Year 12 DP Visual Arts 2019 - 2020
The core syllabus is composed of 3 parts.
Visual Art in Context
The cycle of inquiry, considering and comparing work from a variety of cultures, historical, social contexts. Analyzing, interpreting, comparing, evaluating, using art vocabulary. Reflection and understanding.
Visual Arts Processes
Experimenting with techniques, media, processes, developing a body of resolved and unresolved work, self review and critique, documentation in visual arts journal.
Presenting and Communicating Visual Arts
This 3rd part has to do with understanding curatorial processes, what makes an effective exhibition and selecting and presenting the students own work.
Instead of an IWB there is a Visual Arts Journal
Visual Art in Context
The cycle of inquiry, considering and comparing work from a variety of cultures, historical, social contexts. Analyzing, interpreting, comparing, evaluating, using art vocabulary. Reflection and understanding.
Visual Arts Processes
Experimenting with techniques, media, processes, developing a body of resolved and unresolved work, self review and critique, documentation in visual arts journal.
Presenting and Communicating Visual Arts
This 3rd part has to do with understanding curatorial processes, what makes an effective exhibition and selecting and presenting the students own work.
Instead of an IWB there is a Visual Arts Journal
How will this be Assessed?
Assessment will be divided into 3 parts, with the following breakdown.
Part 1,The Comparative Study for points 20% Externally Assessed
compare and contrast the work of (at least 2) different artists from different cultural contexts (HL students will also include a reflection of how this relates to their own work)
SL 10-15 screens
HL 10-15 screens & 3-5 screens comparing own work
Part 2, Process Portfolio for points 40% Externally Assessed
the students journey of art‐making: their engagement with different media and techniques, documentation of process, reflections on artists & artworks and the development of ideas.
SL: 9‐18 pages/screens submitted.
HL: 13‐25 pages/screens submitted.
Part 3, The Exhibition with a Curatorial Rationale for points 40% Internally Assessed by Teacher
Students reflect on their chosen body of work and provide a rationale for the decisions regarding the selection of certain pieces
3_forms_of_media_dp.png
www.thinkib.net/visualarts
Process Portfolio
The workbook will be the first place that you investigate, research, explore media, test and make comparisons. It will support the generation of new ideas, allow you to plan, compose and problem solve. The workbook will be used to generate screens for the assessment of your process “Process Portfolio”.
The workbook will support your development and growth as an artist.
Studio work will be created from your process that is resolved, well considered and connected to a theme that will be presented and curated in a final exhibition. Studio work can focus on your strengths as an artist; however, it is advised that throughout the course, you explore a wide range of media. This is also the expectation for the process portfolio where you must explore media in 2D, 3D and digital forms.
The workbook will be the first place that you investigate, research, explore media, test and make comparisons. It will support the generation of new ideas, allow you to plan, compose and problem solve. The workbook will be used to generate screens for the assessment of your process “Process Portfolio”.
The workbook will support your development and growth as an artist.
Studio work will be created from your process that is resolved, well considered and connected to a theme that will be presented and curated in a final exhibition. Studio work can focus on your strengths as an artist; however, it is advised that throughout the course, you explore a wide range of media. This is also the expectation for the process portfolio where you must explore media in 2D, 3D and digital forms.
August
"Let there be fruit" - an inquiry into process, investigation and reflection that will underpin your entire experience.
"Box it up" - an investigation into techniques tools and processes based on your own personalized vanitas.
Create your own Vanitas. You will need to follow the same inquiry process as "let there be fruit". You must also generate 4 observations of your Vanitas in 4 different mediums. These could be digital, drawing media, wet media etc.
"Let there be fruit" - an inquiry into process, investigation and reflection that will underpin your entire experience.
"Box it up" - an investigation into techniques tools and processes based on your own personalized vanitas.
Create your own Vanitas. You will need to follow the same inquiry process as "let there be fruit". You must also generate 4 observations of your Vanitas in 4 different mediums. These could be digital, drawing media, wet media etc.
Excellent resource = Vanitas
Course outline
Identity Project. Create 2 to 3 pieces in different media
September
Identity Project. Due at the end of month.
See below for resources and task sheet.
October
Introduction to printmaking skills techniques and processes. Explore a range of printmakers and selected artist who may inspire your topic of identity. You will focus on Criteria A, B and C of the process portfolio. This will give you a score out of 24. Due November 11th.
November
Developing theme. The focus this month is to create a work that references the last piece you made. This is the beginning of a series or sequence. Use the research and investigation of previous artists to develop this art work. You will need to draw and compose your image using the workbook. Work is due on the 10th January.
A useful approach is to study a range of artist models from which aspects of their practice can be adopted, modified, integrated and then synthesised with the methods and ideas of the students. This is appropriate in contemporary practice and provides opportunity for learning.
December
Developing skills and techniques through observation. Select artists works for future comparative study by having established and contemporary artists shape your inquiry.
Work starting in November is due. January 10th.
PAINTING ARTIST MODELS
www.nzqa.govt.nz/ncea/subjects/visual-arts/selection-of-artist-models/selection-of-painting-models/
PHOTOGRAPHY ARTIST MODELS
https://www.nzqa.govt.nz/ncea/subjects/visual-arts/selection-of-artist-models/selection-of-photography-models/
SCULPTURE ARTIST MODELS
https://www.nzqa.govt.nz/ncea/subjects/visual-arts/selection-of-artist-models/selection-of-sculpture-models/
Your process pages will be graded on Criteria A,B, C and D. The Studio work will be graded on Exhibition Criteria A.
Examiners notes:
drive.google.com/file/d/1DgI5HB-g9SSAtQc43BtKJ0pdSeHzQ9nP/view?usp=sharing
Developing theme. The focus this month is to create a work that references the last piece you made. This is the beginning of a series or sequence. Use the research and investigation of previous artists to develop this art work. You will need to draw and compose your image using the workbook. Work is due on the 10th January.
A useful approach is to study a range of artist models from which aspects of their practice can be adopted, modified, integrated and then synthesised with the methods and ideas of the students. This is appropriate in contemporary practice and provides opportunity for learning.
December
Developing skills and techniques through observation. Select artists works for future comparative study by having established and contemporary artists shape your inquiry.
Work starting in November is due. January 10th.
PAINTING ARTIST MODELS
www.nzqa.govt.nz/ncea/subjects/visual-arts/selection-of-artist-models/selection-of-painting-models/
PHOTOGRAPHY ARTIST MODELS
https://www.nzqa.govt.nz/ncea/subjects/visual-arts/selection-of-artist-models/selection-of-photography-models/
SCULPTURE ARTIST MODELS
https://www.nzqa.govt.nz/ncea/subjects/visual-arts/selection-of-artist-models/selection-of-sculpture-models/
Your process pages will be graded on Criteria A,B, C and D. The Studio work will be graded on Exhibition Criteria A.
Examiners notes:
drive.google.com/file/d/1DgI5HB-g9SSAtQc43BtKJ0pdSeHzQ9nP/view?usp=sharing
January
Studio work - create a series by building on what you have started. March Focus on 3D work. Create 1 finished piece. You may also wish to continue your theme development using your selected media. The focus on 3D will be to demonstrate process and manipulation of 3D media. Comparative Study
Follow the NIST google slides as a guide for the comparative study.
sites.google.com/view/nistibart/comparative-study Khao Yai Art trip |
February Personal theme, Artist investigation. Making links to culture, history and society. Create 1 finished piece. Due Feb 14th. Contribute to the workbook exhibition. Curate and present a showcase of process. Select theme and assign roles for the group. Process portfolio due end of the month 10-15 pages. |
Click on the link below to follow the tasks for the trip and for your task over the Feb break.
April
Digital workshop. Create 1 finished piece. SongKran holiday - working on comparative study.
May
Studio work and 20 process pages.
June
Comparative study. For HL, this assessment will be completed during this time. This will involve the exploration of three artworks based on artists that you are really motivated by. Therefore it is essential that you have been looking at artists locally, as well as contemporary and traditional artists from around the world.
Following this format, you will generate
11 Studio works (at least 6 should be considered suitable for exhibition).
25 Process Portfolio pages (these should be screen ready) You will create approx. 5 pages during assignments and 3 during workshops. These are your best, not all pages.
½ of the comparative study for HL students.
You will be working constantly and should only see the assessment dates as feedback opportunities.
April
Digital workshop. Create 1 finished piece. SongKran holiday - working on comparative study.
May
Studio work and 20 process pages.
June
Comparative study. For HL, this assessment will be completed during this time. This will involve the exploration of three artworks based on artists that you are really motivated by. Therefore it is essential that you have been looking at artists locally, as well as contemporary and traditional artists from around the world.
Following this format, you will generate
11 Studio works (at least 6 should be considered suitable for exhibition).
25 Process Portfolio pages (these should be screen ready) You will create approx. 5 pages during assignments and 3 during workshops. These are your best, not all pages.
½ of the comparative study for HL students.
You will be working constantly and should only see the assessment dates as feedback opportunities.
Artist: Zhang Hongtu
Identity Unit
Individual themes
Clay workshop
Printmaking workshop
Comparative Mock
- Exploring culture, defining culture
- Investigating artists
- Developing skills, techniques and processes
- Generating work through testing and experimenting with media
- Develop ways of working
Individual themes
- Extend understanding of culture, make cultural connections
- Look for both contemporary and established artists ( traditional)
- Extend skills, techniques and processes
- Generate own work and connect to media that students respond well to.
- Generate work that is thematically connected
- Generate work is different media, consider which form of media communicates their intentions the best
- Analyze and interpret artist models
Clay workshop
- Teaching skills, techniques and processes and have this documented in the process portfolio.
- Introducing a range of selected artists, showing different styles and approaches
- Explore contemporary and traditional forms of communication
- Develop artistic vocabulary
- Document learning of coil, pinch pot and slab techniques
Printmaking workshop
- Explore the history and cultural back ground of printmaking
- Explore and practice a range of techniques, methods and processes
- Document learning, testing and experimentation
- Explore traditional and contemporary printmaking artists
- Make connections and comparisons with methods, meaning and context
- Generate own work, making connections to established themes
Comparative Mock
- Explore two art works using critical analysis
- Generate one artist using the style of the other artist
- Investigate Zang Hongtu as the artist model for this progress
- Develop critical analysis
- Develop comparative observations
- Explore media and ways of working
- Make meaningful connections
- Analyze formal qualities
- Interpret the function and purpose of the work, considering the artists intentions
- Evaluate cultural significance
Unit 1 - Identity
David Hammons (American, born 1943)African-American FlagDate:1990Medium:Dyed cottonDimensions:56" x 7' 4" (142.2 x 223.5 cm)
American installation artist, performance artist and sculptor. He studied in Los Angeles at the Chouinard Art Institute and the Otis Art Institute before settling in New York in 1974. He first gained a reputation for his series of Body Prints in the early 1970s. Often resembling X-rays in their detail and translucency, they are direct imprints of the body made on paper with grease. Injustice Case (1973; Los Angeles, CA, Mus. Contemp. A.) is typical in dealing with a contemporary racial issue, with the American flag framing the image presented in opposition to cultural and racial stereotypes. Contemporaneous with these were the Spade series, which featured garden spades as defiant metaphors for his race, appropriating a derogatory term used by prejudiced whites. These served as a prelude to the found-object sculptures he began to make in the late 1970s from cheap and discarded items such as elephant dung, Afro hair, chicken bones, bottles and bags. Hammons justified his use of such non-art materials which marked a reaction against what he saw as ‘clean’ art, by pointing to the precedents of Dada, Outsider art and Arte Povera. It was these works that brought him greatest recognition. Pissed Off (1981; see 1990–91 exh. cat., pp. 84–5), a work which involved him urinating against a Richard Serra sculpture, also suggests his distaste for much formalist sculpture as devoid of content. Higher Goals (1986; see 1990–91 exh. cat., p. 49), erected in Cadman Plaza, Brooklyn, NY, was one of his many public commissions, and typical of his lyrical interventions in the urban landscape; the project involved turning enormous telegraph poles into basketball hoops and decorating them with abstract patterns made from bottle caps.
Morgan Falconer
From Grove Art Online
© 2009 Oxford University Press
Thornton Dial - LETTING HIS LIFE'S WORK DO THE TALKING
lowegallery.com/artists/thornton-dial/editorial.htm
John Pule - ODES OF A RESTLESS SPIRIT
artasiapacific.com/Magazine/67/OdesOfARestlessSpiritJohnPule
David Hammons (American, born 1943)African-American FlagDate:1990Medium:Dyed cottonDimensions:56" x 7' 4" (142.2 x 223.5 cm)
American installation artist, performance artist and sculptor. He studied in Los Angeles at the Chouinard Art Institute and the Otis Art Institute before settling in New York in 1974. He first gained a reputation for his series of Body Prints in the early 1970s. Often resembling X-rays in their detail and translucency, they are direct imprints of the body made on paper with grease. Injustice Case (1973; Los Angeles, CA, Mus. Contemp. A.) is typical in dealing with a contemporary racial issue, with the American flag framing the image presented in opposition to cultural and racial stereotypes. Contemporaneous with these were the Spade series, which featured garden spades as defiant metaphors for his race, appropriating a derogatory term used by prejudiced whites. These served as a prelude to the found-object sculptures he began to make in the late 1970s from cheap and discarded items such as elephant dung, Afro hair, chicken bones, bottles and bags. Hammons justified his use of such non-art materials which marked a reaction against what he saw as ‘clean’ art, by pointing to the precedents of Dada, Outsider art and Arte Povera. It was these works that brought him greatest recognition. Pissed Off (1981; see 1990–91 exh. cat., pp. 84–5), a work which involved him urinating against a Richard Serra sculpture, also suggests his distaste for much formalist sculpture as devoid of content. Higher Goals (1986; see 1990–91 exh. cat., p. 49), erected in Cadman Plaza, Brooklyn, NY, was one of his many public commissions, and typical of his lyrical interventions in the urban landscape; the project involved turning enormous telegraph poles into basketball hoops and decorating them with abstract patterns made from bottle caps.
Morgan Falconer
From Grove Art Online
© 2009 Oxford University Press
Thornton Dial - LETTING HIS LIFE'S WORK DO THE TALKING
lowegallery.com/artists/thornton-dial/editorial.htm
John Pule - ODES OF A RESTLESS SPIRIT
artasiapacific.com/Magazine/67/OdesOfARestlessSpiritJohnPule
Identity - Task sheet
Assessment for Identity project
Here are your grade boundaries - docs.google.com/spreadsheets/d/1TadNDa7KUR1ml_2Mdw1nIYKqX05CLo2mqOPIeHfTy1k/edit?usp=sharing
Potential artistic influences - Established Practise.
Nigel Brown
What makes Nigel Brown’s art practice so appealing is his direct and personal articulation of the realities of the human condition. He is profoundly aware of the relationship between human beings and their environment. In his hands symbolism is a powerful and evocative instrument.
Remains of the Day (1997) Acrylic on canvas 600 x 440mm
nigelbrown.co.nz/artcategory/work/#/artcategory/paintings-identity
What makes Nigel Brown’s art practice so appealing is his direct and personal articulation of the realities of the human condition. He is profoundly aware of the relationship between human beings and their environment. In his hands symbolism is a powerful and evocative instrument.
Remains of the Day (1997) Acrylic on canvas 600 x 440mm
nigelbrown.co.nz/artcategory/work/#/artcategory/paintings-identity
Useful web sites
www.juxtapoz.com/gallery/
http://hifructose.com/
http://www.lampukansanoh.com/
http://nuart09.blogspot.com/
http://hifructose.com/
http://www.lampukansanoh.com/
http://nuart09.blogspot.com/