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VCE Art Units 1–4: 2017–2021 ADVICE FOR TEACHERS

Authorised and published by the Victorian Curriculum and Assessment AuthorityLevel 1, 2 Lonsdale StreetMelbourne VIC 3000

ISBN: 978-1-925264-42-5

© Victorian Curriculum and Assessment Authority 2016

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ContentsIntroduction......................................................................................................................................4

Administration..................................................................................................................................4

Developing a course........................................................................................................................4Employability skills..........................................................................................................................5Resources......................................................................................................................................6

Assessment......................................................................................................................................6Scope of tasks................................................................................................................................7

Units 1 and 2..................................................................................................................................8Units 3 and 4..................................................................................................................................8

Authentication................................................................................................................................10

Learning activities..........................................................................................................................11Unit 1: Artworks, experience and meaning...................................................................................11Unit 2: Artworks and contemporary culture..................................................................................17

Unit 3: Artworks, ideas and values...............................................................................................22Sample approach to developing an assessment task......................................................28

Unit 4: Artworks, ideas and viewpoints.........................................................................................30Sample approach to developing an assessment task......................................................36

Performance Descriptors..............................................................................................................38

Appendix 1: Employability skills..................................................................................................40

Appendix 2: Examples of artworks for thematic study..............................................................41

Appendix 3: Online resources......................................................................................................43

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IntroductionThe VCE Art Advice for teachers handbook provides curriculum and assessment advice for Units 1 to 4. It contains advice for developing a course with examples of teaching and learning activities and resources for each unit. Assessment information is provided for school-based assessment in Units 3 and 4 and advice for teachers on how to construct assessment tasks with suggested performance descriptors and rubrics.

The course developed and delivered to students must be in accordance with the VCE Art Study Design 2016–2021.

AdministrationAdvice on matters related to the administration of Victorian Certificate of Education (VCE) assessment is published annually in the VCE and VCAL Administrative Handbook. Updates to matters related to the administration of VCE assessment are published in the VCAA Bulletin.

Teachers must refer to these publications for current advice.

VCE Art Study Design examination specifications, past examination papers and corresponding examination reports can be accessed at: www.vcaa.vic.edu.au/Pages/vce/studies/art/exams.aspx

Graded Distributions for Graded Assessment can be accessed at www.vcaa.vic.edu.au/Pages/research.aspx

Developing a courseA course outlines the nature and sequence of teaching and learning necessary for students to demonstrate achievement of the set of outcomes for a unit. The areas of study describe the learning context and the knowledge and skills required for the demonstration of each outcome.

Teachers must develop courses that include appropriate learning activities to enable students to develop the knowledge and skills identified in the outcomes in each unit.

Students should be encouraged to view artworks from a broad range of periods and cultures and experiment with a wide range of materials, techniques and processes. The study encourages teachers to take their students out of the classroom environment and inform their art making through visits to galleries and studios, and through experience working with practising artists, curators, critics and art historians.

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http://www.vcaa.vic.edu.au/Pages/research.aspx

http://www.vcaa.vic.edu.au/Pages/vce/studies/art/exams.aspx

http://www.vcaa.vic.edu.au/Pages/correspondence/index.aspx#bulletin


http://www.vcaa.vic.edu.au/Pages/schooladmin/index.aspx

http://www.vcaa.vic.edu.au/Pages/vce/studies/art/artindex.aspx



Visual diary

A visual diary is used to record and document artistic practice. It can be created using different forms of presentation. Students should be encouraged to use formats that suit their working method and the body of work that they are producing. Any of the following individually or in combination could be used: document boxes, sketchbook, bound or clipped together sheets, or portfolios.

The processes in the visual diary show how students have thoughtfully repeated and adapted earlier work, leading to versions of works that they then evaluate and refine using the Analytical Frameworks. It is important that students record their thinking in real time.

The visual diary encompasses key components of exploration, experimentation, development, refinement and resolution of the ideas, concepts, directions, use of art elements and principles, application of skills, materials and techniques and the emergence of a personal style of working. Therefore, it is important that teachers create courses that provide opportunities for students to sequentially work through these aspects of the art process.

Art terminology for use in the Structural Framework

Teaching approaches and practices need to encompass art terminology that supports practical and theoretical outcomes. Teachers should focus on building knowledge of the art elements, including line, colour, tone, texture, shape, form, sound, space, light and time and the art principles, including emphasis (focal point), balance, movement, unity, variety, contrast, rhythm, repetition, (pattern), scale, proportion and space and their use in annotation.

Sourcing and using commentaries

While the use of commentaries (or viewpoints) is specified in Unit 4 Outcome 1, their use can help guide, inspire, provoke or direct student learning throughout the study. Students could use commentaries to support or enrich their personal opinions.

Teachers should ensure that when students select commentaries, they are taking into account the authoritative nature of the source (such as who the author is and how informed they are). Students need to identify the artist, writer and/or publication (printed or digital) and ensure accurate and appropriate citing. The internet can be a valuable tool for locating sources such as gallery websites, media interviews, blogs and articles.

Employability skillsThe VCE Art study provides students with the opportunity to engage in a range of learning activities. In addition to demonstrating their understanding and mastery of the content and skills specific to the study, students may also develop employability skills through their learning activities.

The nationally agreed employability skills are: Communication; Planning and organising; Teamwork; Problem solving; Self-management; Initiative and enterprise; Technology; and Learning.

The table links those facets that may be understood and applied in a school or non-employment related setting, to the types of assessment commonly undertaken within the VCE study.

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ResourcesA list of resources is published online on the VCAA website and is updated annually. The list includes teaching, learning and assessment resources, contact details for subject associations and professional organisations.

AssessmentAssessment is an integral part of teaching and learning. At the senior secondary level it:

identifies opportunities for further learning describes student achievement articulates and maintains standards provides the basis for the award of a certificate.

As part of VCE studies, assessment tasks enable:

the demonstration of the achievement of an outcome or set of outcomes for satisfactory completion of a unit

judgment and reporting of a level of achievement for school-based assessments at Units 3 and 4.

The following are the principles that underpin all VCE assessment practices. These are extracted from the VCAA Principles and guidelines for the development and review of VCE Studies published on the VCAA website.

VCE assessment will be valid

This means that it will enable judgments to be made about demonstration of the outcomes and levels of achievement on assessment tasks fairly, in a balanced way and without adverse effects on the curriculum or for the education system. The overarching concept of validity is elaborated as follows.

VCE assessment should be fair and reasonable

Assessment should be acceptable to stakeholders including students, schools, government and the community. The system for assessing the progress and achievement of students must be accessible, effective, equitable, reasonable and transparent.

The curriculum content to be assessed must be explicitly described to teachers in each study design and related VCAA documents. Assessment instruments should not assess learning that is outside the scope of a study design.Each assessment instrument (for example, examination, assignment, test, project, practical, oral, performance, portfolio, presentation or observational schedule) should give students clear instructions. It should be administered under conditions (degree of supervision, access to resources, notice and duration) that are substantially the same for all students undertaking that assessment.

Authentication and school moderation of assessment and the processes of external review and statistical moderation are to ensure that assessment results are fair and comparable across the student cohort for that study.

© VCAA 2016

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VCE assessment should be equitable

Assessment instruments should neither privilege nor disadvantage certain groups of students or exclude others on the basis of gender, culture, linguistic background, physical disability, socioeconomic status and geographical location.Assessment instruments should be designed so that, under the same or similar conditions, they provide consistent information about student performance. This may be the case when, for example, alternatives are offered at the same time for assessment of an outcome (which could be based on a choice of context) or at a different time due to a student’s absence.

VCE assessment will be balanced

The set of assessment instruments used in a VCE study will be designed to provide a range of opportunities for a student to demonstrate in different contexts and modes the knowledge, skills, understanding and capacities set out in the curriculum. This assessment will also provide the opportunity for students to demonstrate different levels of achievement specified by suitable criteria, descriptors, rubrics or marking schemes.Judgment about student level of achievement should be based on the results from a variety of practical and theoretical situations and contexts relevant to a study. Students may be required to respond in written, oral, performance, product, folio, multimedia or other suitable modes as applicable to the distinctive nature of a study or group of related studies.

VCE assessment will be efficient

The minimum number of assessments for teachers and assessors to make a robust judgment about each student’s progress and learning will be set out in the study design. Each assessment instrument must balance the demands of precision with those of efficiency. Assessment should not generate workload and/or stress that unduly diminish the performance of students under fair and reasonable circumstances.

Scope of tasksFor Units 1–4 in all VCE studies assessment tasks must be a part of the regular teaching and learning program and must not unduly add to the workload associated with that program. They must be completed mainly in class and within a limited timeframe.

Points to consider in developing an assessment task:

1. List the key knowledge and key skills.

2. Choose the assessment task type from the range of options listed in the study design. It is possible for students in the same class to undertake different options; however, teachers must ensure that the tasks are comparable in scope and demand.

3. Identify the qualities and characteristics that you are looking for in a student response and design the criteria and a marking scheme.

4. Identify the nature and sequence of teaching and learning activities to cover the key knowledge and key skills outlined in the study design and provide for different learning styles.

5. Decide the most appropriate time to set the task. This decision is the result of several considerations including:

the estimated time it will take to cover the key knowledge and key skills for the outcome

the possible need to provide a practice, indicative task the likely length of time required for students to complete the task

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when tasks are being conducted in other studies and the workload implications for students.

Units 1 and 2 The student’s level of achievement in Units 1 and 2 is a matter for school decision. Assessments of levels of achievement for these units will not be reported to the VCAA. Schools may choose to report levels of achievement using grades, descriptive statements or other indicators.

In each VCE study at Units 1 and 2, teachers determine the assessment tasks to be used for each outcome in accordance with the study design.

Teachers should select a variety of assessment tasks for their program to reflect the key knowledge and key skills being assessed and to provide for different learning styles. Tasks do not have to be lengthy to make a decision about student demonstration of achievement of an outcome.

A number of options are provided in each study design to encourage use of a broad range of assessment activities. Teachers can exercise great flexibility when devising assessment tasks at this level, within the parameters of the study design.

Note that more than one assessment task can be used to assess satisfactory completion of each outcome in the units.

There is no requirement to teach the areas of study in the order in which they appear in the units in the study design.

Units 3 and 4The VCAA supervises the assessment for levels of achievement of all students undertaking Units 3 and 4.

There are two forms of school-based assessment for VCE Art: School-assessed Coursework (SAC) and the School-assessed Task (SAT).

School–assessed Coursework

A SAC is selected from the prescribed list of assessment tasks designated for that outcome in the study design. A mark allocation is prescribed for each SAC. Teachers may develop their own marking schemes and rubrics or may use the performance descriptors.The VCE and VCAL Administrative Handbook provides more detailed information about School-assessed Coursework.

School-assessed Task

A SAT is a mandated task prescribed in the study design. The SAT is assessed using prescribed assessment criteria and accompanying performance descriptors published annually on the relevant study page on the VCAA website. Notification of their publication is given in the February VCAA Bulletin. Teachers will provide to the VCAA a score against each criterion that represents an assessment of the student’s level of performance. Details of authentication requirements and administrative arrangements for School-assessed Tasks are published annually in the current year’s VCE and VCAL Administrative Handbook.

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In VCE Art the student’s level of achievement will be determined by School-assessed Coursework, a School-assessed Task and an end-of-year examination. The VCAA will report the student’s level of performance as a grade from A+ to E or UG (ungraded) for each of three Graded Assessment components: Units 3 and 4 School-assessed Coursework, Units 3 and 4 School-assessed Task and the end-of-year examination.

In Units 3 and 4 school-based assessment provides the VCAA with two judgments:

S (satisfactory) or N (not satisfactory) for each outcome and for the unit; and levels of achievement determined through specified assessment tasks prescribed for each outcome.

School-based assessment provides teachers with the opportunity to:

select from the designated assessment task/s in the study design develop and administer their own assessment program for their students monitor the progress and work of their students provide important feedback to the student gather information about the teaching program.

Teachers should design an assessment task that is representative of the key knowledge and key skills underpinning the outcome, and allows students the opportunity to demonstrate the highest level of performance. It is important that students know what is expected of them in an assessment task. This means providing students with advice about the outcome’s key knowledge and key skills to be assessed. Students should know in advance how and when they are going to be assessed and the conditions under which they will be assessed.

School-based assessment should be part of the teaching and learning program. For each assessment students should be provided with the:

type of assessment task as listed in the study design and approximate date for completion

time allowed for the task allocation of marks nature of any materials they can utilise when completing the task information about the relationship between the task and learning activities.

Following an assessment:

teachers can use the performance of their students to evaluate the teaching and learning program

a topic may need to be carefully revised prior to the end of the unit to ensure students fully understand the key knowledge and key skills required in preparation for the end-of-year examination

feedback to students will provide them with important advice about which aspect or aspects of the key knowledge they need to learn and in which key skills they need more practice.

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AuthenticationTeachers should have in place strategies for ensuring that work submitted for assessment is the student’s own. Where aspects of tasks for school-based assessment are completed outside class time teachers must monitor and record each student’s progress through to completion. This requires regular sightings of the work by the teacher and the keeping of records. The teacher may consider it appropriate to ask the student to demonstrate his/her understanding of the task at the time of submission of the work.

If any part of the work cannot be authenticated, then the matter should be dealt with as a breach of rules. To reduce the possibility of authentication problems arising, or being difficult to resolve, the following strategies are useful:

Ensure that tasks are kept secure prior to administration, to avoid unauthorised release to students and compromising the assessment. They should not be sent by mail or electronically without due care.

Ensure that a significant amount of classroom time is spent on the task so that the teacher is familiar with each student’s work and can regularly monitor and discuss aspects of the work with the student.

Ensure that students document the specific development stages of work, starting with an early part of the task such as topic choice, list of resources and/or preliminary research.

Filing of copies of each student’s work at given stages in its development. Regular rotation of topics from year to year to ensure that students are unable to use

student work from the previous year. Where there is more than one class of a particular study in the school, the VCAA expects

the school to apply internal moderation/cross-marking procedures to ensure consistency of assessment between teachers. Teachers are advised to apply the same approach to authentication and record-keeping, as cross-marking sometimes reveals possible breaches of authentication. Early liaison on topics, and sharing of draft student work between teachers, enables earlier identification of possible authentication problems and the implementation of appropriate action.

Encourage students to acknowledge tutors, if they have them, and to discuss and show the work done with tutors. Ideally, liaison between the class teacher and the tutor can provide the maximum benefit for the student and ensure that the tutor is aware of the authentication requirements. Similar advice applies if students receive regular help from a family member.

For the School-assessed Task, the Authentication Record Form should be filled out, documenting each step of the Art process.

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Learning activities

Unit 1: Artworks, experience and meaningArea of Study 1: Artworks and meaning

Outcome 1: Examples of learning activitiesAnalyse and interpret a variety of artworks using the Structural Framework and the Personal Framework.

using the work of three artists, students work together to produce a documentary that explains the composition, technique and style of each work and outlines how each artwork relates to each artist’s life

discuss the relationship between structural aspects of the work of Chuck Close, Salvador Dali; Andy Warhol and John Baldessari and their personal philosophy and/or experiences

self-portraiture has been described as an artist’s ‘inner dialogue’; students discuss this statement by analysing and interpreting the work of Rembrandt van Rijn, Francis Bacon and Cindy Sherman; the response should use the Structural and Personal Frameworks and draw on at least three art sources

using the Structural and Personal Frameworks students examine one work by each of the following three artists: one of Ben Quilty’s ‘Car Paintings’; either Robin Rhode’s ‘BMW-24’ or ‘Expression of Joy’; and Patricia Piccinini’s ‘Sandman Series’ or one of her ‘Car Nuggets’

visit an exhibition of an artist’s new work; as a class, and using a collaborative approach apply the Structural and Personal Frameworks to develop a review of the show; submit the review to either the gallery’s blog or to a class blog and discuss the comments it receives

use commentary statements or quotations as prompts for a writing task; e.g. ‘Art is not about the visible it’s about the invisible world. It’s about the things you cannot see brought into the domain of seeing’ Bill Viola; respond to the statement/s using the Structural and Personal Frameworks to interpret TWO artworks

as a preparatory task present questions on selected artists/artworks that draw on knowledge and skills using the Structural and Personal Frameworks

provide textual information from resources such as articles, books or the internet; from the information, students create a set of questions that build on their knowledge of the artists/artworks before starting a major writing task

use a structured worksheet based on the Structural and Personal Frameworks that outlines key discussion points required in preparation for a major writing task such as an extended response; prepare a checklist of the specific requirements of the major writing task

using the Structural and the Personal Frameworks, discuss the ways in which artists have emotionally responded to the theme of death, dying and grief as a central theme in their artworks

respond to the following issues and questions: discuss the use of ideas of self in the artworks discuss the personal meanings intended by each artist in selected

artworks discuss how the selected artist has responded personally to a subject in

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their artwork use the Personal Framework to provide an interpretation of the artwork

selected; consider the following key aspects in the discussion: subject matter, art elements and art principles, materials, techniques, processes and style; how have these aspects contributed to how the artist has personally conveyed meanings and messages in the artwork?

discuss the ways in which artists have captured their emotive state of mind through the use of self-portraiture; use the Structural and Personal Frameworks to interpret and analyse one artwork from each of the two artists selected

discuss the way in which artists have used their personal life experience as subject matter for their artworks

discuss the personal symbolism used in artworks; consider the way in which the artist has represented events of personal significance through the use of subject matter, art elements and art principles and the use of materials and techniques

using the Structural and Personal Frameworks, explain how the dreamlike compositions of selected artworks reflects the way the artists have expressed the unconcious

use the Structural and Personal Framework to provide an interpretation of a selected artwork in terms of the following: subject matter/content/ideas and concepts, use of art elements and art principles, selection of materials, application of techniques and methods to create stylistic qualities; in the interpretation include references to other commentaries about the artwork; cite accurately

discuss a range of artworks using the Structural and Personal Frameworks in terms of other commentaries and student viewpoints

use the Personal Framework to interpret an artwork; reference the artwork considering all of the key aspects of subject matter, meaning and messages main art elements and principles materials, techniques and style consider the way in which each aspect has been used personally in the

artwork what is the artist communicating personally?

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Detailed example

Artist’s selection and use of structural aspects are influenced by their personal experiences and ideas. Use the Structural and Personal Frameworks to study the following works by artists Chuck Close, Andy Warhol and John Baldessari. Chuck Close, ‘Self Portrait.’ [2014] 84 colour woodcut. Andy Warhol, ‘Debbie Harry’ [1980]. John Baldessari, ‘Eyes and Ears Etc.: The Gemini Series’ [2006].The Structural Framework provides starting points for studying a work’s structural, stylistic and symbolic qualities, such as: ‘How have the art elements and art principles been applied by the artist and to what effect?’ ‘What materials, techniques and processes have been used?’Chuck Close ‘Self Portrait’ – an example analysisComposed of a patchwork of diamond shapes each rippling with a complementary selection of some of the work’s 84 colours, Close’s head crowds the canvas. Among the palette of tints of muted peach and lilac hues, he uses patches of pure French blue to emphasise his eyes, and uses the contrast of the suggested circular shape of his irises against the work’s diagonals.Drawn to the discipline of printing since early in his career, this shows his mastery of the technique of Japanese Ukiyo-e (literally ‘pictures of the floating world’) woodcut. Working up from an initial photograph, Close uses numerous watercolour and pencil sketches to plan out not only the composition, but also to map the process. The process required Close to separate the image into eight plates – each plate was then coloured with up to 20 different hues. Despite the planning, the complexity of the techniques requires the artist’s entire energies.The Personal Framework provides starting points for studying the work’s relationship to the artist’s experiences, feelings, thinking and/or personal philosophy, such as: ‘What are the symbols or metaphors explored or tilized in this work that contribute to the meanings and

messages?’ ‘Has the artist used a specific practice in creating the work that may reflect their personal philosophy or

ideas?’Close’s choice of colour, tone, technique achieves a fragile realism in this self-portrait that in combination with subject matter conveys much about his personal experiences and philosophies. Unable to recognise faces in real life, Close discovered early in life that they became recognisable when translated onto a flat surface. Seen at a distance the work’s pools of colour merge into an image of the aged artist staring as if he is trying to comprehend the audience. The obstacle to quick recognition, due to the work’s patchwork pointillist appearance, provides the audience with some insight into the artist’s experience. Created using a labour intensive traditional printmaking technique, requiring intensive planning and preparation, the technique not only reflects Close’s obsessively hands-on approach to art making, it also mirrors the struggles required for him to succeed in life.ResourcesArtist backgroundFrom childhood Chuck Close has coped with conditions such as dyslexia and prosopagnosia (face blindness). Despite being doubted by many teachers at school, through hard work, he not only graduated from High School, but went on to post-graduate study at Yale University.Artist quotations as an indication of personal philosophies: ‘Ease is the enemy of the artist.’ – Chuck Close ‘A face is a road map of someone's life. Without any need to amplify that or draw attention to it, there's a

great deal that's communicated about who this person is and what their life experiences have been.’ – Chuck Close

Artworks and website referencesChuck Close, ‘Self Portrait.’ [2014] 84 colour woodcut. The use of Grid: www.youtube.com/watch?v=_e-p5M0vhZI%20

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http://www.youtube.com/watch?v=_e-p5M0vhZI%20


Woodcut Process: http://chuckclose.coe.uh.edu/process/emma.htm Conversation with Close: http://library.fora.tv/2009/07/01/In_Conversation_with_Chuck_CloseAndy Warhol, ‘Debbie Harry.’ [1980]. Article: http://artdaily.com/index.asp?int_sec=11&int_new=48524&int_modo=2#.VpnJE7Z97Dc Modern Masters series www.youtube.com/watch?v=q9AGox-iP60John Baldessari, ‘Eyes and Ears Etc.: The Gemini Series’ [2006]. www.theartstory.org/artist-baldessari-john.htm www.theartstory.org/artist-baldessari-john-artworks.htm#pnt_6 www.artinamericamagazine.com/news-features/magazine/john-baldessari/

Area of Study 2: Art making and meaning

Outcome 2: Examples of learning activities

Use the art process to create visual responses that demonstrate their personal interests and ideas.

keep a visual diary or journal for a week; in it, record doodles, observations (photographed, drawn or written), and snippets from the media; evaluate and select imagery and explore using the style and technical processes of either John Wolseley or William Kentridge

collect personal digital images that document personal philosophy; consider the symbolic meanings of a range of materials and either dry or wet mediums, looking for relationships between these and personal philosophy; produce a series of composition studies exploring contrast and unity

use the art process to reinterpret a classic artwork to convey an episode from everyday life; use visual language and iteration to develop technique

study the works of Laure Prouvost and Ellen Gallagher; use a collaborative approach and experimentation with found objects to develop possible concepts for a diorama documenting student and family; record the process digitally and publish on a suitable website, e.g. Schoology, Stile, Vimeo, YouTube

explore subject matter through undertaking a figurative drawing task – use the expressionistic drawing style of the artist Egon Schiele as inspiration and trial a range of figurative drawings using a range of drawing methods to exaggerate and distort and to capture emotional expressions and body language; organise a life model and draw directly from life or take a series of photographs from which to draw; consider drawing approaches including continuous line, blind contour, using non writing hand and repetitive line drawing

using Edvard Munch’s painting ‘The Scream’ as inspiration, the student undertakes a series of portrait photographs of themselves, friends, family members or teachers screaming; capture the emotion through the art process and produce a series of visual solutions trialling different colour combinations, media and styles; art forms can be two dimensional or three dimensional

using Anne Ferran as a source of inspiration, create a range of visual responses using a personal object/s (it could be an historical artefact or a modern day article) which tells a personal story

undertake a ‘Who do you think You are?’ activity; work through the art process to explore self-identity, history, likes/dislikes, personal worlds/personal events

undertake a ‘How do we react’ activity; work through the art process to explore emotional responses to specific experiences that have been documented in the form of music, song lyrics, poetry, newspaper article, and personal writing;

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http://www.artinamericamagazine.com/news-features/magazine/john-baldessari/

http://www.theartstory.org/artist-baldessari-john-artworks.htm%23pnt_6

http://www.theartstory.org/artist-baldessari-john.htm

http://www.youtube.com/watch?v=q9AGox-iP60

http://artdaily.com/index.asp?int_sec=11&int_new=48524&int_modo=2%23.VpnJE7Z97Dc

http://library.fora.tv/2009/07/01/In_Conversation_with_Chuck_Clos

http://chuckclose.coe.uh.edu/process/emma.htm


the events could be political, social, cultural and environmental

Detailed example

‘Who do you think you are?’‘Who do you think you are?’ is a thematic unit that allows students to explore aspects of themselves, as a basis for their own art making.Mind-mapping is used at the onset of the task to establish the student’s thinking about their own personal identity, agendas and personas. Aspects to be considered include: the way you look, family, likes, dislikes, favourite things/objects, events, life experiences.Teacher could give students a list of practical tasks. The task could be teacher directed whereby set tasks are prescribed for students OR the teacher could allow students to make their own choice from a prepared list with a minimum of tasks to be completed within a given timeframe.The practical tasks listed can be starting points for students to work through the key components of the art process. Each tasks allows the students to: generate their own ideas and concepts research personal and artistic imagery investigate styles and working methods of other artists explore a range of materials, techniques and processes understand and apply the art elements and principles make reflective annotations that use art language and the Structural and Personal Frameworks.A range of materials, techniques and art forms may be determined by the teacher in the form of a prepared list or through class discussion.Suggested task list for students: Use specific artists’ techniques to create your own self-portrait. Consider a range of differing styles that suit

your persona. Use the National Portrait Gallery in Canberra and the Archibald Prize as sources of inspiration.

Create compositions about yourself, and then draw varying lines from straight to curved across the drawing to create interesting divisions.

Sketch a portrait of someone close to you and then divide the composition using a straight line. Apply different techniques or colours to each side.

Photograph aspects of ‘Who do you think you are?’ Print and cut up and rearrange to making interesting compositions.

Use photographic portrait images of yourself, family or friends. Place tracing paper over the images and using a fine liner create a mark making technique to create interesting effects.

Simplify, distort, elongate and exaggerate using a printed image of yourself, family member/s or a friend. Reflections – use a mirror to create self-portrait compositions. Texture and shadows – limit the elements in a composition. Sketch a number of drawings of where you live (consider differing viewpoints), what you see on the way to

school, inside your home (move from room to room). Construct a composition from a newspaper article or from the internet that you have a point of view about.

Grab a theme from today’s news and jot down some ideas as you might respond. Take a photo of yourself and use the cropping method to create a series of work. Using a side profile of a face, fill the space with your thoughts and feelings. Create a floating or moving

image. Vary the scale of the subject matter you are selecting. Find a group of personal objects to be used as subject matter. Create a range of compositions by re-

arranging the elements and presenting in a single form.

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Write a poem or a story about yourself and illustrate it or change a story that you like and reference yourself in it.

Select a word that has some significance to you and make it the focal point of work. Work in an abstract style to create an emotional event that you have experienced.Aspects of the art process may involve: Using a visual diary to document task instructions as a heading, e.g. Inspiration, materials and techniques. Creating a mind map or an ideas or concept page where lists are made recording thoughts on subject

matter/the model type, tools and equipment, art elements, inspirational artists/artworks. Selecting digital photography as the preferred art form to create image as subject matter for the task. Researching photographic artists (such as Cecil Beaton, Annie Liebovitz or David Lachappelle) who use

portraiture as their main subject matter and documenting evidence of types of styles, technical processes and working methods that can be explored in both a visual and written manner.

Selecting grandma or a family member as the subject/model. Planning a number of photo shoots; considering organisational arrangements in planning such things as

camera type, location, types of camera viewpoints, camera settings, lighting and backgrounds. Document evidence in the visual diary.

Printing out photo shoots as contact sheets using Adobe Bridge or an equivalent software and recording in the visual diary; circling selected shots and making reflective annotations that discuss aspects of the Structural and Personal Frameworks.

Selecting the four best photographs, to be opened in Adobe Photoshop and converted to black and white and saved.

Printing the four selected photographs on a larger scale for definition, and annotating aspects that have worked well and why.

Selecting one photograph to trial the method as outlined in the task instruction. Printing out to A4 size. Placing A4 tracing paper over the black and white photograph and adhering with removable tape.

Using a single fine liner or a range of sizes from fine to medium to large, and tracing the tonal areas using a broken line effect. Observing how the darker the tone, the closer the line work.

Photocopying the traced image onto white or coloured paper, acetate any other material that is suitable to be placed through the photocopier. Repeating this process to create a series of visual responses.

Further experimentation to create and develop a range of visual responses are to: Scan the photocopied image into Adobe Photoshop and use editing devices to create special effects Print the photocopied image in different size scales from very small miniatures to large-scale printing such

as A1 or A2. Prepare backgrounds using multimedia such as wet and dry mediums. Printing of the image to be used as

a layering technique. Using the photocopied image as subject matter in a variety of printmaking approaches such as lino or

etching. Using the image to create collage in both two- and three-dimensional forms. Drawing into and over the explored image to create interesting effects.

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Unit 2: Artworks and contemporary cultureArea of Study 1: Contemporary artworks and culture


Discuss and compare artworks from different cultures and times using the Cultural Framework and the Contemporary Framework.

use the Cultural and Contemporary Frameworks to study the influence of art from the past on the processes, subject matter and philosophies behind the works of contemporary artists Ron Mueck, Glenn Brown and Yinka Shonibare

use the Cultural and Contemporary Frameworks to explore a religious work by a Renaissance or Baroque artist and Enrique Martinez Celaya’s ‘The Wanderer’ Series

use the Cultural and Contemporary Frameworks to study works from the following contexts: art in Church/art in Gallery e.g. compare how altar-pieces are

experienced in Christian worship and in a public gallery an art gallery or a museum compared with artworks exhibited in public

spaces virtual space/art spaces online compared with art in actual/real life

physical spaces e.g. using the NGV website, study three works from their collection; arrange an excursion and view the works in-situ; use questionnaires to focus attention on aspects unavailable online, such as the surroundings and artwork surface; use these resources in preparing the report

using artworks from the past and the present discuss how two of the following have made an impact on art practice: the camera on the Impressionists, e.g. Juan Francisco Casas technology, e.g. use works by William Hogarth and interactive diaries to

compare and contrast the impact of printing in the 18th Century and the internet in the 21st Century on art

archaeology, e.g. research the impact of prehistoric Spanish artwork on Picasso and antiquities on the work of Stephanie Syjuco

colonialism, e.g. the impact on the work of Gauguin and the work of Jean Michel Basquiat

war, e.g. the impact on the work of Francisco Goya and George Gittoes study the working methods of a Renaissance master, Henri Matisse and

Damien Hirst compare how two artists have approached a particular theme; in your

discussion use the Cultural and Contemporary Frameworks to interpret and analyse the selected artworks

use the Cultural and the Contemporary Frameworks to discuss the different ways in which artists have responded to the depiction of (state the theme)

use statements or quotations as a basis for discussion or as a prompt for a piece of writing, e.g.: ‘Art by definition is the artist’s response to their culture.’ ( Nicholas

Senota, Director of the Tate in London) ‘Art is the very core of our society and artistic freedom is the key’ says

art writer John Marshall; use this statement in relation to beliefs, value systems, religion, political censorship/activism

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‘I believe that artists must continue the conquest of new territories and taboos.’ Norman Roseuthal Director of the Royal Academy of Arts; discuss the above statement in relation to the issue of animal rights

consider how contemporary artists use new media such as video and installation work to challenge the notion of traditional artworks such as painting and drawing; discuss with reference to a range of works using different techniques and ideas

use the Contemporary Framework to interpret the following artwork/s that use new media and technologies such as video, sound and light: subject/content presentation/location/scale participation of the viewer ideas/conceptual meaning intended by artist

respond to set questions on contemporary art; the questions can be related to one or more artworks describe the sound used in this artwork; how does the sound work with

other elements of the work? compare the presentation requirements of a site-specific contemporary

artwork with that of a traditional/historical artwork how would the viewer feel and react in the following interactive artwork?

research the following key aspects from the Cultural Framework in relation to artworks What aspects of the artwork reflect the culture in which it was made? Investigate the cultural and contemporary context of the artwork

Detailed example

Use the Cultural and Contemporary Analytical Frameworks discuss and compare the following works.Jean Michael Millet – ‘The Gleaners’ [1857]Tom Roberts – ‘The Shearing of the Rams’ [1890]Andy Goldsworthy – ‘Rowan Leaves Laid Round a Hole’ [1987]Céleste Boursier-Mougenot – ‘Clinamen’ [2013]Cultural FrameworkQuestions to consider: How does the placement or positioning of artworks affect their interpretation? How have the contexts of the artwork contributed to the work’s meaning? How have historical or contemporary events shaped the intention of the artist or our understanding of each

artwork’s meaning?The contexts of these works affect the interpretation and our understanding of each work. Millet’s and Robert’s depictions of men and women at work upset many of its viewers and provoked a more hostile reception than Goldsworthy’s or Boursier-Mougenot’s. In the nineteenth century the labour of common people was not seen as proper subject matter for artworks. Additionally, with the Paris uprisings of the poor and disenfranchised in 1848 still fresh in memories of ‘The Gleaner’s’ viewers, and Roberts responding and pandering to the growing sense of nationalism in Colonial Australia, both works carried unsettling political undertones for each society’s conservative elite. The more recent works by Goldsworthy and Boursier-Mougenot met with less controversy due to the more pluralist times in to which pieces were launched, their less narrative style and their use of

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simple and similar found objects with obscure political associations.Contemporary FrameworkConsider: How has the internet altered the ways these artworks are viewed and presented? How has the role of the audience changed when viewing and interpreting contemporary artworks?‘The Gleaners’ has been appropriated by artists like Banksy and Hadas Reshef. ‘Shearing the Rams’ has been appropriated by Dianne Jones. Compare how contemporary art ideas and issues have challenged traditional understandings of artworks and their significance.These works illustrate the changing role of the viewer in contemporary art. Robert’s and Millet’s works are experienced today very much as they have been for years. They feature in major public galleries and are studied in respectful silence among an ever-moving throng of people. Like the old works, Goldsworthy’s work demands the viewer’s gaze, the work’s ephemeral nature means the viewer can only imagine the work’s three-dimensional form through the few photographs Goldsworthy took of the work. Unlike the other works, Boursier-Mougenot’s piece of Process Art demands interaction. Before even seeing the work, the viewer hears wind chimes like bell tones. Enclosed by a square, ideal for sitting, the shiny white porcelain bowls of varying sizes swirl in a large aqua blue pool, different pitches accompanying each gentle knocking of one bowl into another. While the constituent pieces are unchanging, each viewer’s experience of the work is unique and determined by where they are seated, with whom they view it and the interplay of physical laws.First viewings ‘The Gleaners’ – The work was first shown at the French Academy Salon of 1857. It was reproduced as an

engraving. It is currently on display at Musee D’Orsay, Paris. ‘Shearing the Rams’ – Opposition from key figures in the NGV thwarted Robert’s intention to sell it to the

NGV. Sold to a stock and station agent, it was first displayed in the front window of the agents Little Collins Street offices. It is currently on display at the NGV’s Ian Potter Centre at Federation Square. In 2010 it featured on a $4 stamp issued by Australia Post.

‘Rowan Leaves Laid Around a Hole.’ installed at the Yorkshire Sculpture Park, UK. An ephemeral work, it exists only as images. Prints of these have been sold and it has been re-created using leaves from an American native tree in Storm King Park, USA, 2010.

‘Clinamen’ – commissioned for the NGV to coincide with the 2013 exhibition ‘Monet’s Garden.’ In 2016 the work was re-installed as a temporary exhibition. Videos of the work are available on YouTube.

Artwork linksJean Michael Millet – ‘The Gleaners’ [1857] www.youtube.com/watch?v=LP_-P7ZcWZU | The artwork and information: www.st-andrews.ac.uk/~waste/timeline/story-pic1.htmlTom Roberts – ‘The Shearing of the Rams’ [1890]Artwork and information: www.ngv.vic.gov.au/explore/collection/work/2920/ Artwork and information: www.ngv.vic.gov.au/essay/tom-robertss-shearing-the-rams-the-hidden-tradition/Andy Goldsworthy – ‘Rowan Leaves Laid Round a Hole.’ [1987] www.youtube.com/watch?v=LP_-P7ZcWZUCéleste Boursier-Mougenot – ‘Clinamen.’ [2013] Artwork: www.youtube.com/watch?v=RdCutpuUrX4 Information: www.ngv.vic.gov.au/essay/celeste-boursier-mougenot-clinamen/

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http://www.ngv.vic.gov.au/essay/celeste-boursier-mougenot-clinamen/

http://www.youtube.com/watch?v=RdCutpuUrX4

http://www.youtube.com/watch?v=LP_-P7ZcWZU

http://www.ngv.vic.gov.au/essay/tom-robertss-shearing-the-rams-the-hidden-tradition/

http://www.ngv.vic.gov.au/explore/collection/work/2920/

http://www.st-andrews.ac.uk/~waste/timeline/story-pic1.html

http://www.youtube.com/watch?v=LP_-P7ZcWZU


Area of Study 2: Art making and contemporary culture


Use the art process to produce at least one finished artwork that explores social and/or personal ideas or issues.

using the works of Andy Warhol as a starting point, examine an aspect of celebrity culture

using a mind map develop a concept around an area of personal interest, (e.g. social, environmental, political and/or economic issues); the resolved work should use visual language to convey the personal philosophy

using the works of Honore Daumier, Thomas Nast, George Grosz and Reg Mombassa as references explore the use of caricature/exaggeration to produce a work commenting on globalisation

consider collaboration, and use the Cultural and/or Contemporary Framework to critique each other’s work and respond to this feedback

make contact with another secondary school art class (national or international) and research issues that concern them, use this as the basis of artworks; share works and respond to feedback

research the cultural history of a ‘low art’ process/style and apply to a ‘high art’ theme; or do the converse

explore the use of exaggeration; reference a work from the past and use exaggeration to highlight its cultural bias or use of stereotypes

reinterpret work from the past to reflect a contemporary social issue the following list of themes could be considered:

social class – what does it mean? use the art process to create a series of artworks or one final artwork expressing personal views, thoughts and perspectives on this theme

beliefs, values and cultural upbringing – what have been the major influences on our lives to date?

a throwaway society – contemporary living is creating an unsustainable culture; society today just wants to discard and replace; collect a range of unwanted objects and explore the possibilities of recycling into art

travel – experiencing the world in which we live leaves life long memories; students select one of your journeys as an inspiration to make art

man-made meets the natural environment – create an artwork that uses both organic and manufactured materials

research an issue that is newsworthy and focuses on one of the following themes: social, cultural, political, and environmental; issues can be past or current.

Detailed example

‘A THROWAWAY SOCIETY’Contemporary living is creating an unsustainable culture. Society today just wants to discard and replace.How do you feel about this statement? Collect a range of unwanted objects and explore the possibility of recycling into art.

In this detailed example the teacher has set a cultural theme by using a statement as a prompt. Each student in the class will make a personal response by communicating their ideas and concepts by using the art process,

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visual language and the analytical frameworks. Discuss the statement with the class and share opinions and interpretations. Ask questions such as: What is contemporary living/life? How has living/life changed over the last fifty

years? Why has it changed in that time? What are the positive and negative aspects of contemporary living/life on the world in which we live? Are we a throwaway society? Why or Why not? Is there a cost?

Introduce the art process and visual language as important tools. They are required to be documented in both visual and written form in a visual diary culminating in at least one final artwork that reflects the set statement.

Students write a letter to the teacher expressing how they personally feel about the statement. Present contemporary artists that use recyclable materials to whole class for discussion. For example, Do

Ho Suh’s installation titled ‘Waste Not’, 2009. Present students with a choice between two types of throwaway materials that will form the basis or

starting point for the final artwork/s to be produced. One material is a range of small blocks of wood for two-dimensional ideas and concepts and another is garden wire that can be used for the construction of three-dimensional ideas and concepts.

Compile a material list after a class discussion; consider types of recyclable objects and materials that can be used with the wood or wire.

Teacher and students begin to collect recyclable objects or materials to share or for individual use, such as wool, buttons, bottle tops, lolly wrappers, shredded paper, plastic bags, egg cartons.

Map or list ideas and concepts, documenting student’s initial thinking while considering subject matter, art elements and art principles and materials, techniques, methods and style of working.

Research personal imagery, artists/artworks and information on various techniques that are of interest to the student using search engines, newspaper visuals and articles and books. Research is used to reflect and further inform student’s ideas and concepts on recycling throwaway objects into art.

Use thumbnail sketches to record initial design work for either two- or three-dimensional artworks. Trial materials and techniques that are appropriate to student’s ideas. Record construction methods via diagrams and explanatory drawings – research could be sourced.

Examples of artworks as inspiration and referencesAndy Warholwww.sothebys.com/en/news-video/videos/2013/10/Andy-Warhol-Celebrity-and-Tragedy.htmlHonore Daumierwww.youtube.com/watch?v=p-Q1ONdc5uwThomas Nastwww.youtube.com/watch?v=MnnEmHyUTsMGeorge Groszwww.youtube.com/watch?v=kP2MmAUtaboReg Mombassawww.youtube.com/watch?v=lA1w1oWdA8wMarcel Duchampwww.youtube.com/playlist?list=PLep7pZMB-EBa5wW_DGvgbWDlNlSo4UApIAi WeiWei www.ago.net/aiww-online-teacher-resource

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http://www.ago.net/aiww-online-teacher-resource

http://www.youtube.com/playlist?list=PLep7pZMB-EBa5wW_DGvgbWDlNlSo4UApI

http://www.youtube.com/watch?v=lA1w1oWdA8w

http://www.youtube.com/watch?v=kP2MmAUtabo

http://www.youtube.com/watch?v=MnnEmHyUTsM

http://www.sothebys.com/en/news-video/videos/2013/10/Andy-Warhol-Celebrity-and-Tragedy.html


Unit 3: Artworks, ideas and valuesArea of Study 1: Interpreting art


Use the Analytical Frameworks to analyse and interpret artworks produced before 1990 and since 1990, and compare the meanings and messages of these artworks.

discuss one artwork produced before 1990 with one artwork produced since 1990; in the discussion use four analytical frameworks to compare the contexts and characteristics of the two artworks selected and the meaning and message evident in the selected artworks

undertake short response tasks that focus on a single framework and artwork; these can assist with students understanding of the frameworks in preparation for the task, for example: discuss the way in which the main art elements of line and colour have

been used in the selected artwork use the Contemporary Framework to interpret the artwork illustrated;

consider the: presentation/use of new technologies and ideas and concepts intended by the artist (viewer’s inter-active

experience and effects); include reference to the artwork illustrated and to the commentary that describes it

use commentaries that contain contextual information from websites or articles to discuss, e.g. ‘Art should disturb the comfortable and comfort the disturbed’ (Banksy); discuss this statement in relation to two artworks, one produced before 1990 and one since 1990

using an artist as a focus or point of discussion in a selected artwork; e.g. Zhang Xiaogang, use the Cultural Framework to interpret the artwork how do you think this work might reflect the cultural upbringing of the

artist and the events in his life give meaning and message to the subject matter the interpretation must include reference to the artwork illustrated and to

the commentary included use a statement/commentary to inform the question – any framework can be

used and appropriate artworks and commentary selected; e.g.‘The concept of family in China goes far beyond one’s immediate family and the ties of family blood…the ties of social and cultural blood are very strong forces indeed’ (Zhang Xiaogang)

consider the way that Patricia Piccinini uses ‘a menu of traits known to elicit positive and sympathetic responses in a viewer’ (Patricia Piccinini ‘Evolution’ [2009] – Art Gallery of Western Australia) when viewing the artwork titled ‘Young Family’, [2002–2003], what are

the traits in the work? How does she use these traits to convey meaning? what does the artwork titled ‘The Stag’ [2009] tell us about Patricia

Piccinini’s concerns about technology? refer to her use of materials and subject matter in your response

compare the ideas contained in two of Patricia Piccinini’s artworks; what type of meanings or messages does the artist intend to communicate to the viewer

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Detailed example

COMPARISON OF ARTWORKSThIs example provides starting points and only through further research and investigation could it meet the requirements outlined in the key knowledge and key skills. It shows how to unpack the meanings and messages

of the artists’ works, and an outline of how to compare works closely.

Using the Analytical Frameworks consider the meanings and messages of: Nicholas Hilliard ‘Elizabeth I playing the lute‘ [c. 1580]; and ‘Elizabeth I, (the ‘Pelican’ portrait)’, [c. 1572]

Hew Locke, ‘Sikander’ [2010]; and ‘El Dorado.’ [2005]

These works are linked by the theme of power. English born Hilliard produced his works as painter to the court of Queen Elizabeth the First of England, Ireland and Wales. Guyana-born Locke has explored the theme of power since 2000.

Structural FrameworkHilliard uses ordered contrasting hues and tonal values to emphasise the Queen’s rich clothing and make her face the focal points of each work. By contrast Locke’s apparently random scattering of objects of varying hues, forms and tonal values creates multiple focal points.Both artists use with great control techniques introduced within 100 years of the creation of their works. Hilliard worked from a pencil sketch of Queen Elizabeth that he used again and again and then he or a studio assistant built up the portrait by applying thin oil paint using a variety of round brushes. While creating his installations with everyday objects, like children’s plastic toys and buttons, Locke assembles them with masterful skill so that not only what he depicts is recognisable, but the method of assembling the constituent pieces is invisible and makes them seem to float.Employed as limner (miniature portrait painter) and goldsmith to the queen, both Hilliard’s portraits employed the highly representational, if idealised, style common across Europe. While Hilliard is noted for being a conservative in his style, Locke developed a distinctive style by combining an interest with iconography and heraldry.Hilliard’s controlled application of structural components in both portraits is symbolic of the control royalty exercised over their kingdom, whereas Locke’s use of an obvious pastiche of found plastic toys in ‘El Dorado’, suggests the constructed artifice surrounding the idea of royalty in the twenty-first century.

Personal FrameworkBoth artists’ backgrounds are suggested by these works. Hilliard’s training and work as a goldsmith is visible in the attention he pays to depicting every pearl or jewel encrusting the Queen’s sumptuous dress and the jewellery she wears. For Locke, his use of found objects recalls assemblages of his father, Donald Locke’s. However, the younger Locke uses these to create recognisable images of people and objects.

Cultural FrameworkHilliard’s and Locke’s works express and respond to the different concepts of women and royalty current in the sixteenth and twenty-first centuries. The first English Queen to reign unchallenged for more than a few years, Elizabeth 1 used artworks to show the right of a woman to rule, and her wealth, power and beauty. These images worked as propaganda to support her reign. The red and white ‘Tudor Roses’ placed around ‘The Pelican Portrait’ indicate that she represents the union of warring sides of the War of the Roses. ‘El Dorado’, a large version of the image of Elizabeth II used on British banknotes created in cheap toys, speaks to royalty’s plastic status as celebrity, symbolic head of state and the diminished power of the British monarchy.

Contemporary FrameworkHilliard’s small miniature ‘Queen Elizabeth I with Lute’ uses flattery to ingratiate the artist and perpetuate the established rights of a monarch’s power. Removed from its context Hilliard’s choice of pose makes the young Queen appear stiff and formal, acting a part. Contemporary viewers would be impressed not by the subject, but the masterful technique required to produce such small-scale work. This stands in contrast to Hew Locke’s ‘El Dorado’ where the scale, materials, treatment of subject matter and siting in major public galleries aims at

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provoking response.

ResourcesNicholas Liddiard: www.npg.org.uk/research/programmes/making-art-in-tudor-britain/the-phoenix-and-the-pelican-two-portraits-of-elizabeth-i-c.1575.php

Hew Locke:www.absolutearts.com/artsnews/2008/09/04/35179.htmlwww.hewlocke.net/sikandar.htmlwww.hewlocke.net/houseofwindsor3.htmlwww.tate.org.uk/context-comment/video/tateshots-meet-artist-hew-locke

Area of Study 2: Investigation and interpretation through art makingUnit 3, Outcome 2 forms part of the School-assessed Task.Certain Analytical Frameworks will be used by the students at differing stages of the art process depending on the nature, content and context of self-reflections made.


Use the art process to produce at least one artwork, and use the Analytical Frameworks to document and evaluate the progressive development and refinement of their artistic practice.

explore ideas through a conceptual and practical investigation, think broadly about ideas and concepts that may be explored throughout Unit 3 and Unit 4, for example: compiling a list of thoughts, ideas, and concepts to draw upon over the

year and to explore in art making documenting ideas and concepts in a visual diary documenting the focus and direction of the body of work documenting the development of research and exploring ideas and

concepts in written and visual form collecting images that relate to ideas and concepts being explored annotating each image with information that includes details about how

the ideas can be treated and further developed; include information that reflects the language of the Analytical Frameworks

collecting images of artworks related to a concept or an idea from a range of sources such as books, magazines or the internet

photographing, scanning, photocopying or drawing objects to explore the concept or idea

reading about the work of artists and thinkers relevant to the concept or idea and recording thoughts and observations

exploring ideas and concepts in a number of art forms such as painting, drawing, printmaking, sculpture, sound, installation, ceramics, video, or animation

researching the work of philosophers, musicians, poets or designers to understand the selected concepts or ideas in a broader context

researching artists and artworks from the past and present that are considered to be relevant to concepts and ideas identified; documenting examples of these and annotating with information on subject matter, techniques, materials, art elements and principles.

interviewing people who have worked with similar concepts or ideas visiting galleries to see how artists have approached and presented

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http://www.tate.org.uk/context-comment/video/tateshots-meet-artist-hew-locke

http://www.hewlocke.net/houseofwindsor3.html

http://www.absolutearts.com/artsnews/2008/09/04/35179.html

http://www.npg.org.uk/research/programmes/making-art-in-tudor-britain/the-phoenix-and-the-pelican-two-portraits-of-elizabeth-i-c.1575.php

http://www.npg.org.uk/research/programmes/making-art-in-tudor-britain/the-phoenix-and-the-pelican-two-portraits-of-elizabeth-i-c.1575.php


similar concepts or ideas reading the work of writers and critics that have explored similar

concepts or ideas and record reflections preparing drawings to explore ideas or concepts and annotate with

reflections using the language of the Analytical Frameworks seeking feedback from peers on the progress of research and to assess

the development of ideas and concepts applying the language of appropriate Analytical Frameworks in reflection

to identify the strengths and possibilities of ideas and concepts experiment with art elements and art principles, materials, techniques,

processes and art forms, e.g.: exploring using digital editing software to enhance elements of colour,

line, texture or form in images looking at the techniques, materials and processes used by a range of

other artists from historical and contemporary times working in a similar way

experimenting with, exploring and applying a range of materials, techniques and processes relevant to the student’s personal ideas or concepts

using alternative methods of applying media to explore ways to improve its application

documenting in written and visual form the development of investigation and application of materials, techniques and processes

creating compositions using art elements to explore and evaluate the art principle emphasis/ focal point added

develop ideas, concepts, style and visual language, e.g.: revisiting the ideas or concepts over the duration of Units 3 and 4 to

assist in the development of art making exploring solutions to demonstrate different interpretations of the ideas

or concepts documenting in written and visual form the development and refinement

of ideas and skills progressively resolving ideas, concepts, direction, materials, techniques,

processes and formal elements creating screen dumps of the digital development and refinement of the

ideas identifying links to earlier ideas and concepts and how these have

strengthened current working practices dating pages in the visual diary to document the development of the

body of work highlighting key details in annotations in the body of work producing solutions that demonstrate considered and well-developed

responses to the stages of art making photographing the progressive creation of visual responses

resolve ideas, directions and concepts, e.g.: selecting visual responses to best express ideas or concepts considering the effect of art elements and art principle in creative

responses

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evaluating the effectiveness of selected visual responses documenting in written and visual form the development, realisation and

presentation of creative responses reflecting upon how the visual responses in the body of work reflect the

student’s interests, personality, values and expectations presenting ideas and concepts to peers to extend and enhance the

development of a body of work applying the language of appropriate Analytical Frameworks in reflection

and appraisal of the visual solutions and responsesUse the following as starting points for Units 3 and 4: select an idea, theme or concept that can sustain interest over the duration

of Units 3 and 4;. ask ‘What do you want to communicate in your body of work for Art this year?’ use mind maps to organise thoughts – brainstorm key aspects such as

subject matter, material usage, techniques, artistic inspiration/influences, style of working and art forms

create an ideas or concept page – list thoughts and initial ideas research different types of concrete imagery that can be printed out and

documented in folio formats; this imagery will inform ideas and can be obtained – from such sources as internet sites, apps, newspapers, books, magazines

annotate each piece of researched information, recording aspects such as how this information relates to, informs or extends concepts, intentions or explorations

find, read, highlight and print out appropriate written articles, such as artists’ working practices, step-by-step techniques or methods

record visits to a range of art spaces and collect associated materials such as exhibition catalogues

apply the language of appropriate Analytical Frameworks in written reflections throughout this aspect of the art process

investigate a range of ideas as starting points in exploration and annotation

exploring subject matter and compositional elements by referencing a range of artists and artworks and being informed and inspired by the artistic practices

taking a series of photographs as a means of reference to further explore subject matter and composition using different media

creating various headings that give direction to the folio and the art process undertaken, e.g. ‘Exploring Subject Matter for Idea No 1’

trialling the inherent nature and characteristics of materials and art forms recording ideas for subject matter by using methods such as visual

observation of real objects or printed imagery, or from imagination sources or memory

applying art elements and art principles considering their purpose and meaning

investigating and trialling a range of different techniques and methods of working

considering practical and written art forms appropriate to ideas recorded considering styles of working from tradition through to contemporary

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practices finding more specific research that informs student’s explorations applying the language of appropriate Analytical Frameworks in written

reflections throughout this aspect of the art process for Progressive Development of ideas and concepts students reflect on

investigations made and begin to make selective decisions based on further ideas to develop and refine into more concrete visual solutions, e.g.: progressively refining, improving and resolving ideas and skills to

prepare visual solutions showing different interpretations of ideas selecting, combining and manipulating explorations to create visual

solutions making decisions on colour schemes and other main art elements and

principles appropriate to the development and refinement of ideas and concepts

making choices about materials, techniques, their use and application investigating stylistic qualities

becoming skilful and technically competent in the use of the selected art forms

planning a series of works considering surface choice, preparation and scale planning for production by creating thumbnail sketches that document

how the work is going to look as a whole, including mockups documenting in written and visual form the art process that is supported

with the use of visual language applying the language of appropriate Analytical Frameworks in written

reflections throughout this aspect of the art process students refine their art practice and refine at least ONE final artwork; they

consider the way in which the final artwork/s are to be presented to an audience, documenting the actual production stages through the use of

photographs in a step-by-step manner culminating in the final completion of the artwork/s

showing awareness and understanding of the art elements and art principles used in the final completion of work at this stage

evidence of refinement of techniques in the finished artwork documenting final evaluations made that reflect the intention of the

original theme, ideas and concepts documenting in written and visual form the art process and supporting it

with the use of visual language

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Unit 3: Sample approach to developing an assessment task

Outcome 1Decide on the type of task: Short responses

Decide on the conditions under which the task will be conducted:

This task is worth 30 marks and constitutes 10 per cent of the study score for Art. This will be developed as one task.

Students would complete the task in 100 minutes of class time. They can research the artists and background material that covers the key knowledge and skills for the task but would have not have access to the questions prior to the class. In selecting the assessment task/s, be aware of your cohort, timing, and where this task sits in relation to teaching Unit 3.

The questions for student responses must allow the students to address all the key knowledge and skills for the Outcome therefore they must be structured so students can demonstrate their knowledge of artists and artworks.

Students must cover the key knowledge and skills of the outcome writing on one artist, their artistic practices and artworks produced before 1990 and one artist, their artistic practices and artworks produced since 1990. They must compare the artists with a detailed analysis of at least two artworks by each artist. Students must apply relevant aspects of the Analytical Frameworks across each of the selected artworks to interpret meanings and messages.

Preparing and writing the task:

A teacher may select the artists and works to set a common theme and ensure all students have access to quality research/resources. Or a teacher can mandate one or both artists, mandate one of the artist’s works and provide a choice or selection of artists who work with the same theme. Or a teacher can allow the student choice of the artworks and artists they study. It is important that students see the relationship between the two outcomes in Unit 3 and that their study of artists and artworks are part of artistic practice and can inform and inspire their art making.

In preparing for this task, teachers can provide imagery, background or related information. In the task students are allowed to use notes based on resources or lectures. Notes and resources could be collected and collated in a variety of ways – such as in a traditional folder, in a digital format (such as bookcreator or iBooks Author), or as a printed booklet with questions based on the Analytical Frameworks and spaces for responses.

Once the information is collated, the use of a comparison grid (with columns for each Analytical Framework) can highlight the similarities and differences between the works students are studying.

Identify techniques and styles used by each artist and collect research related to each artwork. Students should identify and be able to describe specific examples of techniques fundamental to each work.

Through their study of art elements, art principles, techniques and style, students should identify facets that have symbolic messages and should be encouraged to form a

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coherent meaning about these. These symbolic meanings are independent of those uncovered through study of Personal or Cultural Frameworks.

With reference to the Contemporary Framework, students could investigate artists and artworks by investigating what contemporary art writers have written about the work the artist. When compared with each other, considering how the interpretations of the artworks change once the viewer has an understanding of the background and context of the work.

Comparing is a fundamental skill in this outcome. Students should be aware that comparison requires the study of similarities and differences in qualities/areas.

Marking the task:The marking scheme used to assess a student’s level of performance should reflect the relevant aspects of the performance descriptors and be explained to students before commencing the task.

With short responses, it may be appropriate to allocate marks for each answer. The marks allocated, however, should reflect the degree of difficult or complexity required by task words. These, in turn, would be based on the key skills listed for the outcome.

AuthenticationAuthentication issues can be minimised if the students complete an assessment task of structured questions conducted under test conditions. Students could bring copies of their selected artworks for the task.

Assessment rubrics/performance descriptors provide a guide to the levels of performance typically demonstrated within each range on the assessment task/s. The performance descriptors for each outcome identify the qualities or characteristics expected in a student response.

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Unit 4: Artworks, ideas and viewpointsArea of Study 1: Discussing art


Examine and analyse an art idea and its related issues to inform their viewpoint.

provide statements from articles, websites, internet and blogs for class discussion e.g.: Salvador Dali’s ‘Lobster Telephone’ [1936]:

time predetermines found object artworks to become historic artefacts

the avant-garde has a ‘use by date’ Conceptual Art:

conceptual art is visual propaganda conceptual art requires context

Performance Art: performance art fulfils (or fails to fulfil) art’s role of challenging

society performance art is innovative theatre not art – explore this idea in

relationship to art’s role of provoking a response use the works of Paul McCarthy to explore the ideas and related issues

surrounding art’s role in society and the challenging or social norms; examine how his work has developed; possible statements include: Paul McCarthy’s work is a reaction to art’s role of showing prosperity Paul McCarthy’s formulaic approach lessens his work’s ability to

provoke a response ‘art is often a high priced and high brow commodity tailored for society’s

elites.’; use the work of Venezuelan artist Flix to explore this statement in relation to the global art market

consider the role of the patron, – ‘Charles Saatchi’s involvement in art has manipulated the art world’; discuss this idea with reference to the work of one member of the YBA movement art’s traditional role in society of showing ownership/prosperity

consider computer/generative art – ‘Art be made by a computer is/isn’t Art examine the works of Jonas Lund ‘The Fear of Missing Out’ Showroom

MAMA Rotterdam, and its role of confronting or provoking explore the ideas and related issues surrounding the work of Andy

Goldsworthy relating to either art’s role of presenting the world in a new way, or the idea of ownership in art

explore the ideas and related issues surrounding the work of Bill Viola as it relates to the role of giving form to the intangible

list statements that can prompt a discussion about an art idea or issue, e.g.: Art’s purpose is to illustrate contemporary issues ‘The shock of an artwork forces thought upon the viewer helping to

achieve the primary purpose of Art: which is to get society thinking’ (John Viewbank)

‘Art should be the neutral space to explore uncomfortable issues’ (art critic Roberta Smith)

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‘Art should be about the process and ideologies behind the work rather than about the person who is executing the ideas’ stated by Adam Linderman (collector of Jeff Koon’s work)

list art ideas or issues and associated artists that can prompt discussion and inspire students: the use of animals in art: Damien Hirst, Butterfly Trek Madone; Julia

deVille, Orcus, 2010; Nathalia Edenmont, Mask or Star the portrayal of Christ in art: Raphael, Mond Cruxification, 1502; Andre

Camara, Cruxification at Oxford Circus, 2009 performance photographed by Camara, 2009

Art and Political Censorship: Yue Minjun, Pink Man Laughing; Ai Wei Wei, Grass Mud Horse, 2009

Shock Art: Patricia Piccinini, The Gathering, 2007; Erik Ravelo, Untouchables, 2013

Women in Art: Jenny Saville, Propped, 1992; Artemisia Gentileschi, Judith Slaying Holofernes, 1612

Validity of Performance Art: Marina Abramovic, The Artist is Present, 2012; Mike Parr, Cathartic Action: Social Gestus No 5 (Armchop), 1977

Collaboration: Jeff Koon, Puppy, 1992; Patricia Piccinini, Young Family, 2002–2003

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Detailed example

THE IMPACT OF THE GLOBAL ART MARKET AND FLIXIn 2014 the global art market was worth over $80 billion. Using Venezuelan artist Flix’s robot fire-hydrants, explore how artists seek avenues for displaying art independent of this market.Students would start by analysing and interpreting works by Flix. These deal with ideas of identity and art’s role to provide a substitute for the visual pleasures lost when living in an urban environment. Using the Analytical Frameworks to analyse and interpret artworks will help students be able to describe works using art terminology and uncover and understand the artist’s intention and context. Students use the artwork and the artist and the GQ article (see below) to support their interpretations.The Economist and Artlyst articles provide background to the impact of the art industry on contemporary artists. The articles suggest that more artists are making art influenced by what will sell and that ‘art as brand’ is now common art practice. These ideas are related to the issue rather than being specifically concerned with the artist being studied.Students unpack and critique these activities. This will include making specific references to the artworks being studied and consider how the articles relate to the works being studied.Based on their research, students identify and consider the varying interpretations of the role of art in society. These could include ‘art as ownership’ (street artists claiming public spaces or art as investment), ‘individual vision’ and ‘giving form to the intangible.’Students are required to develop a statement. Examples of statements are: Street Art democratises the art market. The conventions of street art provide artists with greater freedom to pursue their personal vision. Street Art provides artists with a venue for developing a brand. Street artists respond to ideas and related issues surrounding ‘art as product’.ResourcesArtist quotation: ‘I'm interested in generating interventions … awakening emotions and concerns that demonstrate the paradoxes and absurdities of everyday situations.‘ www.flix-flix.com/‘Flix takes everyday objects found on the streets of Caracas and turns them into multi-coloured robots. Fusing elements of Aztec art with his cute robots, his zany characters make people smile and bring a modern edge to the aesthetics of this ancient culture.’ GQ Magazine, 24 October 2014. www.gq-magazine.co.uk/entertainment/articles/2014-10/24/global-street-art-concrete-canvas-book/viewgallery/2‘Art as Product: Love the Brand; Get the Picture.’ The Economist, 21 May 1998. www.economist.com/node/372584‘Damien Hirst, World’s Richest Artist, Still Laughing all the way to the bank.’ Artlyst, 12 June 2015. www.artlyst.com/articles/damien-hirst-worlds-richest-artist-still-laughing-his-way-to-the-bankhttp://globalstreetart.com/flixThis paragraph illustrates how a commentary could be used in a response.‘Artbytch’ comments on the problems that arise when an artist, like Flix, has to make a career. In their opinion pursuit of commercial success has led to artists striving to be ‘repeatable and recognisable’ a sort of ‘brand-formula’ over other concerns. Such business-like language suggests that artists whose work is recognisable, such as Flix, whose Aztec-inspired use of saturated colours and geometric shapes are distinctive, do so in pursuit of sales success. And, certainly Flix’s commissioned works show that he is achieving financial success as an artist. However, ‘Artbytch’ may be simply applying these loaded terms to describe a structural and more neutral art characteristic – style. Developing a characteristic style has been a concern of artists for at least the past 200 years. However, this doesn’t fully compromise the writer’s problem with artist’s like Hirst – when does brand become bland?

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http://globalstreetart.com/flix%20


Area of Study 2: Realisation and resolutionUnit 4 Outcome 2 forms part of the School-assessed Task.


Apply the art process to progressively communicate ideas, directions and personal concepts in a body of work that includes at least one finished artwork and use selected aspects of the Analytical Frameworks to underpin reflections on their art making.

continue to use headings to differentiate ideas and concepts from Unit 3 as an organisational tool that provides structure and guidance

continue to apply visual language through the presentation of a range of visual imagery that focus on realisation and resolution processes

refinement and further manipulation of the technical methods, properties and qualities to achieve the most skilful competence in the use of mediums being used that leads to a higher quality in the finish of completed artwork/s

consider scale of work/s in the resolve of ideas and concepts continued application of appropriate art language to effectively interpret,

define and provide further explanation of all visual language documented students will use certain Analytical Frameworks at differing stages of the art

process depending on the nature, content and context of self-reflections made; students discuss student’s art practice and reflect on the way in which they have explored, experimented and further developed, refined and resolved a body of work

The following contexts have been provided where students have selected a singular or multi-discipline practice for the duration of the study. The suggested learning activities focus on how the student has continued their investigation and exploration to the realisation and resolution stages of the art process undertakenStudents working with performance and installation present a series of drawings that include detailed information about the use

of objects, costume, lighting, space, setting and movement photograph trialled performance – still and moving – to visually analyse the

effectiveness of performance; re-shoot or film for further development, refinement and resolution of ideas

trial the use of sound in the development of the work; explore the difference between using silence, music and dialogue during the performance or installation

compose a soundtrack to be used during the performance; play the composition using experimental instruments that are handmade, or raw materials such as wood, metal and plastic

record sounds that you hear in real lifeStudents working with drawing and painting investigate types of equipment including wet and dry mediums in drawing,

including charcoal, conte’, oil pastel and stick, graphite, watercolour, indian ink as well as such materials as string, wire and thread; in painting these include – watercolour, oil paint, acrylic paint and other paint pigments and mediums

trial a range of creative personal responses appropriate to the type of drawing selected; use digital image editing programs

trial a diverse range of styles and methods, including realism, stylised, distortion, exaggeration to be used to achieve an expressionistic style

work on a range of man-made and natural surfaces such as paper, canvas, cardboard, cloth, wood, bark, stones, skin, plastic, printed imagery including photographs (new and old), and collaged or mixed media surfaces

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refine technical skills through a range of visual responses show confident use of methods, including re-working and building up layers

and surfaceStudents working with printmaking investigate types of printmaking including relief, intaglio, screen or etching

creating and evaluating proofs trial a range of background surfaces from different paper types, including

making your own handmade papers, printed imagery and construction of a range of collaged effects to other materials such as plastic and fabric

hand-colour using both wet and dry mediums use digital image editing programs to select and define the tonal areas for a

multi-coloured screen print import finished prints into digital image editing software layer multiple prints or with other images createdStudents working with photography construct props or an actual object to be used as the main focal point

photograph re-shoot a concept to develop and refine ideas, composition or technical

aspects of the work, such as focus, depth of field, angle, or lighting reconsider using photographs from trialled photo shoots to make

multimedia two- or three-dimensional artworks using found objects reconsider using photographs from trialled photo shoots as backdrops for

portrait studies or for projection and shadow play purposes use digital image editing programs to alter or manipulate original surface of

the photograph taken use a range of drawing mediums to hand colour or as an outlining tool to

define specific subject matter in a photograph use photographs as a surface to lino print use photographs to construct three-dimensional sculptures alter the surface of photographs taken with object, tools and stains such as

a nail, ink, coffee, shellac reconstruct photographs taken by ripping, tearing, cutting and scrunching

then re- assemble consider creative presentation ideas for photographs

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Detailed example for Unit 3, Outcome 2 and Unit 4, Outcome 2 – School-assessed Task

Students continue to explore a wide range of subjects and ideas in their art practice, for example urban and rural environments, personal and social portraits, natural and man-made objects and social, cultural and political issues.Considerations for investigation and interpretation by the students:Revise ideas, techniques or processes that were covered in Unit 3 and consider if the student wishes to explore these further. Students could devise a list of those ideas, techniques or processes that they wish to extend further. They may wish to build on the knowledge and skills of a particular technique or process that was explored in Unit 3 with different subject matter or they may explore the same idea or concept with different techniques and processes.Students document their ideas and planned use of techniques and processes at the commencement of the unit.Enquiry questions to use at the start of the unit Artistic Practice: How do I demonstrate and develop my artistic practice in Unit 4? Concept and Ideas: What do I want to say? What are my ideas, directions and individual concepts? Art Process: How do I demonstrate the development of my ideas and concepts in Unit 4? How will I use

visual language to demonstrate the development, refinement and resolution of my body of work? What ideas would I like to resolve that I developed in Unit 3? What further refinement of materials, techniques and processes will I demonstrate in Unit 4?

Analytical Frameworks: Are there particular Analytical Frameworks that I will focus on in Unit 4? This could be a starting point to continue the body of work.

Application of the art process to progressively communicate ideas, directions and personal concepts Continue to explore options for interpreting personal concepts and ideas through a range of materials,

techniques and processes. Experiment with artworks that were created in Unit 3 to further develop and refine techniques and processes. Explore a range of processes within an art form that demonstrate refinement of techniques and processes.

For example, extend an exploration in painting by applying different painting mediums, formats and techniques to resolve artworks based on a range of personal ideas.

Consider the art elements and principles as a way of refining and resolving artworks and as a way of effectively communicating selected directions or concepts.

Consider a range of ideas with a focus on particular analytical framework as a way of further developing or refining ideas.

A body of work can consist of: A range of resolved concepts and directions in photographs, digitally manipulated images and/or prints,

drawings and/or paintings. Combinations of art form/s, media, techniques, processes in a range of resolved artworks. Personal ideas and concepts, techniques and processes that are resolved in one or more artworks.Documentation using visual and written materialThe final body of work must show the progressive development in the communication of ideas and personal concepts. Each exploration should be documented with reference to the Analytical Frameworks and the student intentions. For example, choices of media, art elements and principles, subject matter, intended meanings and intended processes and techniques. Technical information can include information about the processes and techniques used. All documentation must be in both written and visual form. Critique of student work should be completed throughout the development, refinement and resolution of artworks. The Analytical Frameworks should be used to support the reflective annotation and evaluation of the body of work. Students may produce an evaluative statement at the conclusion of the unit.

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Unit 4: Sample approach to developing an assessment task

Outcome 1Decide on the type of task: An extended response

Decide on the conditions under which the task will be conducted:

This task is worth 30 marks and constitutes 10 per cent of the study score for Art. This will be developed as one task.

Students would complete the task in 100 minutes of class time. They can research the artists and background material that covers the key knowledge and skills for the task and bring notes into the task, but would have not have access to the question prior to the class. In selecting the assessment task/s, be aware of your cohort, timing, and where this task sits in relation to teaching Unit 4.

The question for the extended response must allow the students to address all the key knowledge and skills for the Outcome therefore it must be structured so students can demonstrate their knowledge of an art idea and its related issues.

Students must cover the key knowledge and skills of the outcome by investigating one art idea and related issues, at least one artist not studied in Unit 3 and a minimum of one artwork by that artist, a range of viewpoints as present in attributed commentaries relating to the selected art idea and related issues and artwork/s.

Preparing and writing the task:

Students can research the role of art in society and focus on a list of ideas in relation to the topic. They can brainstorm related issues to the idea. From this research they formulate a statement that can be supported through a discussion of one artist and their practice and related artworks.

Students select an artist or art movement to research reading a range of resources on the artists including books, websites and art gallery sites. They source a range of commentaries and viewpoints on the artist’s work and discuss their statement with reference to the artwork/s and resources.

Once the information is collated, the use of a grid with columns for each Analytical Framework, can highlight the aspects of the frameworks to be discussed in the extended response. Using commentaries, the information provided through the Analytical Frameworks and direct references to the artwork, students build up their point of view about the role of art in society.

The task can be written with clear dot points of the key knowledge and key skills for the outcome that the students must cover in their response.

Marking the task:

The marking scheme used to assess a student’s level of performance should reflect the relevant aspects of the performance descriptors and be explained to students before commencing the task.

With an extended response, it may be appropriate to allocate marks for each dot point that the student is required to cover for the task. The marks allocated, however, should reflect the degree of difficulty or complexity required by task words. These, in turn, would be based on the key skills listed for the outcome.

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Authentication

Authentication issues can be minimised if the students complete the assessment task under test conditions. Students could bring copies of their selected artworks for the task.

Assessment rubrics/performance descriptors provide a guide to the levels of performance typically demonstrated within each range on the assessment task/s. The performance descriptors for each outcome identify the qualities or characteristics expected in a student response.

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Performance DescriptorsVCE ART

SCHOOL-ASSESSED COURSEWORK

Performance Descriptors

Unit 3Outcome 1

Use the Analytical Frameworks to analyse and interpret artworks produced before 1990 and since 1990, and compare the meanings and messages of these artwork.

DESCRIPTOR: typical performance in each range

Very low Low Medium High Very high

Limited description and interpretation of artworks produced before 1990 and since 1990.

Some analysis and some interpretation of artworks produced before 1990 and since 1990.

Largely accurate analysis and clear interpretation of artworks produced before 1990 and since 1990.

Detailed analysis and meaningful interpretation of artworks produced before 1990 and since 1990.

Comprehensive and insightful analysis and perceptive interpretation of artworks produced before 1990 and since 1990.

Very limited attempt at comparison between artists, artworks and contexts in the different time periods.

Limited comparison between artists, artworks and contexts in the different time periods.

Satisfactory comparison between artists, artworks and contexts in the different time periods.

Thoughtful and clear comparison between artists, artworks and contexts in the different time periods.

Highly adept and detailed comparison between artists, artworks and contexts in the different time periods.

Very limited use of research with some attempt to reference information to artists and artworks.

Limited use of research with some referencing of information to artists and artworks.

Appropriate research used with information referencing artists and artworks.

Effective and wide range of research used with information clearly referenced to artists and artworks.

Extensive and accurate use of research with information clearly and effectively referenced to artists and artworks.

Very limited use of art terminology in the description and comparison of artworks using the Analytical Frameworks.

Some use of art terminology in the analysis, interpretation and comparison of artworks using the Analytical Frameworks.

Satisfactory use of appropriate art terminology in the analysis, interpretation and comparison of artworks using the Analytical Frameworks.

Clear and effective use of appropriate art terminology in the analysis, interpretation, comparison and contrast of artworks using the Analytical Frameworks.

Highly effective and sophisticated use of appropriate art terminology in the analysis, interpretation and comparison of artworks using the Analytical Frameworks.

KEY to marking scale based on the Outcome contributing 30 marks

Low 0–6 Very low 7–12 Medium 13–18 High 19–24 Very high 25–30

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VCE ARTSCHOOL-ASSESSED COURSEWORK

Performance Descriptors

Unit 4Outcome 1

Examine and analyse an art idea and its related issues to inform their viewpoint.

DESCRIPTOR: typical performance in each range

Very low Low Medium High Very high

Very limited description of an art idea and some issues about the role of art in society with limited reference to research.

An explanation of an art idea and some related issues about the role of art in society with some reference to research.

Clear application of an art idea and related issues about the role of art in society supported by satisfactory research.

Well defined and thoughtful explication of an art idea and related issues about the role of art in society supported by thorough research.

Sophisticated and articulate explication of an art idea and related issues about the role of art in society supported by comprehensive research.

Limited description of viewpoints to support a very limited description of an art idea and its related issues.

Some analysis of viewpoints to support a limited discussion of an art idea and its related issues.

Appropriate and satisfactory analysis of viewpoints to inform a satisfactory discussion of an art idea and its related issues.

Careful and thoughtful analysis of substantial and relevant view-points to inform a thorough discussion of an art idea and its related issues.

Insightful and critical analysis of substantial and relevant view-points to inform comprehensive discussion of an art idea and its related issues.

A limited personal viewpoint supported by basic examination of interpretations and viewpoints of others.

A brief personal viewpoint supported by some examination of commentaries with some references to artworks and the interpretations and viewpoints of others.

A clear personal viewpoint supported by general examination of commentaries with satisfactory references to artworks and the interpretations and viewpoints of others.

A well-developed personal viewpoint supported by detailed examination of commentaries with effective references to artworks and the interpretations and viewpoints of others.

A sophisticated and articulate personal viewpoint supported by insightful examination of commentaries with highly effective references to artworks and the interpretations and viewpoints of others.

Little understanding of the use of art terminology to examine meanings and messages of artworks using the Analytical Frameworks.

Some use of appropriate art terminology to examine meanings and messages of artworks using the Analytical Frameworks.

Largely accurate use of some appropriate art terminology to examine meanings and messages of artworks using the Analytical Frameworks.

Accurate use of appropriate art terminology to examine meanings and messages of artworks using the Analytical Frameworks.

Highly effective use of appropriate art terminology to examine meanings and messages of artworks using the Analytical Frameworks.

KEY to marking scale based on the Outcome contributing 30 marks

Low 0–6 Very low 7–12 Medium 13–18 High 19–24 Very high 25–30

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Appendix 1: Employability skillsAssessment task Employability skills selected facets

Research and exploration of art practice

Communication (sharing information)Problem solving (developing creative and innovative solutions; developing practical solutions; applying a range of strategies to problem solving)Learning (being open to new ideas and techniques)Initiative and enterprise (being creative; generating a range of options; initiating innovative solutions)

Structured questions Communication (writing to the needs of the audience; sharing information)Problem solving (developing creative and innovative solutions; developing practical solutions; applying a range of strategies to problem solving)Learning (being open to new ideas and techniques)Initiative and enterprise (being creative; generating a range of options; initiating innovative solutions)Self-management (having knowledge and confidence in own ideas and visions; evaluating and monitoring own performance; taking responsibility; articulating own ideas and visions)

Written responses Communication (writing to the needs of the audience; sharing information)Problem solving (developing creative and innovative solutions; developing practical solutions; applying a range of strategies to problem solving)Learning (being open to new ideas and techniques)Initiative and enterprise (being creative; generating a range of options; initiating innovative solutions)

Report Communication (sharing information; speaking clearly and directly; writing to the needs of the audience)Planning and organising (collecting, analysing and organising information)Technology (having a range of basic IT skills; using IT to organise data)

Resolution of a body of work Problem solving (developing creative and innovative solutions; developing practical solutions; applying a range of strategies to problem solving)Learning (being open to new ideas and techniques; having enthusiasm for ongoing learning; managing own learning)Initiative and enterprise (being creative; generating a range of options; initiating innovative solutions)Self-management (having knowledge and confidence in own ideas and visions; evaluating and monitoring own performance; taking responsibility; articulating own ideas and visions)Planning and organising (planning the use of resources including time management; managing time and priorities)

The employability skills are derived from the Employability Skills Framework (Employability Skills for the Future, 2002), developed by the Australian Chamber of Commerce and Industry and the Business Council of Australia, and published by the (former) Commonwealth Department of Education, Science and Training.

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Appendix 2: Examples of artworks for thematic studyThe everyday

Vhilis (Alexander Fanto), ‘Incision’ Series [2015]; Mainstay Rock Bar, Cincinnati OH; [2011].

Edward Hopper, ‘Nighthawks.’ [1942]; ‘Automat’ [1927].

Henri Toulouse Lautrec, ‘Alone.’ [1896]; ‘Seated Dancer in Pink Tights.’ [1890].

Juan Francisco Casas, ‘Patricia & Montserrate/Acapulco/Mexico’ [2014]; ‘Autoretratoconguilia’ [2008].

Passage of time

Ricky Swallow, ‘Killing Time.’ [2003–2004]; ‘Everything is Nothing.’ [2003].

Claude Monet, Rouen Cathedral series [1893].

Artist and subject

Amedeo Modigliani, ‘Reclining Nude.’ [1919]; ‘Paul Guilliame, Novo Pilota.’ [1915].

Elizabeth Peyton, ‘Rirkrit.’ [1991]; ‘Kanye.’ [2010–2011].

Nature

Pierre Etienne Theodore Rousseau, ‘Under the Birches evening.’ [1842–1843]; ‘View of Puy de Dome and Royat.’ [1839].

Jeanne Claude & Christo, ‘Wrapped Trees.’ [1998]; ‘The Gates.’ [2005].

Suzanne Valadon, ‘The Future is Unveiled.’ [1912]; ‘Adam and Eve.’ [1909].

Kelly Reemtsen, ‘Unplugged.’ [2015]; ‘Not Every Pill is Bitter.’ [2012].

Nam June Paik, ‘Video Film Concert’ [1965]; ‘Global Groove.’ [1973].

Ryan Trecartin, ‘Re’ search Wait’S’ [2009–2010]; ‘A Family Finds Entertainment.’ [2004].

Grace Cossington-Smith, ‘The Sock Knitter.’ [1915]; ‘The Lacquer Room.’ [1935].

Wendy Sharpe, ‘Self Portrait – as Diana of Erskineville.’ [1996]; ‘Self Portrait in Florence.’ [2009].

Albert Namatjira, ‘Mount Hermannsburg, Finke River’ [c1946–1951]; ‘Standley Chasm.’ [c1942–1949].

Emily Kame Kngwarreye, ‘State of My Country.’ [1990]; ‘Alatyite Dreaming.’ [1994].

Max Dupain, ‘Sharks at Blackhead Beach.’ [1937]; ‘Meat Queue.’ [1946].

Farrell & Parkin, ‘A Passion for Maladies’ series ‘Untitled Image No 4.’ [1990–1991]; ‘Restoration’ series ‘The Silk Weaver’ [2007].

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Love

Rodin, ‘The Kiss’ [1882–1889].

Ron Mucek, ‘Spooning’ [2005].

Gustav Klimt, ‘The Kiss’ [1907–1909].

Sam Jinks, ‘Embrace’ [2010].

Motherhood

Joy Hester, ‘Mother & Child’ [1955].

Louise Bourgeois, ‘Maman’ [1999].

Michelanglo, ‘Pieta’ [1498–1499].

Ron Mueck, ‘Pregnant Woman’ [2002].

War

George Giottes, ‘The Yellow Room’ [1999].

Ben Quilty, ‘Captain S after Afghanistan’ [2012].

Do Ho Suh, ‘Some/One’ [2002].

Common object

Andy Warhol, ‘Brillo Boxes’ [1964].

Ai Wei Wei, ‘Ton of Tea’ [2007].

Marcel Duchamp, ‘Fountain’ [1917, 1954].

Ryan Gander, ‘Fieldwork’ [2015].

Lists of artists with common traits

Utagawa Hiroshige, ‘The Traveller Crossing a River’ [1831–34]. Guan Wei, ‘Dow Island’ [2002]. Kathe Kothwitz, ‘Self Portrait’ [1903]. Swoon (Calendonia Curry), ‘Portrait of Sylvia Elena’ [2008]. Yinka Shonibane, ‘The Sleep of Reason’ [2005]. Goya, ‘The Sleep of Reason Produces Monsters’ [1797–1799]. Mona Hartumes, ‘Nature Morte Aux Greenades’ [2007–2008]. Kathy Temin, ‘My Monument: Black Garden, [2010–2011]. Julie Rrap, ‘360° Self Portrait’ [2009]; ‘Overstepping’ [2001]; ‘Remaking the World: Artist’s

dreamings’ [2015]. Edvard Munch, ‘The Scream’ [1893]. Bill Viola, ‘Emergence’ [2002].

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Appendix 3: Online resourcesAt the time of publication the URLs (website addresses) cited were checked for accuracy and appropriateness of content. However, due to the transient nature of material placed on the web, their continuing accuracy cannot be verified.

Personal philosophyEach of these artists produces works reflecting their preoccupations. Salvador Dali – metaphysical Andy Warhol – fame Banksy – social issues Louise Bourgeois – motherhood.

Salvador Dali, ‘Persistence of Memory.’ [1931]: www.moma.org/learn/moma_learning/1168-2Andy Warhol ‘Liz’ [196]: www.warhol.org/education/resourceslessons/themes/Andy-Warhol-s-Life-and-Art/Banksy, ‘Better Out than In’ Series. [2013]: www.villagevoice.com/arts/village-voice-exclusive-an-interview-with-banksy-street-art-cult-hero-international-man-of-mystery-7184180http://banksy.co.uk/ Louise Bourgeois, ‘Maman’ [1999]: www.tate.org.uk/art/artworks/bourgeois-maman-t12625

Inner dialogueEach work captures the artist’s thoughts or mood of the time.

Rembrandt van Rijn, ‘Self Portrait.’ [1659]: www.nga.gov/content/ngaweb/Collection/highlights/highlight79.htmlFrancis Bacon, ‘Study for a portrait.’ [1949]: www.artgallery.nsw.gov.au/exhibitions/francis-bacon/Cindy Sherman, ‘Untitled, #112.’ [1982]: www.guggenheim.org/new-york/collections/collection-online/artists/bios/688General information on portraits http://svc018.wic046p.server-web.com/documents/archibald09_Sect1.pdfGeneral infographic about self-portraits:http://resources.news.com.au/files/2011/05/03/1226049/250607-dt-classmate-self-portraits.pdf

CarsEach artwork captures the artist’s experiences or feelings about cars.

Ben Quilty, ‘Torana #5.’ [2003] ‘Car Paintings’: www.bendigoartgallery.com.au/files/cae23a50-8b5f-49c8-8b4d-a4300093c1d9/Ben_Quilty_Education_Resource.pdfRobin Rhode ‘Expression of Joy’: www.expressionofjoy.com/#Patricia Piccinini, Sandman Series: www.patriciapiccinini.net/writing/25/1/30

Personal experienceThese works capture the artist responding to death and grief.

Bill Viola, ‘Ocean Without a Shore.’ [2007]: www.ngv.vic.gov.au/essay/bill-violas-ocean-without-a-shore/Claude Monet, ‘Camille on her Deathbed.’ [1879]: http://blog.sevenponds.com/soulful-expressions/camille-on-her-death-bed-by-impressionst-claude-monet-1879

© VCAA 2016

http://www.ngv.vic.gov.au/essay/bill-violas-ocean-without-a-shore/

http://www.patriciapiccinini.net/writing/25/1/30

http://www.expressionofjoy.com/

http://www.bendigoartgallery.com.au/files/cae23a50-8b5f-49c8-8b4d-a4300093c1d9/Ben_Quilty_Education_Resource.pdf

http://www.bendigoartgallery.com.au/files/cae23a50-8b5f-49c8-8b4d-a4300093c1d9/Ben_Quilty_Education_Resource.pdf

http://www.guggenheim.org/new-york/collections/collection-online/artists/bios/688

http://www.artgallery.nsw.gov.au/exhibitions/francis-bacon/

http://www.nga.gov/content/ngaweb/Collection/highlights/highlight79.html

http://www.tate.org.uk/art/artworks/bourgeois-maman-t12625

http://www.villagevoice.com/arts/village-voice-exclusive-an-interview-with-banksy-street-art-cult-hero-international-man-of-mystery-7184180

http://www.villagevoice.com/arts/village-voice-exclusive-an-interview-with-banksy-street-art-cult-hero-international-man-of-mystery-7184180

http://www.warhol.org/education/resourceslessons/themes/Andy-Warhol-s-Life-and-Art/


Unit 1, Area of Study 2 – Suggested websites for resources

John Wolseley: www.ngv.vic.gov.au/exhibition/john-wolseley/William Kentridge: www.art21.org/artists/william-kentridge

Laure Prouvost: www.theguardian.com/artanddesign/video/2013/mar/21/laure-prouvost-whitechapel-gallery-videoEllen Gallagher: www.art21.org/artists/ellen-gallagher

Egon Schiele: www.nytimes.com/1985/07/26/arts/egon-schiele-the-draftsman-as-painter.html?pagewanted=allwww.theartstory.org/artist-schiele-egon.htm

Edvard Munch: http://entertainmentguide.local.com/painting-techniques-edvard-munch-9825.htmlwww.msu.edu/course/ha/446/panter.htmwww.moma.org/explore/multimedia/audios/325/audios-all

Anne Ferran: www.youtube.com/watch?v=DbOzeVvNxRI

Australian National Portrait Gallery: www.portrait.gov.au/Archibald Prize: www.artgallery.nsw.gov.au/prizes/archibald/Sir Cecil Beaton: http://nymag.com/thecut/2014/10/everything-you-need-to-know-about-cecil-beaton.htmlwww.npg.org.uk/whatson/exhibitions/20041/cecil-beaton-portraits.phpAnnie Leibovitz: www.pbs.org/wnet/americanmasters/annie-leibovitz-life-through-a-lens/16/http://annieleibovitz.tumblr.com/David LaChappelle: www.lachapellestudio.com/portraits/www.culturekiosque.com/nouveau/books/rhebooks3.html

© VCAA 2016

http://www.culturekiosque.com/nouveau/books/rhebooks3.html

http://www.lachapellestudio.com/portraits/

http://www.pbs.org/wnet/americanmasters/annie-leibovitz-life-through-a-lens/16/

http://www.npg.org.uk/whatson/exhibitions/20041/cecil-beaton-portraits.php

http://www.artgallery.nsw.gov.au/prizes/archibald/

http://www.portrait.gov.au/

http://www.youtube.com/watch?v=DbOzeVvNxRI

http://www.moma.org/explore/multimedia/audios/325/audios-all

http://www.msu.edu/course/ha/446/panter.htm

http://www.theartstory.org/artist-schiele-egon.htm

http://www.nytimes.com/1985/07/26/arts/egon-schiele-the-draftsman-as-painter.html?pagewanted=all

http://www.art21.org/artists/ellen-gallagher

http://www.theguardian.com/artanddesign/video/2013/mar/21/laure-prouvost-whitechapel-gallery-video

http://www.art21.org/artists/william-kentridge

http://www.ngv.vic.gov.au/exhibition/john-wolseley/


Themes, artists and artworks

Influences Ron Mueck, ‘Pregnant Woman’ [2002]At work: www.telegraph.co.uk/culture/culturevideo/artvideo/9972971/Ron-Mueck-at-work.htmlMaking ‘Pregnant Woman.’ http://nga.gov.au/mueck/director.cfm Inside Mueck’s Workshop: www.independent.co.uk/arts-entertainment/art/features/artist-at-work-inside-the-workshop-of-ron-mueck-creator-of-eerily-lifelike-sculptures-8567614.htmlGlenn Brown, ‘The Loves of the Shepherds’ [2002]General information: www.tate.org.uk/whats-on/tate-liverpool/exhibition/glenn-brown/glenn-brown-explore-exhibition Interview with Brown: www.artinamericamagazine.com/news-features/magazine/interview-glenn-brown/ Article: www.independent.co.uk/arts-entertainment/art/features/a-real-scene-stealer-glenn-browns-second-hand-art-is-the-subject-of-a-tate-retrospective-1622648.htmlYinka Shonibare, ‘Reverend on Ice’ [2005]NGV Resource: www.ngv.vic.gov.au/crossingborders/curriculum/vce_studio_ib/yinka_vce.html Interview: https://vimeo.com/75421396

Religion Enrique Martinez-Celaya, ‘The Wanderer Series’Review: www.firstthings.com/web-exclusives/2010/10/the-body-of-death-pictured Article: http://imagejournal.org/article/the-mark-of-cain/ Curator Notes: http://dansiedell.typepad.com/blog/2011/02/the-wanderer.html Artist’s website: www.martinezcelaya.com/index.html

Camera Impressionists; James McNeill Whistler; Edgar Degas www.montage.umich.edu/2009/10/reexamining-link-between-rise-of-photography-and-impressionism/Juan Francisco Casaswww.idolmag.co.uk/arts/juan-francisco-casas-art-for-the-selfie-generation/

© VCAA 2016

http://www.idolmag.co.uk/arts/juan-francisco-casas-art-for-the-selfie-generation/

http://www.montage.umich.edu/2009/10/reexamining-link-between-rise-of-photography-and-impressionism/

http://www.martinezcelaya.com/index.html

http://dansiedell.typepad.com/blog/2011/02/the-wanderer.html

http://www.firstthings.com/web-exclusives/2010/10/the-body-of-death-pictured

http://www.ngv.vic.gov.au/crossingborders/curriculum/vce_studio_ib/yinka_vce.html

http://www.independent.co.uk/arts-entertainment/art/features/a-real-scene-stealer-glenn-browns-second-hand-art-is-the-subject-of-a-tate-retrospective-1622648.html

http://www.independent.co.uk/arts-entertainment/art/features/a-real-scene-stealer-glenn-browns-second-hand-art-is-the-subject-of-a-tate-retrospective-1622648.html

http://www.artinamericamagazine.com/news-features/magazine/interview-glenn-brown/

http://www.tate.org.uk/whats-on/tate-liverpool/exhibition/glenn-brown/glenn-brown-explore-exhibition

http://www.independent.co.uk/arts-entertainment/art/features/artist-at-work-inside-the-workshop-of-ron-mueck-creator-of-eerily-lifelike-sculptures-8567614.html

http://www.independent.co.uk/arts-entertainment/art/features/artist-at-work-inside-the-workshop-of-ron-mueck-creator-of-eerily-lifelike-sculptures-8567614.html

http://www.telegraph.co.uk/culture/culturevideo/artvideo/9972971/Ron-Mueck-at-work.html


Technology William Hogarth, ‘The Orgy’, ’A Rake’s Progress’ Series [1733]Painting: www.soane.org/collections-research/key-stories/rakes-progressEngraving: www.artgallery.nsw.gov.au/collection/works/54.2006.3/Interactive Diaries Teams (Linnch, Tarek Abdelkawi, Salvatore Giommarresi)http://projectpen.com/blog/internet-and-collaborative-art-interview-interactive-diaries Work in progress: www.youtube.com/watch?v=kML1tqLxy8s

Archaeology Pablo Picasso, Les Demoiselles D’Avignon [1907] www.moma.org/learn/moma_learning/pablo-picasso-les-demoiselles-davignon-paris-june-july-1907Stephanie Syjuco, ‘Raiders’ [2013]www.stephaniesyjuco.com/p_raiders.html

Colonialism Paul Gauguin, ‘Day of the God’ [1894]Artwork: www.artic.edu/aic/collections/artwork/27943 ‘Guilty as Charged’: www.theguardian.com/artanddesign/2010/sep/27/paul-gauguin-tate-modern-exhibitionJean-Michel Basquiat, ‘Untitled’ [1984]www.contramare.net/site/en/jean-michel-basquiat-spiritual-warrior-of-yoruba-orisha-and-ogun/

War Francisco Goya, ‘One Can’t Look’ [1810–1820]www.metmuseum.org/toah/hd/goya/hd_goya.htm Artwork: www.metmuseum.org/collection/the-collection-online/search/361851George Gittoes, ‘Assumption.’ [2009–2010]Artwork: www.studiointernational.com/index.php/george-gittoes-descendence-stories-from-night-vision-the-diaries Interview: http://au.blouinartinfo.com/news/story/1042640/interview-george-gittoes-on-art-war-and-his-i-witness

© VCAA 2016

http://www.studiointernational.com/index.php/george-gittoes-descendence-stories-from-night-vision-the-diaries

http://www.metmuseum.org/collection/the-collection-online/search/361851

http://www.metmuseum.org/toah/hd/goya/hd_goya.htm

http://www.contramare.net/site/en/jean-michel-basquiat-spiritual-warrior-of-yoruba-orisha-and-ogun/

http://www.theguardian.com/artanddesign/2010/sep/27/paul-gauguin-tate-modern-exhibition

http://www.artic.edu/aic/collections/artwork/27943

http://www.stephaniesyjuco.com/p_raiders.html

http://www.moma.org/learn/moma_learning/pablo-picasso-les-demoiselles-davignon-paris-june-july-1907

http://www.youtube.com/watch?v=kML1tqLxy8s

http://www.artgallery.nsw.gov.au/collection/works/54.2006.3/

http://www.soane.org/collections-research/key-stories/rakes-progress


Working Methods Renaissance Workshopwww.renaissanceconnection.org/artistslife.htmlHenri MatisseDrawing with Scissors: www.youtube.com/watch?v=B8MSrVJM2zIDamien Hirst http://makingamark.blogspot.com.au/2012/08/review-damien-hirst-at-tate-modern.htmlwww.telegraph.co.uk/culture/art/art-news/9010657/Damien-Hirst-assistants-make-my-spot-paintings-but-my-heart-is-in-them-all.html

Views of Dance Nicolas Lancret, ‘La Camargo Dancing’ [c. 1730]Artwork: www.nga.gov/collection/gallery/gg54/gg54-96.htmlJohn Glover, ‘Corroboree’ [c.1840]Artwork: http://nla.gov.au/nla.pic-an2246425Christopher Fulham, ‘Discoteque’ [2014]Artwork: http://christopherfulham.com/studio/films/‘Yumi Danis’ (You Me Dance) [2014], collaborative work curated by Mars Melto Artwork: www.qagoma.qld.gov.au/whats-on/exhibitions/apt8/artists/yumi-danis-we-dance

© VCAA 2016

http://www.qagoma.qld.gov.au/whats-on/exhibitions/apt8/artists/yumi-danis-we-dance

http://www.nga.gov/collection/gallery/gg54/gg54-96.html

http://www.telegraph.co.uk/culture/art/art-news/9010657/Damien-Hirst-assistants-make-my-spot-paintings-but-my-heart-is-in-them-all.html

http://www.telegraph.co.uk/culture/art/art-news/9010657/Damien-Hirst-assistants-make-my-spot-paintings-but-my-heart-is-in-them-all.html

http://www.youtube.com/watch?v=B8MSrVJM2zI

http://www.renaissanceconnection.org/artistslife.html


Unit 3, Outcome 1These provide online copies of artist’s works and additional resources that may be used in concert with printed resources.

Nature as a vehicle for exploring ideas and concepts.

David Casper Friedrich, ‘Winterland Landscape’ [1811]: www.nationalgallery.org.uk/paintings/caspar-david-friedrich-winter-landscape‘The Abbey in the Oakwood.’ [1810]: www.khanacademy.org/humanities/becoming-modern/romanticism/romanticism-in-germany/v/caspar-david-friedrich-abbey-among-oak-trees-1809-or-1810https://en.wikipedia.org/wiki/The_Abbey_in_the_OakwoodAnselm Kiefer, ‘Lot’s Frau’ [1990]: www.clevelandart.org/art/1990.8.a http://nightsession.tumblr.com/post/11591907560/lots-wife-lots-frau-1990-anselm-kiefer-born-onR. Spehler & P. Slattery, ‘Voices of Imagination.’ Int. Journal Educational Leadership, Vol 1, No 2. p. 5.: http://people.cehd.tamu.edu/~pslattery/documents/imagination.pdf‘For Paul Celan: The Ashflower.’ [2006]Artwork: www.artslant.com/ny/works/show/527356 www.aestheticamagazine.com/confronting-the-past/‘The Ashflower’ poem (includes another work by Kiefer): http://viewfromaburrow.com/2016/01/06/anselm-kiefer-paul-celan/

The everyday Vhilis (Alexander Fanto)‘Incision’ Series [2015]: www.nowness.com/story/vhils-incision-alexandre-farto-andre-santos Mainstay Rock Bar, Cincinnati OH; [2011]: http://queencitytour.blogspot.com.au/2011/04/vhils-mural.htmlEdward Hopper‘Nighthawks.’ [1942]: www.artic.edu/aic/collections/artwork/111628 www.esquire.com/entertainment/movies/videos/a38455/edward-hopper-nighthawks-analysis/ ‘Automat’ [1927]: http://emuseum.desmoinesartcenter.org/view/objects/asitem/601/129/primaryMakerAlpha-asc/title-asc?t:state:flow=f4225c7d-0938-4121-9c31-4a7d027ab4dfwww.tate.org.uk/context-comment/articles/pleasures-sadness

Snapshots of life Henri Toulouse LautrecGeneral information: www.metmuseum.org/toah/hd/laut/hd_laut.htm ‘Alone’ [1896]: www.nga.gov.au/exhibition/toulouse/Default.cfm?IRN=208028&BioArtistIRN=16815&mystartrow=61&realstartrow=61&MnuID=3&GalID=INTRO&ViewID=2

© VCAA 2016

http://www.nga.gov.au/exhibition/toulouse/Default.cfm?IRN=208028&BioArtistIRN=16815&mystartrow=61&realstartrow=61&MnuID=3&GalID=INTRO&ViewID=2

http://www.nga.gov.au/exhibition/toulouse/Default.cfm?IRN=208028&BioArtistIRN=16815&mystartrow=61&realstartrow=61&MnuID=3&GalID=INTRO&ViewID=2

http://www.metmuseum.org/toah/hd/laut/hd_laut.htm

http://www.tate.org.uk/context-comment/articles/pleasures-sadness

http://www.esquire.com/entertainment/movies/videos/a38455/edward-hopper-nighthawks-analysis/

http://www.artic.edu/aic/collections/artwork/111628

http://www.nowness.com/story/vhils-incision-alexandre-farto-andre-santos

http://www.aestheticamagazine.com/confronting-the-past/

http://www.artslant.com/ny/works/show/527356

http://www.clevelandart.org/art/1990.8.a

http://www.khanacademy.org/humanities/becoming-modern/romanticism/romanticism-in-germany/v/caspar-david-friedrich-abbey-among-oak-trees-1809-or-1810

http://www.khanacademy.org/humanities/becoming-modern/romanticism/romanticism-in-germany/v/caspar-david-friedrich-abbey-among-oak-trees-1809-or-1810

http://www.nationalgallery.org.uk/paintings/caspar-david-friedrich-winter-landscape


‘Seated Dancer in Pink Tights.’ [1890]: www.the-athenaeum.org/art/detail.php?ID=8838Juan Francisco CasasGeneral information: https://en.wikipedia.org/wiki/Juan_Francisco_Casas ‘Patricia & Montserrate/Acapulco/ Mexico’ [2014]: http://3qk03r3wav8p9e8t232mj341.wpengine.netdna-cdn.com/wp-content/uploads/2014/05/Juan-Francisco-Casas-20.jpg ‘Autoretratoconguilia’ [2008]www.juanfranciscocasas.com/en/ficha_dibujo/362/2008/1

Passage of time Ricky Swallow‘Killing Time.’ [2003–2004]: www.artgallery.nsw.gov.au/collection/works/125.2004/ ‘Everything is Nothing.’ [2003]: http://archive.artgallery.nsw.gov.au/media/archives_2003/still_life/ Article: ‘The Age’, 27 Sept 2003: www.theage.com.au/articles/2003/09/25/1064083123739.html?from=storyrhsClaude MonetRouen Cathedral series [1893]: https://en.wikipedia.org/wiki/Rouen_Cathedral_(Monet_series)

Artist and subject – their relationship

Amedeo Modigliani‘Reclining Nude’ [1919]: www.dailymail.co.uk/news/article-3313008/Sell-sells-Prudes-look-away-extraordinary-X-rated-story-portrait-s-just-sold-113-million.html Paul Guilliame, Novo Pilota.’ [1915]: www.ngv.vic.gov.au/orangerie/modiglianiimage.htmlElizabeth PeytonGeneral: https://en.wikipedia.org/wiki/Elizabeth_Peyton ‘Rirkrit.’ [1991]: www.walkerart.org/collections/artworks/rirkrit ‘Kanye.’ [2010–2011]: www.artsy.net/artwork/elizabeth-peyton-kanye

Nature – noticing nature Pierre Etienne Theodore Rousseau‘Under the Birches evening.’ [1842–1843]: www.toledomuseum.org/2013/09/20/artwork-of-the-week-september-20/ http://nga.gov.au/exhibition/turnertomonet/Detail.cfm?IRN=166686 ‘View of Puy de Dome and Royat.’ [1839]: www.christies.com/lotfinder/paintings/theodore-rousseau-vue-du-puy-de-dome-5097724-details.aspx

Barbizon School: www.metmuseum.org/toah/hd/bfpn/hd_bfpn.htmJeanne Claude and Christo‘Wrapped Trees.’ [1998]: http://christojeanneclaude.net/projects/wrapped-trees#.VptbdbZ97Dc

© VCAA 2016

http://www.metmuseum.org/toah/hd/bfpn/hd_bfpn.htm

http://www.christies.com/lotfinder/paintings/theodore-rousseau-vue-du-puy-de-dome-5097724-details.aspx

http://www.toledomuseum.org/2013/09/20/artwork-of-the-week-september-20/

http://www.artsy.net/artwork/elizabeth-peyton-kanye

http://www.walkerart.org/collections/artworks/rirkrit

http://www.ngv.vic.gov.au/orangerie/modiglianiimage.html

http://www.dailymail.co.uk/news/article-3313008/Sell-sells-Prudes-look-away-extraordinary-X-rated-story-portrait-s-just-sold-113-million.html

http://www.dailymail.co.uk/news/article-3313008/Sell-sells-Prudes-look-away-extraordinary-X-rated-story-portrait-s-just-sold-113-million.html

http://www.theage.com.au/articles/2003/09/25/1064083123739.html?from=storyrhs

http://www.artgallery.nsw.gov.au/collection/works/125.2004/

http://www.juanfranciscocasas.com/en/ficha_dibujo/362/2008/1

http://www.the-athenaeum.org/art/detail.php?ID=8838


‘The Gates.’ [2005]: http://christojeanneclaude.net/projects/the-gates#.VptbrbZ97Dc

Life and living Suzanne Valadonhttps://pensivepassage.wordpress.com/2015/04/15/suzanne-valadon-artists-model-who-represented-women/‘The Future is Unveiled.’ [1912]; Stephen Kern, The Culture of Love: Victorians to Moderns, Harvard University Press, Cambridge, MA, 1994) pp 14–15:‘Adam and Eve.’ [1909] Ibid., p.104. https://books.google.com.au/books?id=v2oQuC76NywC&printsec=frontcover#v=onepage&q&f=falseKelly ReemtsenGeneral information: www.widewalls.ch/artist/kelly-reemtsen/ ‘Unplugged.’ [2015]: www.debuckgallery.com/artwork/unplugged-2015/ ‘Not Every Pill is Bitter.’ [2012]: http://artoutthere.blogspot.com.au/2010/12/kelly-reemtsen.html

Film/Video and contemporary life Nam June PaikGeneral Information: https://en.wikipedia.org/wiki/Nam_June_Paik ‘Video Film Concert’ [1965]: www.eai.org/title.htm?id=1675 ‘Global Groove.’ [1973]: www.eai.org/title.htm?id=3287Ryan Trecartin‘Re’ search Wait’S’ [2009–2010];Information: www.ngv.vic.gov.au/essay/ryan-trecartin-research-waits/ Artwork: https://vimeo.com/24968781 ‘A Family Finds Entertainment.’ [2004]Information: www.thewhitereview.org/art/ryan-trecartin-the-real-internet-is-inside-you/ Artwork: www.youtube.com/watch?v=Z5nclmEYkqk

Personal experiences – Australian women

Grace Cossington-Smith‘The Sock Knitter,’ [1915]: www.artgallery.nsw.gov.au/collection/works/OA18.1960/ http://nga.gov.au/Exhibition/cossingtonsmith/pdf/EduKit.pdf ‘The Lacquer Room.’ [1935]: www.artgallery.nsw.gov.au/collection/works/OA10.1967/ www.theguardian.com/artanddesign/australia-culture-blog/video/2013/dec/12/modernist-sydney-art-videoWendy SharpeGeneral: John McDonald: http://johnmcdonald.net.au/2011/wendy-sharpe/www.portrait.gov.au/magazines/46/observation-point-379‘Self Portrait – as Diana of Erskineville.’ [1996]: www.artgallery.nsw.gov.au/prizes/archibald/1996/19655/

© VCAA 2016

http://www.artgallery.nsw.gov.au/prizes/archibald/1996/19655/

http://www.portrait.gov.au/magazines/46/observation-point-379

http://www.theguardian.com/artanddesign/australia-culture-blog/video/2013/dec/12/modernist-sydney-art-video

http://www.artgallery.nsw.gov.au/collection/works/OA10.1967/

http://www.artgallery.nsw.gov.au/collection/works/OA18.1960/

http://www.youtube.com/watch?v=Z5nclmEYkqk

http://www.thewhitereview.org/art/ryan-trecartin-the-real-internet-is-inside-you/

http://www.ngv.vic.gov.au/essay/ryan-trecartin-research-waits/

http://www.eai.org/title.htm?id=3287

http://www.eai.org/title.htm?id=1675

http://www.debuckgallery.com/artwork/unplugged-2015/

http://www.widewalls.ch/artist/kelly-reemtsen/


‘Self Portrait in Florence.’ [2009]: http://galleryecosse.com.au/wp-content/uploads/2011/11/Self-Portrait-in-Florence-180x145cm-oil-on-canvas_2009_profile.pdf http://artoutwrite.blogspot.com.au/2011/03/wendy-sharpe.html

Through Australian eyes – Indigenous land and lives

Albert NamatjiraGeneral: http://nga.gov.au/namatjira/Gallery.htm ‘Mount Hermannsburg, Finke River’ [c1946–1951]; Derek Marshall Schreuder & Stuard Ward, Australia’s Empire, Oxford University Press, Oxford UK, 2008, pp. 130–131. ‘Standley Chasm.’ [c1942-1949]: http://nga.gov.au/namatjira/detail/animate.htmEmily Kame Kngwarreye

General information: http://nga.gov.au/exhibitions/Kngwarreye/ ‘State of My Country.’ [1990]: http://img.aasd.com.au/17735830.jpg ‘Alatyite Dreaming.’ [1994]: www.sauer-thompson.com/junkforcode/archives/2009/07/31/KngwarreyeEAlatyiteDreaming.jpg%E2%80%A8%E2%80%A8.jpg

Photographic narratives Max Dupain‘Sharks at Blackhead Beach.’ [1937]: www.ngv.vic.gov.au/explore/collection/work/12874/ ‘Meat Queue.’ [1946]: www.artgallery.nsw.gov.au/collection/works/119.1976/Rose Farrell and George Parkinwww.artlink.com.au/articles/3135/rose-farrell-and-george-parkin-home-28operating29-th/ http://miyakoyoshinaga.com/artists/Rose_Farrell__and_George_Parkin ‘A Passion for Maladies’ series ‘Untitled Image No 4.’ [1990-1991]: www.artgallery.nsw.gov.au/collection/works/302.1992/ ‘The Silk Weaver’ ‘Restoration Series’ [2007]: http://arcone.com.au/farrell-parkin-2008/ www.boutwelldrapergallery.com.au/imagesart/CatalogueessayBDG_2008_1.pdf

Love Auguste Rodin, ‘The Kiss’ [1882–1889]: www.musee-rodin.fr/en/collections/sculptures/kissRon Mueck, ‘Couple Spooning.’ [2005]: www.tate.org.uk/art/artworks/mueck-spooning-couple-ar00033Gustav Klimt, ‘The Kiss.’ [1907–1909]: www.klimt.com/en/gallery/women/details-klimt-der-kuss-1908.dhtmlSam Jinks, ‘Embrace.’ [2010] www.samjinks.com/gallery/29-sam-jinks.html

Motherhood Joy Hester, ‘Mother and Child.’ [1955]: http://nga.gov.au/hester/Index.cfm?WorkID=38784&View=2Louise Bourgeois, ‘Maman.’ [1999]: www.guggenheim.org/new-york/collections/collection-online/artwork/10856

© VCAA 2016

http://www.guggenheim.org/new-york/collections/collection-online/artwork/10856

http://www.samjinks.com/gallery/29-sam-jinks.html

http://www.klimt.com/en/gallery/women/details-klimt-der-kuss-1908.dhtml

http://www.tate.org.uk/art/artworks/mueck-spooning-couple-ar00033

http://www.musee-rodin.fr/en/collections/sculptures/kiss

http://www.boutwelldrapergallery.com.au/imagesart/CatalogueessayBDG_2008_1.pdf


http://www.artlink.com.au/articles/3135/rose-farrell-and-george-parkin-home-28operating29-th/


http://www.ngv.vic.gov.au/explore/collection/work/12874/

http://www.sauer-thompson.com/junkforcode/archives/2009/07/31/KngwarreyeEAlatyiteDreaming.jpg%E2%80%A8%E2%80%A8.jpg


Michelangelo, ‘Pieta.’ [1498–1500]: www.italianrenaissance.org/michelangelos-pieta/Ron Mueck, ‘Pregnant Woman.’ [2002]: www.portrait.gov.au/content/ron-mueck

War George Gittoes, ‘The Yellow Room.’ [1999] http://johnmcdonald.net.au/2014/george-gittoes/Ben Quilty, ‘Captain S After Afghanistan.’ [2012]: www.awm.gov.au/exhibitions/quilty/portraits/Do Ho Suh, ‘Some/One.’ [2002]: www.art21.org/texts/do-ho-suh/interview-do-ho-suh-some-one-and-the-korean-military

Common objects Andy Warhol, ‘Brillo Boxes’ [1964]: www.philamuseum.org/collections/permanent/89204.htmlAi Wei Wei, ‘Ton of Tea’ [2007]: https://galerieursmeile.com/artists/artists/ai-weiwei/ton-of-tea-2007-tea-cube-2007/workdetail.html?cHash=771af09f8600249cea9437ca14b7d4b1Marcel Duchamp, ‘Fountain’ [1917,1954]: www.tate.org.uk/art/artworks/duchamp-fountain-t07573Ryan Gander, ‘Fieldwork’ [2015]: www.lissongallery.com/artists/ryan-gander

© VCAA 2016

http://www.lissongallery.com/artists/ryan-gander

http://www.tate.org.uk/art/artworks/duchamp-fountain-t07573

https://galerieursmeile.com/artists/artists/ai-weiwei/ton-of-tea-2007-tea-cube-2007/workdetail.html?cHash=771af09f8600249cea9437ca14b7d4b1

https://galerieursmeile.com/artists/artists/ai-weiwei/ton-of-tea-2007-tea-cube-2007/workdetail.html?cHash=771af09f8600249cea9437ca14b7d4b1

http://www.philamuseum.org/collections/permanent/89204.html

http://www.art21.org/texts/do-ho-suh/interview-do-ho-suh-some-one-and-the-korean-military

http://www.awm.gov.au/exhibitions/quilty/portraits/

http://www.portrait.gov.au/content/ron-mueck

http://www.italianrenaissance.org/michelangelos-pieta/

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