YEAR 13 DIPLOMA ART
https://th-th.facebook.com/bangkokartmap
Visual arts
The visual arts are an integral part of everyday life, permeating all levels of human creativity, expression, communication and understanding. They range from traditional forms embedded in local and wider communities, societies and cultures, to the varied and divergent practices associated with new, emerging
and contemporary forms of visual language. They may have sociopolitical impact as well as ritual, spiritual, decorative and functional value; they can be persuasive and subversive in some instances, enlightening and uplifting in others. We celebrate the visual arts not only in the way we create images and objects, but also in the way we appreciate, enjoy, respect and respond to the practices of art-making by others from around the world. Theories and practices in visual arts are dynamic and ever-changing, and connect many areas of knowledge and human experience through individual and collaborative exploration, creative production
and critical interpretation.
The IB Diploma Programme visual arts course encourages students to challenge their own creative and cultural expectations and boundaries. It is a thought-provoking course in which students develop analytical skills in problem-solving and divergent thinking, while working towards technical proficiency and
confidence as art-makers. In addition to exploring and comparing visual arts from different perspectives and in different contexts, students are expected to engage in, experiment with and critically reflect upon a wide range of contemporary practices and media. The course is designed for students who want to go on to study visual arts in higher education as well as for those who are seeking lifelong enrichment through visual arts.
Supporting the International Baccalaureate mission statement and learner profile, the course encourages students to actively explore the visual arts within and across a variety of local, regional, national, international and intercultural contexts. Through inquiry, investigation, reflection and creative application,
visual arts students develop an appreciation for the expressive and aesthetic diversity in the world around them, becoming critically informed makers and consumers of visual culture.
Modern Art is Rubbish
“If it looks like rubbish it must be rubbish – right? Cleaners in art galleries seem to have made their own judgments in some cases.
Damien Hirst’s artwork (beer bottles, coffee cups and overflowing ash-trays) was thrown out in 2001, a bag of paper and cardboard by German artist Gustav Metzger was thrown out in 2004, and recently – in February 2014 – a cleaner in Southern Italy threw out works made out of newspaper and cardboard, and cookie pieces scattered across the floor (part of Sala Murat’s display).
Go cleaners!”
http://www.bbc.com/news/entertainment-arts-26270260
http://www.theguardian.com/artanddesign/artblog/2008/jun/13/modernartisrubbish
Critical Analysis
Critical Research in the Arts - This deals with the nature and value of art objects and experiences. It is concerned with identifying the clues within works that can be used to understand, judge, and defend judgments about those works. In turn, it allows students to incorporate their interpretations into their own works. There are 3 theories:
Step 1
Development of Theory
To begin criticism of the arts, make a list of all the things you see in the work. This step is meant to slow your pace. Slowing down helps you notice things you might otherwise miss. During this step you must be objective. In other words, give only the facts. Include a description the work, including elements of the genre.
Step 2
Research and Analysis
During step two you are still collecting facts. Now, however, you will pay attention to the elements and principles of each. You will research and study how the artist has used each.
Step 3
Interpretation
During step three, you have two questions to answer: "What is happening?" and "What is the artist trying to say?" You will interpret (explain or tell the meaning of) the work. How you interpret a work of art will depend on what you have done and seen in your life? However, your interpretation should be based upon the facts and clues you collected during the first two steps. Your interpretation can express your feelings, but your feelings must be backed up by observation and research.
Step 4
Judgment of Research
In step four you will judge whether or not the work succeeds or fails based on the theory you developed. This is the time to give your opinions. No one can ever tell you what to like or dislike. You must make up your own mind. To make a good judgment you need to be honest with yourself. You need to know why you feel the way you do.
Step 5
Application to Work
In step five you will apply your interpretation and judgment to produce your own work. This can take any artistic form (visual art, dance, music or electronic media)
Step 6
Analysis of Product
Art criticism will help you analyze your own works of art. The four steps of art criticism will help you be as honest and unbiased as possible. The analysis step will probably be the most useful. It will help you perceive how you have used the elements and principles of art. When you analyze your work you should find out why your work either needs improvement or is a total success.
How to Critique Works of Art (including visual arts, dance, music, plays and film)
Doing arts criticism is like playing detective. You must assume that the artist has a secret message hidden inside the work. Your job is to solve the mystery and find the message.
http://bcps.org/offices/lis/researchcourse/criticalart.html
Fantastic Resource
http://www.akrylic.com/
Critical Thinking?
Critical Research in the Arts - This deals with the nature and value of art objects and experiences. It is concerned with identifying the clues within works that can be used to understand, judge, and defend judgments about those works. In turn, it allows students to incorporate their interpretations into their own works. There are 3 theories:
- Imitationalism - places emphasis on the literal qualities. According to this theory, the most important thing about a work of art is the realistic representation of subject matter. A work is considered successful if it looks like and reminds the audience of what is seen in the real world.
- Emotionalism - places emphasis on the expressive qualities. According to this theory, the most important thing about a work of art is the vivid communication of moods, feelings, and ideas.
- Formalism - places emphasis on form — the structural qualities instead of either content or contextual qualities. According to this point of view, the most important thing about a work of art is the effective organization of the elements of art through the use of the principles of design.
Step 1
Development of Theory
To begin criticism of the arts, make a list of all the things you see in the work. This step is meant to slow your pace. Slowing down helps you notice things you might otherwise miss. During this step you must be objective. In other words, give only the facts. Include a description the work, including elements of the genre.
Step 2
Research and Analysis
During step two you are still collecting facts. Now, however, you will pay attention to the elements and principles of each. You will research and study how the artist has used each.
Step 3
Interpretation
During step three, you have two questions to answer: "What is happening?" and "What is the artist trying to say?" You will interpret (explain or tell the meaning of) the work. How you interpret a work of art will depend on what you have done and seen in your life? However, your interpretation should be based upon the facts and clues you collected during the first two steps. Your interpretation can express your feelings, but your feelings must be backed up by observation and research.
Step 4
Judgment of Research
In step four you will judge whether or not the work succeeds or fails based on the theory you developed. This is the time to give your opinions. No one can ever tell you what to like or dislike. You must make up your own mind. To make a good judgment you need to be honest with yourself. You need to know why you feel the way you do.
Step 5
Application to Work
In step five you will apply your interpretation and judgment to produce your own work. This can take any artistic form (visual art, dance, music or electronic media)
Step 6
Analysis of Product
Art criticism will help you analyze your own works of art. The four steps of art criticism will help you be as honest and unbiased as possible. The analysis step will probably be the most useful. It will help you perceive how you have used the elements and principles of art. When you analyze your work you should find out why your work either needs improvement or is a total success.
How to Critique Works of Art (including visual arts, dance, music, plays and film)
Doing arts criticism is like playing detective. You must assume that the artist has a secret message hidden inside the work. Your job is to solve the mystery and find the message.
http://bcps.org/offices/lis/researchcourse/criticalart.html
Fantastic Resource
http://www.akrylic.com/
Critical Thinking?
- http://www.criticalreading.com/critical_thinking.htm
- Critical thinkers are by nature skeptical. They approach texts with the same skepticism and suspicion as they approach spoken remarks.
- Critical thinkers are active, not passive. They ask questions and analyze. They consciously apply tactics and strategies to uncover meaning or assure their understanding.
- Critical thinkers do not take an egotistical view of the world. They are open to new ideas and perspectives. They are willing to challenge their beliefs and investigate competing evidence.
- They see things in black and white, as either-or, rather than recognizing a variety of possible understanding.
- They see questions as yes or no with no subtleties.
- They fail to see linkages and complexities.
- They fail to recognize related elements.
- They take their facts as the only relevant ones.
- They take their own perspective as the only sensible one.
- They take their goal as the only valid one.
GET A RIGGLE ON
Make studio work that ensures you are developing ideas, concepts and skills that link to the earlier work you have made.
Make work, not within the time frame of due dates, make work as you need to.
Ensure you are targeting the areas below.
Make work, not within the time frame of due dates, make work as you need to.
Ensure you are targeting the areas below.
Assessment
Grade Boundaries 2020 - 2021
Exhibition - Studio work |
When you submit work for due dates, you will submit everything you have done. You submit a body of work and your screens. September 25th is your first milestone and you should have 15 screens. The minimum expectation is 4 new screens per month from here on in.
You should have 8-11 resolved studio works by the end of January. |
Exhibition - Body of work. Graded out of 27
1= 1 - 2
2 = 3 -7
3 = 8 -12
4 = 13 - 17
5 = 18 - 21
6 = 22 - 24
7 = 25 - 27
1= 1 - 2
2 = 3 -7
3 = 8 -12
4 = 13 - 17
5 = 18 - 21
6 = 22 - 24
7 = 25 - 27
Process Portfolio
Wood Cut unit - addressing Culture and History
Use to create Process Portfolio pages.
woodblock_printing.docx | |
File Size: | 1486 kb |
File Type: | docx |
Structuring the process portfolio - Due April 1st
Students will have pursued their own interests, ideas and strengths, and their submitted work should highlight the key milestones in this journey. The submission may come from scanned pages, photographs or digital files. The process portfolio screens may take a variety of forms, such as sketches, images, digital drawings, photographs or text. While there is no limit to the number of items students may wish to include on each screen, students should be reminded that overcrowded or illegible materials may result in examiners being unable to interpret and understand their intentions.
The selected screens should evidence a sustained inquiry into the techniques the student has used for making art, the way in which they have experimented, explored, manipulated and refined materials, technologies and techniques and how these have been applied to developing work. Students should show where they have made independent decisions about the choices of media, form and purpose that are appropriate to their intentions. The portfolio should communicate their investigation, development of ideas and artworks and evidence a synthesis
of ideas and media. This process will have inevitably resulted in both resolved and unresolved artworks and candidates should consider their successes and failures as equally valuable learning experiences.
Examiners are looking to reward evidence of the following:
sustained experimentation and manipulation of a variety of media and techniques and an ability to select art-making materials and media appropriate to stated intentions
sustained working that has been informed by critical investigation of artists, artworks and artistic genres and evidence of how these have influenced and impacted own practice
how initial ideas and intentions have been formed and how connections have been made between skills, chosen media and ideas
how ideas, skills, processes and techniques are reviewed and refined along with reflection on the acquisition of skills and analysis of development as a visual artist
how the submitted screens are clearly and coherently presented with competent and consistent use of appropriate subject-specific language.
Students must ensure that their work makes effective use of appropriate subject-specific language.
Please see example of Curatorial Practice below
Students will have pursued their own interests, ideas and strengths, and their submitted work should highlight the key milestones in this journey. The submission may come from scanned pages, photographs or digital files. The process portfolio screens may take a variety of forms, such as sketches, images, digital drawings, photographs or text. While there is no limit to the number of items students may wish to include on each screen, students should be reminded that overcrowded or illegible materials may result in examiners being unable to interpret and understand their intentions.
The selected screens should evidence a sustained inquiry into the techniques the student has used for making art, the way in which they have experimented, explored, manipulated and refined materials, technologies and techniques and how these have been applied to developing work. Students should show where they have made independent decisions about the choices of media, form and purpose that are appropriate to their intentions. The portfolio should communicate their investigation, development of ideas and artworks and evidence a synthesis
of ideas and media. This process will have inevitably resulted in both resolved and unresolved artworks and candidates should consider their successes and failures as equally valuable learning experiences.
Examiners are looking to reward evidence of the following:
sustained experimentation and manipulation of a variety of media and techniques and an ability to select art-making materials and media appropriate to stated intentions
sustained working that has been informed by critical investigation of artists, artworks and artistic genres and evidence of how these have influenced and impacted own practice
how initial ideas and intentions have been formed and how connections have been made between skills, chosen media and ideas
how ideas, skills, processes and techniques are reviewed and refined along with reflection on the acquisition of skills and analysis of development as a visual artist
how the submitted screens are clearly and coherently presented with competent and consistent use of appropriate subject-specific language.
Students must ensure that their work makes effective use of appropriate subject-specific language.
Please see example of Curatorial Practice below
What is addressed in the Rationale? Discuss these questions before writing.
· What media do you work with? What interests you about work of this type?
· What themes, concerns and ideas have you have explored in this work?
· Is there a relationship between the media you use and the ideas that you work with?
· What outside interests, artists, encounters or experiences have influenced your work?
· What ties your individual pieces of work together into a cohesive body of work?
· Is there an ‘intention' behind the work; what do you want the work to achieve?
· How do you want your audience to experience it?
· How have your methods of display (how the work is arranged and presented) contributed to the viewer's experience? ·
What is your vision for presenting this body of work (imagine you could have any possible space or display method)?
· What media do you work with? What interests you about work of this type?
· What themes, concerns and ideas have you have explored in this work?
· Is there a relationship between the media you use and the ideas that you work with?
· What outside interests, artists, encounters or experiences have influenced your work?
· What ties your individual pieces of work together into a cohesive body of work?
· Is there an ‘intention' behind the work; what do you want the work to achieve?
· How do you want your audience to experience it?
· How have your methods of display (how the work is arranged and presented) contributed to the viewer's experience? ·
What is your vision for presenting this body of work (imagine you could have any possible space or display method)?
Be clear and direct in your language, don't try to appear clever or dress it up with superlatives and grand claims. Accuracy and honesty will make a much better impression! Describe what you see, refer to physical and material qualities of the work as well as conceptual. Stick to the subject and don't digress into wider philosophical concepts unless they are clearly relevant to your work.
Assignment-
Look at the example closely. Please notice the text that goes along with each image.
You can write 700 words as your rationale. (but you don't have to write that much). You may not be able to do this until you have chosen the works for your exhibit.
1. 700 word curatorial rationale
Here is what the IB Diploma Guide says about the Curatorial Rationale:
Exhibition text (500 characters maximum per artwork)
Each submitted artwork should be supported by exhibition text which outlines the title, medium and size of the artwork. The exhibition text should also include a brief outline of the original intentions of the work (500 characters maximum per artwork). The exhibition text should contain reference to any sources which have influenced the individual piece. Students should indicate if objects are self-made, found or purchased within the “medium” section of the exhibition text, where applicable. Where students are deliberately appropriating another artist’s image as a valid part of their art-making intentions, the exhibition text must acknowledge the source of the original image.
2. Process Portfolio. Refined and reviewed based upon teacher feedback - 18 screens HL.
3. Documentation of work: 500 character caption for each piece - in this format:
Image Title 500 character explanation
4. Any more studio works that you have completed: Remember 11 pieces by Feb 1 is your goal.
Look at the example closely. Please notice the text that goes along with each image.
You can write 700 words as your rationale. (but you don't have to write that much). You may not be able to do this until you have chosen the works for your exhibit.
1. 700 word curatorial rationale
Here is what the IB Diploma Guide says about the Curatorial Rationale:
Exhibition text (500 characters maximum per artwork)
Each submitted artwork should be supported by exhibition text which outlines the title, medium and size of the artwork. The exhibition text should also include a brief outline of the original intentions of the work (500 characters maximum per artwork). The exhibition text should contain reference to any sources which have influenced the individual piece. Students should indicate if objects are self-made, found or purchased within the “medium” section of the exhibition text, where applicable. Where students are deliberately appropriating another artist’s image as a valid part of their art-making intentions, the exhibition text must acknowledge the source of the original image.
2. Process Portfolio. Refined and reviewed based upon teacher feedback - 18 screens HL.
3. Documentation of work: 500 character caption for each piece - in this format:
Image Title 500 character explanation
4. Any more studio works that you have completed: Remember 11 pieces by Feb 1 is your goal.
Final Exhibition -
Comparative Study - Due April
aom_toolkit_mac.zip | |
File Size: | 1433 kb |
File Type: | zip |
CS Student examples
Student sample
https://docs.google.com/presentation/d/1auI4-xCASbSvuYROY5M53aoHmR6yh-CGw3GTVOLJ05s/edit?usp=sharing
https://docs.google.com/presentation/d/1auI4-xCASbSvuYROY5M53aoHmR6yh-CGw3GTVOLJ05s/edit?usp=sharing