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NAME:

YEAR 12

2013 HSC

VISUAL ARTS

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CONTENTS PAGE

Introduction 3

Scope and Sequence 4

Course Outcomes 5

Course Requirements 6

Course Content 7-12

Assessment Schedule 13

Assessment Tasks 14-21

Marking Guidelines 22-23

Scaffold 24

Issues in Art 25

Body of Work Brief 26

Art Making Schedule 27

Referencing Guide 28

Glossary 29-30

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Introduction

The purpose of this handbook is twofold. Firstly it is to inform students about the content of the

Visual Arts Higher School Certificate course; secondly it is to give students an understanding of the

commitment needed to achieve the Higher School Certificate, along with their rights and

responsibilities.

The Higher School Certificate is a difficult year of study. Students need to be committed to achieving

their best. Balance and consistency is the key to success. You will have plenty of time after the HSC

to socialise or to work. Now is the time to make the decision to focus on your studies.

The Visual Arts HSC course is a difficult course to manage. It requires students to develop

collaborative skills and take responsibility for their own learning. The classroom teacher has

responsibility for ensuring that individual students meet the requirements of the course, however,

as a student, it is your responsibility to ensure a consistent approach to your studies. This includes

attendance, completion of all class work, homework and assessment tasks by their due date.

The Body of Work that you will complete is an opportunity for you express your own ideas, values

and artistic style. It is worth 50% of your total marks and therefore needs to be of the highest

standard possible. However, your external examination and assessment tasks must bear equal

commitment.

To ensure you achieve the best possible result, consistency in your studies is essential. Have a

regular study schedule in place, seek assistance from your teachers, and make use of the school’s

resources, including access to the visual arts rooms, before and after the school day, as well as

during recess and lunch. Your teachers are a valuable resource, make use of them. Ask for

assistance if you are struggling. The sooner you seek assistance the more easily you will find your

HSC year.

Your teachers have high expectations of you and we are confident that many of you will achieve

excellent results in 2013. I look forward to seeing the great works produced by you over the course

of the year.

Fiona Harkins

Head Teacher

Creative & Performing Arts

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Scope and Sequence

Subject: HSC Visual Arts Stage: 6 Scope and Sequence

Unit 1 Unit 2 Unit3 Unit4

Unit Title

Body of work (VAPD)

Continuation of BOW and case

studies

Continuation of BOW and case studies

Finalising BOW and case studies

Description

Students will be developing their VAPDs to coincide with the development of their BOW. Students will continue to explore the art making process by using their VAPD as a tool for documenting recording and problem solving. A larger focus will be made in regards to students developing and refining ideas and communicating meaning into their BOW. Students will also be developing their understanding of the agencies of the art world through an ongoing investigation of key artists and art issues. This form of study and investigation will focus on students utilising the three components of visual arts, the conceptual framework, the frames and art practice.

Students are continuing with the development of a BOW, whilst utilising their VAPD as a tool for ongoing research and study of appropriate and relevant artists, and their art practice. Students will also be developing their understanding of the art world through an ongoing investigation of key artists and art issues. This form of study and investigation will focus on students utilising the three components of visual arts, the conceptual framework, the frames and art practice.

Students are continuing with the development of a BOW, whilst utilising their VAPD as a tool for ongoing research and study of appropriate and relevant artists, and their art practice. Students will also be developing their understanding of the art world through an ongoing investigation of key artists and art issues. This form of study and investigation will focus on students utilising the three components of visual arts, the conceptual framework, the frames and art practice.

In this unit students will be planning, sequencing and organising the making and presentation of their BOW. Students will continue to build upon existing creative and technical skills, collecting images, quotes, articles and drawing from their own experiences, and beliefs. Experimenting with new media/ and materials will be limited as students should be resolving ideas and concepts, and ultimately finishing their BOW.

Outcomes

P1 P7 P2 P8 P3 P9 P4 P10 P5 P6

P1 P7 P2 P8 P3 P9 P4 P10 P5 P6

P1 P7 P2 P8 P3 P9 P4 P10 P5 P6

P1 P7 P2 P8 P3 P9 P4 P10 P5 P6

Frames

Post-modern Cultural Subjective structural




Forms

2D- drawing, painting, photography and mixed media 3D- assemblage, sculpture, clay, wire etc… 4D- video art and digital art




Art making

Students will focus on developing art works for their VAPD. Art making may vary from conventional mediums and techniques to new experimental mediums such as digital media and 4D artmaking.



Students will focus on developing art works for their VAPD. Art making may vary from conventional mediums and techniques to new experimental mediums such as digital media and 4D artmaking. (Students will also be constructing their system form presenting and displaying their BOW e.g. framing and packaging.)

Critical and historical studies

Task 2– Case Study 1 (Michael Borremans) ‘The Passionate Eye’

Task 2- Case Study 2 (Gerhard Richter) ‘Technology in Art’ Task 2- Case Study 3 (Fiona Hall) ‘ The Hidden Message’

Task 2 -Case Study 4 (Cindy Sherman) Gender and Identity Task 2 -Case Study 5 (Imants Tillers) ‘Appropriation in Art’

Revision for trial Exam and HSC visual arts exam.

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Course Outcomes

Stage 6 Visual Arts

HSC Course Outcomes A student:

H1 initiates and organises artmaking practice that is sustained, reflective and adapted to suit particular conditions.

H2 applies their understanding of the relationships among the artist, artwork, world and audience through the making of a body of work.

H3 demonstrates an understanding of the frames when working independently in the making of art.

H4 selects and develops subject matter and forms in particular ways as representations in artmaking.

H5 demonstrates conceptual strength in the production of a body of work that exhibits coherence and may be interpreted in a range of ways.

H6 demonstrates technical accomplishment, refinement and sensitivity appropriate to the artistic intentions within a body of work.

H7 applies their understanding of practice in art criticism and art history.

H8 applies their understanding of the relationship among the artist, artwork, world and audience.

H9 demonstrates an understanding of how the frames provide for different orientations to critical and historical investigations of art.

H10 constructs a body of significant art histories, critical narratives and other documentary accounts of representation in the visual arts.

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HSC Course Requirements

HSC COURSE DESCRIPTION

The HSC Course builds on the knowledge and understanding, skills, values and attitudes of the

preliminary Course and provides opportunities for students to build on their understanding of the

visual arts through deeper and sustained investigations of practice, the conceptual framework

( agencies in the art world) and frames, in increasingly independent ways.

Students learn about:

How they may ‘own’ practice in artmaking, art criticism, and art history

How they may further relate concepts of the art world involving agencies of the artist,

artwork, world audience

How they may develop their own informed points of view in increasingly independent ways

using the frames

How they may further develop meaning and interest in their work

HSC Course Requirements (Year 12, 4 terms, 120 indicative hours)

A focus on more interpretive investigations and relationships through:

The content of practice, conceptual framework, frames

The development of a Body of Work (B.O.W)

Use of a process diary (V.A.P.D)

Investigation of a content through at least 5 case studies in art criticism and art history

Assessment

School-based: Development of the Body of Work (50%)

Art criticism and Art History (50%)

External examination: Submission of Body of Work (50%)

Written Paper (50%)

For both courses, it is recommended that the time allowed should be allocated as follows:

40% of time should be devoted to artmaking with consideration of the frames and conceptual

framework.

40% of time should be devoted to artmaking with consideration of the frames and conceptual;

framework.

20% of time may be dedicated to any aspect of content depending on the interest of teachers and

students.

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Course Content

Practice, conceptual framework and frames provide the content for stage 6 Visual Arts that students

can learn about both practically and theoretically in the preliminary and HSC Courses.

Practice

Practice refers to the social structures, positions, actions and sequences that affect choices,

perceptions, and directions ways of working and views of those involved in the visual arts.

Students learn about the importance of practice in the visual arts in artmaking, art criticism and art

history. Students learn that the nature of practice involves the instilling of beliefs, actions and ideas

over time through instruction.

Artmaking


Practice in artmaking and learn how to make art in its various forms within the context of

the art room.

The importance of representation in the visual arts in the making of artworks and in viewing

the work of others.

How the conceptual strength, meaning and resolution within an artwork, or body of work, is

concerned with representing intentions and holding a position in their interpretations.

The material physical and virtual properties of the expressive forms and their significance

and meaning within the traditions of the visual arts and how they can apply these to their

own creations. Expressive forms available to students include:

2D Forms: (drawing, painting, printmaking, graphic design, photography and digital media)

3D Forms: (sculpture, ceramics, texture and fibre, designed objects and environments e.g.

Wearables, jewellery, architectural design and product design)

4d Work/time-based works: (film & Video, digital animation, documented forms,

performance and interactive works).

Art Criticism and Art History


Practice in art criticism and art history which complements and extends their understanding

of the visual arts gained in artmaking. They learn how to evaluate and explain the

significance of particular artists, artworks, audience responses and representations of the

word in these studies.

Artworks and significant ideas in the visual arts as they have been critically and historically

interpreted and explained, at a certain time and over time.

How judgement contributes to the development of well-reasoned accounts and how these

accounts are developed through points of view made in critical and historical writing about

artists, artworks or styles, audience responses and changing interpretations of the world.

How the frames provide alternative ways to generate and shape their critical and historical

investigations of concepts and meanings in the visual arts.

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The importance of representation in the artworks they investigate at a certain time, over

time and in different places.

How art criticism and art history provide for the exchange of opinions and viewpoints that

are informed by the knowledge of practice.

WHAT IS THE CONCEPTUAL FRAMEWORK AND FRAMES?

Conceptual Framework

Students learn about the conceptual framework that provides a model for understanding the

agencies in the art world- the artist, artwork, world and audience.


The role of the artist- the who, what, how and why

The role and value of the audience- as a body of critical consumers

Artworks as real objects- as material, physical and virtual objects (2D, 3D, 4D)

How interests in the world are represented in art- art as a representation of experience,

class, ideology, age, events of significance.

World

Artwork

Artist Audience

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The Frames

Students learn about the frames- subjective, cultural, structural and postmodern- that provide

different philosophical/theoretical and interpretive windows through which to look to gain an

understanding of the layering of meaning, significance, value and belief in and about the visual arts.

Through the frames, students learn how art may represent:

The subjective frame- personal and psychological experience. Through this frame, art may be

thought to be about and represent deeply felt and sensory experience, human

consciousness, intuition, imagination, originality, creative expression, and the aesthetic

response. Meaning is understood in relation to the subjective experiences afforded to the

maker and viewer.

The cultural frame- Cultural and social meaning. Through this frame, art may be to be about

and represent the collective interests of cultural groups, ideology, class, politics, gender and

the celebration of spiritual and secular beliefs, events and objects. From this view, meaning

is understood in relation to the social perspective of the community from which it grows.

The structural frame- communication and the system of signs. Through this frame, art may

be thought to be about and represent a visual language as a symbolic system; a system of

relationships between signs and symbols that are read and understood by artists and

audiences who are able to decode texts. From this view, meaning is understood in terms of

the relationships of symbols that are to refer to the world. Through this system ideas are

circulated and exchanged.

The postmodern frame- ideas which challenge mainstream values of histories and ideas.

Through this frame, art may be thought to be about and represent ‘texts’ that reconfigure

and question previous texts and current narratives. These are woven together through such

things as irony, parody, quotation. From this view, meaning is attained through critique that

exposes the patterns of authority and the assumptions of mainstream values in the visual

arts to reveal inconsistencies, uncertainties and ironies.

Cultural Subjective

Postmodern Structural

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WHAT IS THE BODY OF WORK AND VAPD?

Body of Work (Bow)

The body of work is developed during the HSC course and provides the opportunity for the

student to engage in artmaking as a practice. The body of work is examined externally. A

selection of one or more works is made at the conclusion of the course and is submitted as

evidence of what students know and can do in the practice of artmaking.

The development of a work or works that may be included in the final submission should

encourage students to reveal their practical and theoretical understanding of artmaking (i.e.

Engagement with the frames, understanding of the conceptual framework, and

interpretations of interests applied to student’s own investigation).

The selection of works for the BOW should be considered by teachers and students as

something of a creative achievement with creative significance to be judged by makers

within the HSC examination informed by the traditions in visual arts.

VISUAL ARTS BODY OF WORK- Comparison of Dimension

A body of work can comprise one or more individual pieces

Rules for the body of work are on pages 45 to 49 of the Visual arts stage 6 Syllabus

on the Board of studies website.

These rules apply to ALL bodies of work submitted for Visual arts, whether they are

marked corporately or itinerantly.

ALL submissions need to comply with ALL of these rules when displayed for marking,

whether the body of work is 2D, 3D or 4D, or a combination of these forms.

Teachers and students are reminded that suggested submission formats and note

about each expressive forms are included in the Visual arts stages 6 syllabus.

The maximum allowable volume for a 3D artwork is 1.0 cubic metre. The volume of a body

of work is determined by the height, the width and the depth of the work when displayed

for marking. This measurement applies to 3D works and/ or submissions with 2D and 3D

components.

Sculptural works should not include a flat piece that exceeds 2 square metres in area.

1.00 m

1.00 m

1.00 m

1.00 m

50 cm

2.00 m

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The maximum dimensions for a 2D artwork/ or surface (including the frame) is 6.0 square

metres, however no 2D artwork can be more than 2.0 square metres in size. For example,

you may have three 2D artworks each measuring 2.0 square metres in size, adding up to a

total area of 6.0 square metres.

Example:

(Not to scale)

Single 2D artworks can be no larger than 2.0 square metres in area; however they can vary in

length and breadth. For example:

Visual Arts Process Diary (VAPD)

Students are required to keep Visual arts Process Diary in the Preliminary and HSC courses.

The diary must differentiate work undertaken in these courses. It is expected that there

should be some connection between what is in the diary and what is produced as an artwork

and the body of work although it is recognised that the link should not simply be casual or

determine the end result.

3.00 m

1.00 m 1.00 m 1.00 m

2.00 m

2.20 m

0.91 m

1.20 m

1.66 m

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The VAPD is used as a tool in teaching and learning in Visual Arts, particularly in artmaking.

Students use their VAPD to formulate ideas and their intentions for what they will do in

artmaking. Other uses include:

A tool for developing and showcasing technical interests, and technical risk taking

(experimentation)

It enables a student to hold ideas that are presented and discussed with others,

including teachers and peers

It allows for alternative views and multiple ideas to be documented.

It suggests and provides evidence of a student’s modes of working.

It may include drawings. Paintings, sketches, philosophical diagrams, notes,

philosophical, critical comment, reflections, photographs and collections.

It can take the form of a sketchbook, folder, and large container for 3d works,

computer disk, slides, or a combination of these.

The VAPD is part of the school-based assessment. The VAPD, along with other work

produced and not submitted as the Bow, must be available if required by the HSC markers

and in the event of appeals, to verify and provide further evidence of a student’s work.

WHAT ARE CASE STUDIES?

A minimum of 5 case studies will be undertaken in the HSC course but may occur during the

preliminary course. They offer a critical and historical learning opportunity. Case studies

provide a means of studying particular cases in the visual arts. Their function is to illustrate a

pinot or something of significance. The selection of content for the case study relates to

various aspects of content in the case selected, taking into account practice, the conceptual

framework and the frames.

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Visual Arts 2 Unit HSC Course

Syllabus Weighting Task 1 Task 2 Task 3 Task4 Task 5 Development of

Body of Work -Investigations of artmaking practice evident in VAPD including experiments with materials, written reflections and explanations, research about related artists’ practice

Term 1 Week 1

Art Criticism and Art History In-class essays based on each of the five case studies

Ongoing

Development of Body of Work - including VAPD and works under development -evaluation and presentation of developing ideas. -oral and written presentation

Mid Term2

Completion of Body of Work - works under development; signed submission of VAPD

Early Term 3 (approx. 4-5 weeks

prior to BOS completion and

submission date)

Trial HSC - Art Criticism and Art History

Term 3 Weeks 4 & 5

Outcomes H1 H2 H3 H4

H7 H8 H9

H1 H2 H3 H4 H5

H1 H2 H3 H4 H5 H6

H7 H8 H9

H10

Artmaking

50% 10%

5% VAPD 5% Presentation

30%

Art Criticism and Art History

50% 25% 25%

Mark 100% 10% 25% 10% 30% 25%

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Cambridge Park High School Year 12 Assessment Task Notification

Visual Arts THE TASK: Development of Body of Work - VAPD Assessment Task No: 1

Dates to be submitted: Term 1 Week 1 Weighting: 10%

Art Making

Task: In this unit of work you will be solely focusing on developing your VAPD to be presented in class and

critiqued by your teacher and peers.

Your VAPD is a tool to help you develop your Body of work. It is intended to be used in order to develop skills

and discover new techniques as an art maker. Your VAPD should also be utilised to formulate ideas and

intentions for your Body of Work. It is expected that your VAPD will have a close connection with your Body of

Work, however, it is recognised that the link should not simply be casual or determine the end result.

Your VAPD should consist of:

The collection of images: Texture samples, fabric, samples, Photographs, photocopies of artists’ work, Graphic

design concepts, examples etc… Copies of artists’ work and text: (Whole or part) copies of other artists’ work, Quotes, analysis of artists’

work and own work, personal reactions and evaluations of your own work, thoughts, ideas, beliefs about life and the universe, research using the conceptual framework, artist practice or the frames .

Examples of student work and formulated ideas/concepts: Your own work- Drawings, sketches, doodles,

Compositional roughs, diagrammatic analysis, colour schemes, sculptural maquettes, detailed studies of elements of your own design, and experimental art making.

Total: /30

Assessment Task 1 VAPD - Marking Criteria

VAPD Marks

Band 6 Extensive evidence of research – sustained and outstanding

effort. All possible process work completed. 25-30

Band 5 Thorough and complete research – commendable effort

developing ideas and process. 20-24

Band 4 A good attempt at some areas of process work- consistent

effort developing ideas. 14-19

Band 3 A sound attempt, some areas incomplete- episodes of efforts

evident 9-13

Band 2 A basic attempt at most areas- poor level of effort developing

ideas and processes. 4-8

Band 1 A limited attempt at any form of documentation and

development of ideas - A total lack of commitment and effort. 0-3

Comment:

______

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Visual Arts

THE TASK: Art Criticism and Art History -THE COMPASSIONATE EYE

CASE STUDY 1: Michael Borremans Assessment Task No: 2

Date to be submitted: Term 4, 2012 (TBA) Weighting: 25% Text form: Respond to the following questions in essay format.

TASK DESCRIPTION: Part A: Research Question (Art Practice) 25 marks (Minimum of 500 words submitted as a hard copy)

You are to research the Australian artist Michael Borremans in relation to his art practice.

You will need to investigate and explore Borremans’ artmaking practice by referring to

photographs, artworks and extracts found on the Internet, in textbooks or in print media

(art magazines).

Part B: Essay Question (Art Criticism, Frames) 25 marks

(Minimum of 500 words submitted as a hard copy)

How does art communicate as a system of signs and symbols? Discuss this question in

relation to Michael Borremans’ use of signs and symbols found throughout his body of

work.

*Remember this is a formal essay question which will need to be structured using an

introduction, body and conclusion. Cite all quotes and include a bibliography.

DO NOT CUT AND PASTE! Plagiarism will result in zero marks and the failure to fulfil the

requirements of the HSC Visual Arts course.

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Visual Arts

THE TASK: Art Criticism and Art History – TECHNOLOGY IN ART

CASE STUDY 2: Gerhard Richter Assessment Task No: 2

Date to be submitted: Term 1, Week 4 (TBA) Weighting: 25% TASK DESCRIPTION: Part A: Research Question (Frames - structural + post-modern) 25 marks


Give an account of two or more contemporary artists who have embraced new technologies

as their vehicle for communicating meaning in art.

Part B: Essay Question (Art Criticism/History, Art Practice) 25 marks


Using Gerhard Richter’s large body of work, evaluate the importance of photography to

Richter’s art practice.





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Visual Arts

THE TASK: Art Criticism and Art History – THE HIDDEN MESSAGE

CASE STUDY 3: Fiona Hall Assessment Task No: 2

Date to be submitted: Term 2, Week 1 (TBA) Weighting: 25% TASK DESCRIPTION: Part A: Research question (Art Practice) 25 marks (Minimum of 500 words submitted as a hard copy)

Discuss Hall’s art practice. Find out what processes, materials and techniques are used by

Hall in the production of her artworks. (Support your information with relevant

photographic examples and extracts found on the Internet or in print media.)

Part B: Essay Question (Art Criticism - conceptual framework) Marks 25)


You are an art critic for the ‘World art’ magazine and you have been asked to write an article

on Fiona Hall. Discuss Fiona Hall’s artworks in relation to the heading ‘The Hidden Message’.





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Visual Arts

THE TASK: Art Criticism and history – GENDER AND IDENITY

CASE STUDY 4: Cindy Sherman Assessment Task No: 2

Date to be submitted: Term 2, Week 8 (TBA) Weighting: 25% TASK DESCRIPTION: Part A: Research question (Art History - conceptual framework) 25 marks (Minimum of 500 words submitted as a hard copy)

Analysing artworks using the scaffold below can help when studying parts of the Conceptual

Framework. From the list below, research and analyse five artworks that reference and

communicate ideas relating to identity, gender or feminist issues in art.

Analysis Scaffold

o IDENTIFY (Look at the citation information for clues, sketch all or part of the work studied and label key areas).

o DESCRIBE (Describe what you see. Imagine you are describing the work to a visually impaired person. Try to use

creative and descriptive words).

o ANALYSIS (Pick three dominant visual elements and write a paragraph on each. Visual elements might be - line,

shape/form, colour, tone, direction, scale, texture etc).

o EVALUATE (Is the artwork important to the art world or society? Does it communicate an important message? Write a

paragraph that addresses some/ all of these questions).

o MEANING (What does the work mean? Consider different types of audiences looking at the work. State what you

believe are the artist’s intentions through your research. How have other art historians and critics reacted to the

work/s? This is an important part of the analysis, so greater attention and research will be necessary).

Part B: Essay Question (Art criticism-Frames) Marks 25 (Minimum of 500 words submitted as a hard copy)

She (Sherman) claims to have a love-hate relationship with the stuff of female conditioning. “It’s hard to define

even to myself”, she admits. “My role models were so ingrained in me, which is where the “love” part of the

relationship comes from. I love the idea of the artifice of make-up ...of clothes being like a costume so that you

feel like a different person depending on what you’re wearing. But I can also understand that it can be a

destructive thing if you don’t have a healthy perspective about it...” (Smee, 1999)

With reference to this statement, examine how Cindy Sherman, through her photography, raises awareness of

the positive and negative female stereotype.





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Cambridge Park High School

Year 12 Assessment Task Notification

Visual Arts

THE TASK: Art Criticism and Art History – APPROPRIATION IN ART

CASE STUDY 5: Imants Tillers Assessment Task No: 2

Date to be submitted: Term 3, Week 5 (TBA) Weighting: 25% TASK DESCRIPTION: Part A: Research question (Conceptual framework - artwork, world and audience) (Minimum of 500 words submitted as a hard copy) 25 marks

You are to take on the role of an influential curator who has the job of setting up a major

exhibition, to be held in the MCA (Museum of Contemporary Art). You are to choose 5

artists who utilise the post modern practice of appropriation within their art-making. This

exhibition can pool artist from the last century of art history. You are asked to analyse each

artwork and give reasons for your choices made. Give an explanation in how each work link

and relate to each other, and the development of appropriation in art.

Part B: Essay Question (Art criticism - Frames)

(Minimum of 500 words submitted as a hard copy) 25 marks

Compare and contrast the work of Anne Zahalka with Imants Tillers, by focusing on the post-

modern frame and in particular to appropriation in art.





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Visual Arts THE TASK: Body Of Work Brief / Production Design Plan Presentation Assessment Task No: 3


Art Making


critiqued by your teacher and peers. Refer to page 26 Body Of Work Brief / Production Design Plan to

complete oral and written task.











Total: /30


VAPD Marks








evident 9-13





Comment:

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Visual Arts THE TASK: Completion of Body Of Work Assessment Task No: 4


Art Making


critiqued by your teacher and peers.











Total: /30


VAPD Marks








evident 9-13





Comment:

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HSC Visual Arts Marking Guidelines

Art Theory / Essay

Criteria Marks A coherent, sustained and well-reasoned point of view is represented

which may acknowledge that other points of view are possible\

All relevant aspects of content are comprehensively explained and interpreted in relation to the question

The significance of examples are explained and used to strongly support the arguments

Critical arguments and historical explanations are complex and logical, and reveal an extensive understanding of the visual arts

21-25

A coherent and reasoned point of view is represented and sustained All relevant aspects of content are thoroughly explained and more

conventionally interpreted in relation to the question Examples are explained and used to support a successful argument that

addresses most aspects of the question Critical arguments and historical explanations are accomplished, logical

and located within a thorough understanding of the visual arts

16-20

A coherent and reasoned point of view is presented and reasonably well sustained

Most relevant aspects of content are broadly explained and contextualised in relation to the question

Examples are generally explained, and used to support an argument that addresses some aspects of the question

Arguments are reasonably clear, logical and reflect a good understanding of the visual arts

11-15

A point of view is presented but is unevenly sustained

Aspects of content are represented but explanations are superficial and may not be related to the question

Examples are described in an obvious way and are connected to the question

Arguments tend to be inconsistent or not well developed and reflect a foundational understanding of the visual arts

6-10

Comments are offered that may relate to some aspects of the question

Ideas are identified that be explored to some extent in an isolated way

Arguments are driven by opinions and reflect a very basic understanding of the visual arts

0-5

Comment:

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HSC Visual Arts Marking Guidelines

Art Making - Body of Work

Conceptual strength and meaning

Resolution

Outcomes assessed: H1, H2, H3, H4, H5, and H6

Marking Guideline

Criteria Marks Demonstrates an articulation of ideas and concepts that are elaborated,

reiterated, subtle and sustained coherently in the form(s) of the work. Meanings make significant references and register on a number of levels

Displays technical sensitivity, refinement, discrimination, moderation, and is respectful of the conditions set by the selection of materials and limitations including course prescriptions

41-50

Demonstrates an articulation of ideas and concepts showing some elaboration and reiteration that is more coherent and subtle in some aspects of the work than in others. Meanings and references register on a number of levels but are not as significant

Displays technical sensitivity and moderation, although some aspects are more refined while others are elaborated and/or overworked and limitations including course prescriptions

31-40

Demonstrates an articulation of idea/concept showing some connection that is more apt and coherent in some aspects of the work than in others.

Displays technical proficiency yet not very sensitive or refined. Some display for display’s sake, thus little moderation. Some respect for conditions set by the selection of materials and limitations including course prescriptions

21-30

Demonstrates an articulation of idea/ concept confined to some aspect(s) of the work. Meanings and references register in restricted and obvious ways

Displays little refinement or subtlety. Some repetition or inconsistent application. Little discrimination or moderation, limited respect for conditions set by the selection of materials and limitations including course prescriptions

11-20

Demonstrates a simplistic, immediate articulation of ideas/ concepts. Meaning register in banal ways. References are limited, driven by the image

Displays neither technical accomplishment nor moderation. Unsubtle, unrefined, incongruous, superficial. At variance with conditions set by selection of materials and limitations including course prescriptions

0-10

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Visual Analysis Scaffold

Use the following scaffold to visually analyse a given image/

artwork:

Scaffold: Visual Analysis (How to study an image) *Pretend you are an ‘art detective’ looking for ‘art clues’.

IDENTIFY Look at the citation information (label under the image) for clues. [Copy the citation information, sketch part of the work studied and label as ‘Detail from...(name of artwork)’] DESCRIBE Simply state what you see. [Write a paragraph on what you see after you close your eyes for three seconds and then look at the image] ANALYSIS Use the visual elements (e.g. line, shape/form, colour, tone, direction, scale, mass/space and texture/pattern) to carefully look at aspects of the studied artwork for clues. [Pick three dominant visual elements and write a paragraph on each] EVALUATE Is this artwork important to the art world or to society? Does it communicate an important message? [Write a paragraph that addresses some/all of these questions] MEANING What does the artwork mean? (Consider this from the point of view of different types of audiences looking at the artwork). Use your clues to state what you think the artist’s intention is. [Devote one or two paragraphs to address this. This is the most important part of the visual analysis]

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Issues in Art

ART AND ABSTRACTION

- Exploring the abstract form, deconstructing objects from the natural or

wo-manmade world. (Colour theory, space and experimental mark

making etc...)

ART AND BEAUTY

- The grandeur and beauty of god’s creation. ( the sublime)

- Patterns; colour, texture...

- A code for idealised male and female beauty.

ART AND BELIEF

- Religion, biblical narratives, philosophies, Eastern and western.

- Spirituality

ART AND THE BUILT ENVIRONMENT

- Suburbia; interiors; urban buildings; city skylines.

- Site-specific works

ART AND GREAT ARTISTS

- Traditions and conventions

- (appropriations)

ART AND GENDER

-The hero/heroine, unique female experiences, male and female

stereotypes.

ART AND THE HUMAN FORM

- The reclining nude, mythological narratives, the heroic or tragic figure

- Figurative art, human behaviour (expressive- e.g. anger, fear, love

ART AND IDENTIY

- Natural identity, personal identity

- Our changing culture, multicultural identity

ART AND IMAGINATION

- Explorations of the subconscious mind, surrealism, dreams

ART AND NATURE

- Landscape, a sense of place, figure in the landscape

- Living organisms, organic abstraction

ART AND IT’S OBJECTS

- Symbols, structures

ART AND POLITICS

- Contemporary Aboriginal art, social realism

- Propaganda images, feminism, activist

ART AND TECHNOLOGY

- New art forms- 2d, 3d, 4d, non traditional forms.

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BODY OF WORK BRIEF / PRODUCTION DESIGN PLAN

Your work brief / production design plan must clearly outline the design problem you intend

to explore and resolve. This proforma should only be used as a starting point.

You should discuss what you want to explore and not what you want to make.

You may make changes to the work brief / production design plan as you progress

through the development of the artwork.

1. Outline your initial idea and/or theme for the artwork that you intend to produce.

2. What interests you about this idea/theme?

3. Discuss the types of ideas/concepts you are considering in creating interesting,

imaginative and innovative artwork relating to your theme.

4. Outline the style of work you are interested in exploring. Are you being influenced by

any other artist or style of art?

5. What design features or elements are you considering using to enhance the look of

your artwork? (For example, composition, line, shape, tone, texture, colour.)

6. Outline how you intend to approach the production of your artwork. Include areas

such as techniques and processes.

7. List the equipment and materials that you will require in order to complete this

artwork.

8. Outline the proposed time line for completing this project. Include dates for

completing the investigation, experimentation and refining of your idea, as well as a

date for the production of your finished artwork.

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Year 12 Art Making: a projected eleven month schedule

MONTH FOCUS INTENDED GOALS AND STRATEGIES

October- November Getting started E.G. Ideas, experiments, planning, building on existing creative and technical skills

December Continue developing ideas and meaning and/or completing a resolved artwork

E.g. Experimentation, composing, learning from mistakes, working intuitively, developing plans. You may feel ready to produce a sustained artwork that might be the first in your Body of Work.

January Optional-work independently on Body of Work

The holiday period could be a fruitful time for you to continue developing your Body of Work.

February Continue developing ideas and meanings and/or completing resolved artworks/s

E.g. More experimentation, composing, learning from mistakes, working intuitively, develops plans. You may be ready to produce another sustained artwork that might be in your Body of work.

March Refining ideas and communicating meaning

E.g. Analysing, discarding, reflecting, integrating, working both intuitively and deliberately.

April Refining ideas and communicating meaning

E.g. Analysing, discarding, reflecting, integrating, working both intuitively and deliberately

May Continue resolving the body of work

e.g. Decision-making, reflecting, synthesising, evaluating

June Continue resolving the Body of Work

e.g. More decision-making, reflecting, synthesising, evaluating

July Analysing effective communication and successful resolution

e.g. Analysing, making late changes, considering presentation of artwork, pre-final evaluation

August Final resolution e.g. Attending to last minute details, presentation, final evaluation

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Referencing Guide… How to…

Book

Author Last Name, First Initial. (year of publication). Title of book. Location of publication: Publisher. Israel, G. (2000). Senior Artwise 11-12. QLD: Jacaranda.

Book Section or Chapter

Author Last Name, First Initial. (year of publication). Title of chapter. In Author, Last Name. First Initial. Title of book (pp. xxx-xxx). Location of publication: Publisher.

Jane, S. (2009). Max Dupain. In S. Jane, Photography Production and Appreciation

(pp. 203-207). QLD: Jacaranda.

Website

Author Last Name, First Initial. (year of publication). Web Page name. Retrieved from date. Website name: URL Queensland Art Gallery (2006). Queensland Art Gallery Modern Gallery. Retrieved

November 20, 2011, from Queensland Art Gallery: http://qag.qld.gov.au/collection/contemporary_australian_art/fiona_hall

Document from a website

Author Last Name, First Initial. (date of publication). Web Page name. Retrieved from date. Website name: URL

Crawford, A. (2003, November 29). Entertainment / Arts. Retrieved November 18, 2011, from The Age: http://www.theage.com.au/articles/2003/11/26/1069825834630.html?from=storyrhs

In-text Citation And Quotes

when your work has been influenced by someone else's work, for example:

when you directly quote someone else's work

when you paraphrase someone else's work

The in-text citation consists of:

Author surname(s) (in the order that they appear on the actual publication),

followed by the year of publication of the source that you are citing, placed

immediately after the text which refers to the source being cited (Jones, 2010).

include page or paragraph numbers for direct quotes, and for paraphrasing

where appropriate (Jones, 2010, par 2, pg. 212).

Viewing artworks in Galleries

Booth, P. Painting 1978. Encounters. National Gallery of Australia, Canberra.

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Glossary

Agencies of the art world: Various art related bodies working in the art world; such as; art

galleries, art critics and historians and artists.

Art practice: An artists’ ongoing development in the production of making works of art. This

may include all areas of the creative process such as; inspiration, materials, influences and

techniques utilised.

Account: Account for: state reasons for, report on. Give an account of: narrate a series of

events or transactions.

Aesthetic: The tasteful look of an artwork, the qualities of its appearance being pleading;

sensitivity to good design and beauty.

Analyse: Identify components and the relationship between them; draw out and relate

implications.

Appropriation: To adapt, reuse and reinterpret an image from an existing artwork to

produce a new artwork.

Body of work: A series/or collection of artworks based on a united theme or concept. A

body of work can be a collection of works in 2d, 3d, or 4d form. Coherent: marked by an

orderly, logical, and aesthetically consistent relation of parts. I.e. something that makes

sense.

Conceptual framework: model used for understanding the agencies in the art world.

(Artist, Artwork, world and audience)

Compare: Show how things are similar or different.

Contrast: Show how things are different or opposite.

Contextualised: (past tense) Contextualization: is the process of assigning meaning.

Critiqued: Group discussion based on critically analysing ideas and concepts developed for a

BOW.

Curator: One who manages or oversees, as the administrative director of a museum

collection or a library.

Evaluate: Make a judgement based on criteria; determine the value of.

Frames: One of the three components of the visual arts syllabus that is used to investigate

and categorise the meaning of art works into four key areas; the subjective, cultural

structural and post-modern.

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Formulate: to devise or develop, as a method, system, etc.

Form: The three-dimensional equivalent of shape which also refers to the overall

appearance of an artwork.

Investigate: plan, inquire into and draw conclusions about.

Justify: Support an argument or conclusion.

Mixed media: the integrated use of different forms of media, esp. within the arts.

Modernism: Twentieth century art movement that emphasises abstraction and individual

expression.

Process: a systematic series of actions directed to some end.

Post-modern: 1960 to present day; a form of modern enlightenment based on the rejection

of perceived truths and knowledge. It is post-modern to be sceptical of common truths,

unity and progress. Satire, humour and a degree of objectivity can be found in the content

of many post-modern artworks.

Plagiarise: use or close imitation of the language and thoughts of another author and the

representation of them as one's own original work.

Philosophical: of or pertaining to philosophy: philosophical studies or Versed in or occupied

with philosophy.

VAPD: Visual, Arts, process, diary. VAPD is a tool/ drawing book for gathering ideas and

research with the intention of developing a body of work.

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