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

Assessment

The census date for this unit availability is 31 March 2026

Details
Criteria

Type	Description	Weight	Due	Length	Use of AI
Written work	Critical Response Critical reflection, short write-up	15%	Mid-semester break Due date: 05 Apr 2026 at 23:00 Closing date: 30 Jun 2026	500wd	AI allowed
Outcomes assessed:
Written work	Field Notes Development of field notes	35%	Week 09 Due date: 30 Apr 2026 at 23:59 Closing date: 30 Jun 2026	1500wd equivalent	AI allowed
Outcomes assessed:
Research analysis	Final Research Project and Presentation A multimodal research assignment leading to the production of a zine and short presentation	50%	Week 13 Due date: 29 May 2026 at 23:59 Closing date: 30 Jun 2026	2500wd	AI allowed
Outcomes assessed:
= group assignment ?

Assessment summary

Field Notes Portfolio (1500 words equivalent) 35%

The Field Notes Portfolio is designed to develop your observational, analytical, and critical thinking skills through sustained engagement with the 25th Biennale of Sydney. Rather than producing weekly assignments, you will build a body of fieldwork throughout the semester and then curate your strongest observations into a polished portfolio that demonstrates the depth and evolution of your thinking. This assignment recognizes that meaningful learning happens through sustained, embodied engagement with exhibitions and that your best insights often emerge over time, not in the immediate moment of viewing. Your portfolio will contain four components in one PDF document:

1. Three Developed Fieldnote Entries (30%)

Each entry must include:

a) Detailed observation (200-250 words): Choose ONE specific focus – a particular artwork, spatial feature, curatorial decision, audience interaction, or exhibition infrastructure. Describe what you observed with precision and detail. Be specific about what you saw, heard, and noticed.

b) Critical connection to readings (150-200 words): Connect your observation to at least ONE course reading. Quote or paraphrase the text and explain how the theoretical framework helps you analyze what you observed, or how your observation tests, extends, or complicates the scholar's argument.

c) Critical question (50-100 words): Pose a thoughtful question that goes beyond the obvious, identifies tensions or complexities, and shows genuine critical curiosity.

d) Visual documentation: Include 2-4 original photographs or sketches from your visits with brief captions (1-2 sentences each) explaining their relevance.

2. Final Synthesis Reflection (5%)

Write a 300-word reflection addressing: (a) How your understanding evolved across the weeks, (b) What themes or patterns emerged across your entries, (c) What was the significance of on-site engagement (how did it expand your learning of key issues). Reference your fieldnote entries and at least 2-3 course readings.

Critical Response (500 words) 15%

The Critical Response develops your ability to engage critically with scholarly texts and connect theoretical concepts to your Biennale observations. Choose ONE reading from Weeks 1-4 and write a focused analytical essay that demonstrates your understanding and critical thinking.

Your 500-word response must include two components:

1. Summary of key argument (150-200 words): What is the author’s main argument? Identify the central thesis, key concepts, and main evidence. Demonstrate accurate understanding through paraphrase and brief quotations.

2. Critical analysis (300-350 words): Connect the reading to your observations and develop your own critical perspective. Draw on specific examples from your on-site visits. Explain how the theory illuminates what you observed, but also push further: Where do you agree or disagree with the author? What does the reading overlook or miss? What new questions emerge in light of your experience of the 25th Biennale?

Final Research Project (2000 words) 50%

The Final Research Project is an experimental, multimodal research assignment that asks you to develop a critical argument about the 25th Biennale of Sydney through the medium of a zine. Working individually or in pairs, you'll create a 10-15 page zine that combines scholarly research, original fieldwork, visual documentation, and creative design to produce an original contribution to understanding contemporary biennales. The zine format allows you to engage creatively with your research while maintaining scholarly rigor. Zines are a legitimate form of art criticism and cultural commentary – grassroots, accessible, and often political. Your work will be shared publicly in a final exhibition where you’ll present your zine to peers.

Research Zine (40%) A 10-15 page zine (physical or digital) making a clear critical argument about the 25th Biennale of Sydney comprising of the following components: (1) a central argument (2) research (3) multimodal content (4) design/format
Exhibition and Presentation (10%) This is due in Week 12 where you will display your zine and give a 5-minute presentation. You will have one week to refine your project before final submission in Week 13.

Further details will be provided on Canvas.

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.

Use of generative artificial intelligence (AI)

You can use generative AI tools for open assessments. Restrictions on AI use apply to secure, supervised assessments used to confirm if students have met specific learning outcomes.

Refer to the assessment table above to see if AI is allowed, for assessments in this unit and check Canvas for full instructions on assessment tasks and AI use.

If you use AI, you must always acknowledge it. Misusing AI may lead to a breach of the Academic Integrity Policy.

Visit the Current Students website for more information on AI in assessments, including details on how to acknowledge its use.

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 University expects students to act ethically and honestly and will treat all allegations of academic integrity breaches seriously.

Our website provides information on academic integrity and the resources available to all students. This includes advice on how to avoid common breaches of academic integrity. Ensure that you have completed the Academic Honesty Education Module (AHEM) which is mandatory for all commencing coursework students

Penalties for serious breaches can significantly impact your studies and your career after graduation. It is important that you speak with your unit coordinator if you need help with completing assessments.

Visit the Current Students website for more information on AI in assessments, including details on how to acknowledge its use.

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 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. 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	Introduction: Contemporary Art and Global Exhibitions	Lecture (2 hr)
Week 01	Introduction: Contemporary Art and Global Exhibitio	Tutorial (1 hr)
Week 02	Genealogies: Triennials, Documentas, and the Biennale Format	Lecture (2 hr)
Week 02	Genealogies: Triennials, Documentas, and the Biennale Format	Tutorial (1 hr)
Week 03	Contemporary Asian Art at Biennials	Lecture (2 hr)
Week 03	Contemporary Asian Art at Biennials	Tutorial (1 hr)
Week 04	The Biennale of Sydney: Developing Case Studies for Research	Lecture (2 hr)
Week 04	The Biennale of Sydney: Developing Case Studies for Research	Tutorial (1 hr)
Week 05	Art and the city: Biennales as the sites where art, gentrification and tourism collide	Lecture (2 hr)
Week 05	Art and the city: Biennales as the sites where art, gentrification and tourism collide	Tutorial (1 hr)
Week 06	Postcolonial Critique and Global Representation	Lecture (2 hr)
Week 06	Postcolonial Critique and Global Representation	Tutorial (1 hr)
Week 07	Sydney Biennale at Chau Chak Wing Museum	Lecture (2 hr)
Week 07	Sydney Biennale at Chau Chak Wing Museum	Tutorial (1 hr)
Week 08	Regional Contexts: Access, Audience and Geography	Lecture (2 hr)
Week 08	Regional Contexts: Access, Audience and Geography	Tutorial (1 hr)
Week 09	Public Programs and Expanded Engagement	Lecture (2 hr)
Week 09	Public Programs and Expanded Engagement	Tutorial (1 hr)
Week 10	Counter Curatorial Practice	Lecture (2 hr)
Week 10	Counter Curatorial Practice	Tutorial (1 hr)
Week 11	Project Development	Lecture (2 hr)
Week 11	Project Development	Tutorial (1 hr)
Week 12	Zine Exhibition & Presentations	Lecture (2 hr)
Week 12	Zine Exhibition & Presentations	Tutorial (1 hr)
Week 13	A Coda: Biennales and Postnationalism?	Lecture (2 hr)
Week 13	A Coda: Biennales and Postnationalism?	Tutorial (1 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: 26 February 2026

Introduction: Contemporary Art and Global Exhibitions

This introductory session provides a foundation for understanding contemporary art in a globalized context and the role of large-scale international exhibitions. What is “contemporary art” (and how does it differ from “modern art”)? How have global flows of people, images, and ideas shaped artistic production and reception? We’ll explore these questions through key theoretical frameworks that will guide our thinking throughout the semester.

This session also introduces the unit’s structure, our hands-on approach to learning through sustained on-site engagement with the Biennale, and the assessment tasks that will guide your work throughout the semester.

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.

Week 2: 5 March 2026

Genealogies: Triennials, Documentas, and the Biennale Format

This session traces the historical emergence and evolution of different international exhibition models. We’ll examine the genealogy from 19th-century World’s Fairs and colonial exhibitions through foundational models like the Venice Biennale (1895) and Documenta (1955), to regional formations like the Asia Pacific Triennial (APT, Brisbane, 1993-present) and the Fukuoka Asian Art Triennial (1979-present).

What distinguishes biennales from triennials, quinquennales, and documentas? How have different regions adapted and transformed the international exhibition format? What purposes do these exhibitions serve – artistic, political, economic, cultural? This historical and comparative framework prepares you for analyzing the 25th Biennale of Sydney in context.

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

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

Week 3: 12 March 2026

Contemporary Asian Art at Biennials

Guest speaker: Emeritus Professor John Clark

This seminar examines the genealogy of international exhibitions with particular focus on the rise of Asian biennials since the 1990s. How did contemporary Asian art move from the margins to the global stage, and what role did biennials play? What distinguishes models like the Asia Pacific Triennial (Brisbane), Fukuoka Asian Art Triennial, Gwangju Biennale, and Shanghai Biennale from European precedents like Venice and Documenta?

We invite Emeritus Professor John Clark to discuss his latest book Contemporary Asian Art at Biennials (March 2026), which examines how these exhibitions create networks of artists and curators who simultaneously resist and reproduce neoliberal art economies. He exposes tensions between national agendas, independent curatorial ambitions, and the forces of globalization, transforming once-radical movements into global spectacles.

Week 4: 19 March 2026

The Biennale of Sydney: Developing Case Studies for Research

This session focuses specifically on the Biennale of Sydney’s 50-year history and introduces the 25th edition (2026) that we will engage with throughout the semester. From its founding in 1970sto the present, how has the Biennale evolved? What controversies, innovations, and shifts in curatorial vision mark its history? How has it negotiated its position as an “international” exhibition in the Asia-Pacific region and/or on unceded land?

We will work hands-on with the Schaeffer Library’s collection of Sydney Biennale catalogues and archival materials, examining how curatorial frameworks, design choices, and critical reception have changed over five decades.

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.

Week 5: 26 March 2026

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

This first on-site visit examines the relationship between artists, biennales, and the city. White Bay Power Station – a decommissioned coal power plant transformed into Sydney's newest cultural venue – provides a compelling case study for exploring how former industrial sites have been transformed into cultural attractions for local and international visitors.

Dr Matt Cox will join us on-site to discuss the categorization of art as cultural industry, asking: what are we to make of the relationship between cultural and economic growth? Through structured fieldwork activities, you'll develop critical observation skills while analyzing how this spectacular industrial space, curatorial choices, and audience engagement reveal the complex politics of contemporary art exhibitions in the global city. Who benefits when industrial sites become cultural destinations? Who is served – and who is displaced – when art becomes urban infrastructure?

Week 6: 2 April 2026

Postcolonial Critique and Global Representation

This session examines biennales through postcolonial frameworks, asking critical questions about representation, curatorial power, and whose “global” is constructed in international exhibitions. 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 creates a fundamental tension: how does the curatorial gesture register differences in space and time without succumbing to curatorial fetish? We will meet with curator Dr Lisa Catt to discuss how curatorial decision-making navigates the tension between presenting artists within contexts of the “new” while acknowledging their cultural and historical origins.

MID SEMESTER BREAK 6-10 APRIL 2026

Week 7: 16 April 2026

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: 23 April 2026

Regional Contexts: Access, Audience and Geography

Guest speaker: Dr Matt Cox

This session examines what happens when “international” contemporary art is situated beyond the CBD tourist circuit in suburban Western Sydney. Locating the Biennale at Campbelltown Arts Centre challenges our assumptions about the centre and periphery and raises critical questions about access, audience, and the geographic politics of cultural participation. Who is this exhibition for and who attends? How does distance from the Sydney CBD shape reception, engagement, and meaning?

Biennales are often critiqued as spectacles designed for cultural tourists and the international art world elite. Does geographic distribution democratize access or simply extend the Biennale brand into new territories? What does it mean to present “global contemporary art” in a regional/suburban context with distinct local communities and histories? How does Campbelltown Arts Centre (with its own mission and community relationships) negotiate hosting an international exhibition? Following from our discussion in week 5 at the White Bay Power station and the issues of gentrification and urban development, we can start to think about the new centres of art production and how they serve their communities.

Week 9: 30 April 2026

Public Programs and Expanded Engagement

This week offers a different mode of engagement with the 25th Biennale. Instead of a structured group site visit, you will independently attend one public program of your choice from the Biennale’s offerings: artist talks, performances, panel discussions, symposia, film screenings, workshops, or special events. Public programs reveal dimensions of biennales that static exhibitions cannot: artists’ intentions and processes, curatorial thinking in conversation, live performance and temporal works, community engagement, and critical debates unfolding in real-time. These events are where ideas circulate, networks form, and the “discourse” around contemporary art actively happens. This is strategically designed to support your final research project. Public programs can become primary source material for your zine in ways that complement gallery observations.

Week 10: 7 May 2026

Counter Curatorial Practice

This session invites you to return to Chau Chak Wing Museum for deeper, critically-engaged investigation. Having surveyed multiple sites, you will now develop counter-curatorial proposals: What would you do differently? What’s missing? How could exhibitions better serve artistic, political, or ethical goals?

Counter-curatorial practice asks us to imagine alternatives from sustained engagement. This requires both understanding curatorial constraints and envisioning different possibilities. Your proposals will examine what values drive curatorial choices, whose voices are centered or marginalized, and how exhibitions might be reimagined. This return visit provides opportunity for extended observation, additional research, and material gathering that will support your final projects.

Please see Canvas for further information.

Week 11: 14 May 2026

Project Development

This dedicated workshop session supports completion of your Final Research project.

The session balances collective feedback with independent work time, allowing you to benefit from peer perspectives while making substantial progress on your projects. This is also an opportunity to troubleshoot challenges, clarify questions, and ensure you're on track for strong final submissions.

Please refer to Canvas for more information.

Week 12: 21 May 2026

Zine Exhibition & Presentations

This session celebrates your research through a public exhibition of your zines and lightning talk presentations. You will share your critical investigations with peers, engage with each other’s work, and reflect on what you have learned about biennales, contemporary art, and critical practice over the semester. The exhibition creates a genuine audience for your work, not just the instructor, but your peers and potentially invited guests. This public dimension is central to how art criticism and curatorial work actually function: ideas circulate, debates emerge, and knowledge is collectively produced.

Week 13: 28 May 2026

A Coda: Biennales and Postnationalism?

This final session examines whether biennales can move beyond nationalist frameworks toward genuinely postnational models of art circulation. Despite claims to “global” reach, biennales remain deeply tied to nation-states – funded by governments, located in specific cities, often serving nationalist branding. Your zine research has investigated these tensions firsthand.

As you present your work, we ask: What would postnational art circulation actually require? Can biennales transcend their origins in national pavilions (Venice) and Cold War cultural diplomacy (Documenta)? Or do alternative models, for example: transnational artist networks, Indigenous sovereignty frameworks, bioregional organizing, offer more promising futures? What role do institutions play in either reproducing or dismantling national boundaries in contemporary art?

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.

This unit continues to integrate professional experience with art history, offering students the opportunity to develop a rigorous understanding of international exhibitions, local politics whilst connecting students to the wider art industry.

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

Important: the University of Sydney regularly reviews units of study and reserves the right to change the units of study available annually. To stay up to date on available study options, including unit of study details and availability, refer to the relevant handbook.

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

Use of generative artificial intelligence (AI)

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

ARHT6936: Biennales, Triennales and Contemporary Art

Semester 1, 2026 [Normal day] - Camperdown/Darlington, Sydney

Overview

Overview

Unit details and rules

Teaching staff

Assessment

Assessment

Assessment summary

Assessment criteria

Use of generative artificial intelligence (AI)

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