Unit 3 Outcome 3: due 14/5
Contribution to final assessment School-assessed Coursework for Unit 3 will contribute 5 per cent to the study score. Outcome Marks allocated* Assessment tasks Outcome 3 Examine the practice of at least two artists, with reference to two artworks by each artist, referencing the different historical and cultural context of each artwork. 30 Assessment tasks may include a combination of the following: • structured questions
• an annotated visual report
• an essay
• a presentation using digital technologies
• a series of short responses • an oral presentation with supporting visual evidence.
Total marks 30
*School-assessed Coursework for Unit 3 contributes 5 per cent.
Question from 2017 exam:
Q9 (12 marks)
Analyse how TWO artists you have studied this year have used art elements and art principles to demonstrate aesthetic qualities, and to communicate ideas and meaning in their artworks.
Artist 1
Artist 2
Picasso V’s Ai Weiwei
Resources for art analysis:
http://www.itv.com/news/2016-02-01/ai-weiwei-poses-as-dead-syrian-child-in-new-artwork/
http://www.theartstory.org/artist-picasso-pablo.htm
http://www.theartstory.org/artist-ai-weiwei-artworks.htm#pnt_1
Guernica:
ACK library guide:
2017 exam report:
http://www.vcaa.vic.edu.au/Documents/exams/studioarts/2017/studioarts_examrep17.pdf
Question 9 Marks 0 1 2 3 4 5 6 7 8 9 10 11 12 Average % 7 2 4 5 8 10 13 11 11 10 9 5 4 6.4 This question asked for two separate areas of analysis: how the art elements and principles have been used to demonstrate aesthetic qualities and how the two artists have communicated ideas and meanings. Students needed analyse the two aspects of the question succinctly. Low-scoring responses reiterated the artist’s historical and cultural context, which the student had clearly studied, but neglected to adapt this to the question. Many students soundly discussed the ideas and meanings explored within the artist’s studio practice but often did not discuss the aesthetics or ideas in specific artworks. Very often students did not reference artworks in their analysis. Some students combined their analysis on their two artists and others responded on both artists separately. Van Gogh was a popular choice. Students discussed some relevant information in regard to his aesthetics but found it difficult to articulate the ideas and meanings behind his artworks. Overall, students appeared well prepared for this question. The following is an extract from a high-scoring response.
Bill Henson uses various art elements and principles in his work to create the emotional, dramatic aesthetic and communicate these romantic ideals. Henson uses light in creating a contrast – inspired by the Baroque movement (Carravaggio and Rembrandt in particular) Henson portrays a chiaroscuro techniques in the illumination of the bodily figures, contrasting on the shadowed background, he does so to create an emphasis on focal point on the subject matter, exploring the complexities of the human condition, but also to create a highly dramatic and staged idea within the work, further enhancing this theatrical, emotional aesthetic. His use of mellow and dull colours gives little life and vibrancy of the work, with ??? yellows subtely appearing through the largely monotonal appearance – the icon of significant colour additionally enhances this highly emotional feel, perhaps indicating a sombre or lifeless state. … Conversely Dupain also uses various art elements and art principles to communicate ideas and meanings whilst demonstrating aesthetic qualities. Reflect the modernism style, Dupain relies on simple tones, textures and shapes to make up his composition the shapes of the triangular torso of the figure in one of his most significant pieces, Sunbaker, and the oval shaped head of the male reflects the idea of simplicity and minimalism in design, moving beyond complex narrative artworks to simply visual interest. Dupain often intends to communicate messages of Australian culture within his work, he does so through the use of form, for example, in Sunbaker, the males muscular torso, attempts to reference the health, vitality and beach culture of the Australian life style – further his use of emphasis creates an eyecatching piece that attracts the eye of the viewer, a like the way the sun beems down upon the figure in Sunbaker to portray minimalistic values of modernism and create a highly aesthetically pleasing piece of artwork.
Bill Henson
There is an overwhelming photograph hanging in the Australian national gallery, measuring 1.5m by 1.5m. The image is called ‘Untitled, the Paris Opera Project, 1991’ and is characterized by the startling contrast articulated through the use of chiaroscuro. This projects a haunting feeling reminiscent of a Caravaggio painting. A young girl leans over to whisper into the ear of an elderly gentleman dressed in tails at the opera; it is a Degas-style moment prompting the audience to enquire about the relationship between the two subjects. The artist, Bill Henson, comments on this technique by explaining how “In every form of art, you really want the experience of the images to transcend the medium, for the medium to disappear into the greater experience of viewing the work. So that you forget you are looking at a painting, or a photograph.” (Bill Henson, ART MONTHLY AUSTRALIA, July 1996, pp 4-7)
http://drawingatduke.blogspot.com.au/2016/03/bill-henson.html
1937
printed 1970s
Australia 22 Apr 1911 - 27 Jul 1992
https://www.artgallery.nsw.gov.au/collection/works/115.1976/