Life and Portraiture Studies - II | Dr. B. R. Ambedkar University Delhi

Course Type	Course Code	No. Of Credits
Discipline Core	SCC2VA119	4

Course coordinator and team: - Dr. Kshama Divedi

1. Does the course connect to, build on or overlap with any other courses offered in AUD?

This course builds upon foundational drawing skills by integrating conceptual, archival, and research-based approaches to portraiture. It connects with courses addressing contemporary art practices, visual culture, memory studies, and interdisciplinary studio exploration. Rather than overlapping, it expands the scope of portrait practice through conceptual inquiry, material experimentation, and narrative engagement.

2. Specific requirements on the part of students who can be admitted to this course:

students and related disciplines Basic familiarity with drawing, painting, or visual analysis Ability to engage with historical texts and visual material. Willingness to undertak research-based and practice-led inquiry

3. No. of students to be admitted (with justification if lower than usual cohort size is proposed):

1The limited intake is necessary due to the intensive nature of visual analysis sessions, close reading of manuscripts and paintings, seminar-based discussions, and individualized feedback on research and practice-based projects.

4. Course scheduling:

(winter/mansoon course; semester-long course; half-semester course; workshop mode; seminar mode; any other ) Winter Semeste, Semester-long course, Studio and Seminar Mode

5. Proposed date of launch:

Proposed for launch; submitted for review and approval

6. How does the course link with the vision of AUD and the specific programme(s) where it is being offered?

The course reflects AUD’s commitment to interdisciplinary, research-led, and socially engaged learning. By exploring identity, memory, archives, and contemporary portrait practices, it encourages critical inquiry and contextual awareness. It supports the Visual Art programme’s emphasis on conceptual development, experimentation, and reflective practice while aligning with NEP 2020 principles of experiential learning and multidisciplinary engagement.

Course Description:

This course advances the study of life drawing and portraiture through sustained observation, conceptual inquiry, and material experimentation. It focuses on the expressive, structural, and psychological understanding of the human figure and face. Emphasis is placed on perception, time-based observation, movement, and presence, while encouraging students to develop individual visual language. The course integrates studio practice with critical reflection, contextual readings, and research-based approaches aligned with the experiential and multidisciplinary framework of NEP 2020.

Course Objectives:

The course develops strong observational and perceptual skills through the study of the human body and portrait, focusing on structure, anatomy, gesture, and spatial relationships. It explores time, movement, and presence in figure drawing while introducing the psychological and expressive aspects of portraiture. Students are encouraged to experiment with media and contemporary approaches, fostering critical thinking, self-reflection, and a personal visual language.

Course Outcome:

By the end of the course, students will be able to:

CO1: Demonstrate advanced observational and anatomical understanding of the human figure.
CO2: Interpret movement, gesture, and temporality in life drawing.
CO3: Create structurally and psychologically informed portraits.
CO4: Apply experimental approaches and contemporary sensibilities in figure and portrait studies.
CO5: Develop a coherent body of studio work supported by research and reflective analysis.

Module Structure

Module 1: Contemporary Portrait Practices

Focus: Conceptual, experimental and performative approaches to portraiture; identity, body, and representation in contemporary art.

Students will develop concept-driven portrait projects using mixed media, focusing on the relationship between idea, material, and representation. Through performative, staged, and site-specific portrait studies, they will explore identity, body, and context, experimenting with constructed situations and spatial environments to expand expressive and conceptual possibilities in contemporary portrait practice.

Suggested Readings:

Charlotte Cotton (2004), The Photograph as Contemporary Art
Jill Bennett (2005), Empathic Vision: Affect, Trauma, and Contemporary Art

Module 2: Archive, Memory and Narrative

Focus: Personal and collective memory; portrait as document; narrative construction through body and image.
Students will create portrait works using archival photographs and found images as source material, exploring how memory, history, and documentation shape identity. Through narrative-based life and body studies, they will investigate personal and collective experiences, translating memory and emotion into visual form while developing conceptual depth and storytelling within portrait practice.

Suggested Readings:

Marianne Hirsch (1997), Family Frames: Photography, Narrative and Postmemory
Susan Sontag (1977), On Photography

Module 3: Research based Practice

Focus: Studio practice as inquiry; conceptual framing; development of artist statement and research-based practice.

Students will undertake a self-directed studio project that reflects independent inquiry and sustained exploration of their chosen theme. Alongside practical work, they will develop professional writing skills by preparing artist statements, concept notes, and project proposals that clearly articulate the conceptual framework, process, and intent of their practice.

Suggested Readings:

Henk Borgdorff (2012), The Conflict of the Faculties: Perspectives on Artistic Research
Hazel Smith & Roger T. Dean (2009), Practice-led Research, Research-led Practice in the Creative Arts

Module 4: Expanded Portrait and Public Presentation (Moderate–Advanced)

Focus: Portrait in expanded field—installation, video, digital, and interdisciplinary forms; audience, space and presentation.

Students will develop a portrait project using expanded media such as installation, video, or digital formats, exploring new modes of representation and viewer engagement. They will also curate and present a cohesive body of portrait work, supported by reflective documentation that critically examines their process, conceptual approach, and artistic development.

Suggested Readings:

Michael Rush (2005), New Media in Art
Erika Balsom (2013), Exhibiting Cinema in Contemporary Art

Teaching Method:

Studio Practice and Conceptual Exploration: Emphasis on sustained studio engagement where students experiment with materials, processes, and ideas while developing concept-driven portrait work.
Technical Demonstrations: Focused demonstrations on advanced portrait techniques, mixed media approaches, and contemporary practices to expand technical and visual language.
Research-Led Visual Inquiry: Integration of visual research, references, and critical thinking to support concept building and contextual understanding of portraiture.
Group Discussion and Peer Learning: Interactive discussions, peer reviews, and reflective dialogue encouraging critical engagement and shared learning.
Field Exposure and Visual Documentation: Exhibition visits, site observation, and documentation practices to connect studio work with contemporary artistic contexts.
Portfolio and Process Development: Continuous documentation and organization of artworks, sketches, and research towards building a coherent professional portfolio.