving a failing grade in the course. Instances of academic dishonesty will be reported to the Dean of Academic Affairs. A student who is reported twice for academic dishonesty is subject to summary dismissal from the University. In such a case, the Academic Council will then make a recommendation to the President, who will make the final decision.
STUDENTS WITH LEARNING OR OTHER DISABILITIES
John Cabot University does not discriminate on the basis of disability or handicap. Students with approved accommodations must inform their professors at the beginning of the term. Please see the website for the complete policy.
SCHEDULE

SCHEDULE 

 

Week 1: Introduction to the topic and reading of Finding Your Practice: Exploration of individual artistic interests and strengths.  Smith, Becoming an artist: A qualitative study of art students' experiences. Studies in Art Education, 132-148. 

Focus: Introductions, course overview, and initial exercises to identify personal artistic interests and strengths. Students will begin a visual journal to document their explorations. 

 

Week 2: Research as a Tool: Utilizing research to inform artistic concepts. 

 Focus: Exploring different research methodologies and their application to artistic practice. Students will learn how to use research to generate ideas, inform their creative process, and provide context for their work. Readings of Theories and Documents of contemporary art, K. Stiles and P. Selz, (page 435-437) 

 

Week 3: Experimental Approaches: Material exploration and process experimentation. 

 Focus: Hands-on experimentation with a variety of materials and artistic processes. Students will be encouraged to push their boundaries and discover new techniques. 

 

Week 4: Concept Development: Refining artistic ideas and themes. 

Focus: Developing and refining the underlying concepts and themes that will inform their body of work. Students will learn how to articulate their ideas and connect them to broader cultural and social issues. Readings of Practice as Research in the Arts (and Beyond) , Principles, Processes, Contexts, Achievements , Robin Nelson (page 55-80) 

 

Week 5: Developing a Body of Work: Creating a cohesive series of artworks. 

Focus: Beginning the process of creating a cohesive series of artworks that reflect their individual artistic vision. Students will receive guidance on selecting appropriate mediums, formats, and presentation strategies. Readings of Theories and Documents of contemporary art, K. Stiles and P. Selz, (page 729 - 767) 

 

Week 6: Visual Communication: Presenting artwork effectively. 

Focus: Exploring different methods of visual communication, including composition, colour theory, and visual storytelling. Students will learn how to effectively present their artwork to different audiences.  

 

Week 7: Written Communication: Articulating artistic concepts and processes. 

Focus: Developing strong written communication skills for articulating artistic concepts and processes. Students will learn how to write compelling artist statements, project proposals, and critical analyses of their work. Readings of Theories and Documents of contemporary art, K. Stiles and P. Selz, (page 310-316) 

 

Week 8: Midterm Examination, group critique 

 

Week 9: Critique and Analysis: Evaluating artwork and artistic practice. 

Focus: Engaging in constructive critique and analysis of their own work and the work of others. Students will learn how to provide and receive feedback effectively.  

 

Week 10: Contextualizing the Work: Understanding the art world and its audiences. 

Focus: Exploring the art world and its various audiences. Students will learn about different art institutions, galleries, and exhibition opportunities. 

 

Week 11: Artist Statement Development: Crafting a compelling artist statement. 

Focus: Developing a compelling artist statement that effectively communicates the concepts, processes, and significance of their work. Readings of Theories and Documents of contemporary art, K. Stiles and P. Selz, (page 525-550) 

 

Week 12: Portfolio Development: Presenting a professional portfolio of work. 

Focus: Creating a professional portfolio of their work for presentation to galleries, potential clients, or graduate programs. 

 

Week 13: Presentation Skills: Preparing for oral presentations. 

Focus: Developing effective oral presentation skills for presenting their artwork and artistic practice to different audiences. Readings of Theories and Documents of contemporary art, K. Stiles and P. Selz, (page 629 - 644) 

 

Week 14: Final Presentations: Presenting the body of work and artistic practice. Group critique. Readings of Theories and Documents of contemporary art, K. Stiles and P. Selz, (page 821 - 843) 

Focus: Students will present their completed body of work and artist statement to the class. 

 

Week 15: Final Project Work: group show - Completing the body of work and artist statement. 

Focus: Students will finalize their body of work and artist statement for submission. 

 

 

OVERVIEW OF KEY BIBLIOGRAPHIC WORKS FOR THE COURSE 

 

- Becker, H. S. (1986), Writing for Social Scientists, University of Chicago Press. 

- Denzin, N. K., & Lincoln, Y. S. (Eds.). (2018), The SAGE Handbook of Qualitative Research, SAGE Publications. 

- Graff, G., & Birkenstein, C. (2018). *They Say / I Say: The Moves That Matter in Academic Writing*. W. W. Norton & Company. 

- Robin Nelson, Practice as Research in the Arts (and Beyond) , Principles, Processes, Contexts, Achievements , Palgrave Macmillan Cham  

- Graeme Sullivan, Art Practice as Research: Inquiry in the Visual Arts- Theories and Documents of contemporary art, K. Stiles and P. Selz, University of California Press