2011, 1.4, as 90021


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2011, 1.4, as 90021

  1. 1. 2011 Visual Arts 1.4 AS 90021‘Extend ideas in other media and techniques.’ Credits: 4
  2. 2. ArtistsModels McLean, D., 1988, Openings. 100 NZ craftsmen
  3. 3. Trubridge, D., Offering II - figure Matai, elm crotches. . 100 NZ craftsmen
  4. 4. McWhannell, H,1917 & China &Sterling silver.100 NZ craftsmen
  5. 5. Sutherland, W, ‘Hors dDoeuvre cuttlefish & casting & found objects , 100 NZ Artists
  6. 6. Selwyn Muru, ‘Hows your father?’1984, paintedfound objects
  7. 7. Fraser, J., ‘Ko Aoraki Te Maunga’ (Mt Cook is the mountain) 1988, 100 NZ Artists
  8. 8. Huffadin, Megan, 1988, Compassion, Mixed media drawing & Cabinet, 100 NZ Artists.
  9. 9. Gascoigne, Rosalie, Habitation, 1984, softwood compartmented, 100 NZ Artists
  10. 10. Gascoigne, R., Pink Window, 1974,, window frame, pink undercoat 100 NZ Artists
  11. 11. Whiting, C., Tawhiri-Matea 1984
  12. 12. Harrison. Tane depicting the separation of Rangi & Papa
  13. 13. Matchitt, P.,Whanau a ApanuiAotea Centre, 1990
  14. 14. Gascoigne, R., c. 1970,Homage to McCahon
  15. 15. Muru, S., 1984. Bird painted foundobjects, Maori artists of the Sth Pacific, NZ Maori artists
  16. 16. S, Muru, Waharoa gateway to Aotea Centre in Auckland, 1990
  17. 17. Adams, Brendan, 1988, FactoryEarthenware andsteel, 100 nz craft artists
  18. 18. Tunnel book
  19. 19. Student work 2005
  20. 20. An example of student excellence 1.4
  21. 21. http://www.nzqa.govt.nz/qualifications- standards/qualifications/ncea/ncea-subject-resources/visual-arts/visual- arts-annotated-exemplars/annotated-exemplars-level-1-as90021/• This sample is in the middle of the Excellence grade range• The methods and ideas of Joseph Cornell have been sufficiently understood to enable the learner to generate a Pacific coastal outcome that integrates rather than imitates the work of the artist.• The concept drawing and collage stages are then developed into a series of alternative three dimensional trials before embarking on the final assemblage.• This collage/assemblage procedure is moved beyond creative play paradigms, by the use of annotations throughout the development sequence that clearly demonstrate the evaluative requirements of the first criterion for Excellence.• Each stage of development is informed by a clear understanding of its particular purpose within the developmental sequence. The concept drawings investigate layout and choice of objects, while the montage/assemblage stages explore colour and technical issues.• A degree of visual cohesiveness has been created by this careful selection of objects and appropriate application of shellac. The result is an aged craft effect that enables the work to operate as a single unified object.• The technical finish demonstrates sufficient skilful use of media within the context of the assemblage convention and level six strands of The Arts in the New Zealand Curriculum document, as defined in explanatory note one of the standard.
  22. 22. The End