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Hsc froum2015 visual_arts

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Hsc froum2015 visual_arts

  1. 1. SUBTITLE DAY, MONTH, YEAR Visual Arts Syllabus STAGE 6 COURSE OVERVIEW LIBRARY RESOURCING ROSEMARY GORMAN BOARD INSPECTOR CREATIVE ARTS March, 2015
  2. 2. CREATIVE ARTS Key Learning Area There are 4 learning areas within the Creative Arts KLA in STAGE 6: VISUAL ARTS DANCE DRAMA MUSIC
  3. 3. STAGE 6 VISUAL ARTS SYLLABUS STRUCTURE: course components and content PRELIMINARY COURSE:
  4. 4. STAGE 6 VISUAL ARTS SYLLABUS STRUCTURE: course components and content HSC COURSE:
  5. 5. SYLLABUS CONTENT: PRACTICE PRACTICE: Artmaking The student’s artmaking practice: knowledge, skills and understanding of the relationships between representation, conceptual strength and meaning and resolution including how these relationships are knowledgeably held within a Body of Work as a representation or demonstration of a student’s intentions and their developing ability to hold an interpretive position. The artmaking practice of other artists: the social structures, positions, actions, influences and sequences that operate as a network of procedures effecting what artists do and what artists choose to represent through artmaking
  6. 6. The Religion of Archaeology, Saane Deyer, Mosman High School, 2014 ARTMAKING PRACTICE: THE BODY OF WORK ‘Why is it that we believe that the previous life forms archaeologists have modelled are accurate? We believe them despite being unable to go back in time and check, because of our religious belief in science. We are taught since childhood that science never lies, so science is never questioned in adulthood because of this embedded belief. I feel our belief in science has become a religion in itself.’ Saane Deyer, Mosman Daily, Sydney, 26.2.15
  7. 7. PRACTICE: Art criticism and art history the practice of art criticism and art history – compliments and extends the understanding of visual arts gained in artmaking. Students learn how to evaluate and explain the significance of particular artists, artworks and audience responses and representations of the world over time.
  8. 8. SAMPLE HSC QUESTIONS: PRACTICE 2013 HSC EXAMINATION VISUAL ARTS: Art criticism and art history Section II: Practice Question 4 ( 25 marks) Explain how and why practice in the visual arts evolves over time. In your answer you may refer to artists and/or art critics and /or art historians. Question 5 ( 25 marks) How do contemporary artists redefine the boundaries of art making practice?
  9. 9. SYLLABUS CONTENT: THE CONCEPTUAL FRAMEWORK The conceptual framework provides a model for understanding the complex and intentional functional relationships that exist between the agencies in the artworld. The 4 agencies in the conceptual framework exist in the artworld as a network of relationships : •The artist •The artwork •The world •The audience
  10. 10. ARTIST: who is an artist, what do artists do, why and how do they do it the practice of artists in different times and places ARTWORK: artworks as objects (material, physical, symbolic and virtual) artworks as systems of representation, belief and imagination categories of artworks; art, craft, design, 2D, 3D, 4D time based and muli- modal and digital works and including categories of genre and diversity of material practice artwork as an outcome of practice as described by contextual circumstances related to time and place changing interpretations and explanations of artworks over time THE CONCEPTUAL FRAMEWORK:
  11. 11. WORLD: how the world is understood and represented in art includes representations of experience class, ideology, age, events, significance, theoretical positions, ideologies and philiosophies possibilities AUDIENCE: as a body of critical consumers inclusive of art critics and art historians, writers, teachers, students, entrepreneurs, patrons, collectors, members of the public, gallery directors, dealers etc the changing nature of audiences over time the spaces where audiences are present – galleries, museums, public spaces, on line THE CONCEPTUAL FRAMEWORK:
  12. 12. THE CONCEPTUAL FRAMEWORK AND THE BODY OF WORK: THE WORLD ‘I wondered what it would be like to be the last human being alive, returning to a cold and lifeless world. It’s about humanity as a whole and a look back at the way we were. I want to make people think about the world when they see my work.’ Thomas McDonald, Blacktown Sun, Sydney, 10.2.15' Voyager, Thomas McDonald, Wyndham College, 2014
  13. 13. SAMPLE HSC QUESTIONS: 2013 HSC EXAMINATION VISUAL ARTS: Art criticism and art history Section II: Conceptual Framework Question 6 (25 marks) ‘Art is not what you see, but what you make others see…..’ Edgar Degas Examine this statement with reference to a range of examples. Question 7 ( 25 marks) What is the role of art in public spaces? In your answer you may refer to events, festivals, community projects, memorials, street art, cyber works, site specific artworks and/or other examples.
  14. 14. The frames provide an interpretive tool or lens for understanding the layering of meaning, significance, value and belief in and about the visual arts. THE FRAMES Each frame assist students to understand and explain practice across time and place as well as their own art making practice. The frames orient or set up an interpretive position when approaching the practice of artmaking, art criticism and art history. The frames acknowledge and set up distinctive relationships between the concepts of artist, artwork, world and audience that allow for a range of alternative meanings, accounts and values within the artworld.
  15. 15. subjective frame: personal psychological experience cultural frame: cultural and social meaning structural frame: communication and the system of signs postmodern frame: ideas which challenge mainstream values of histories and ideas THE FRAMES
  16. 16. THE FRAMESAND THE BODY OF WORK: STRUCTURAL FRAME ‘This sculpture required me to experiment with materials and methods I had not previously used (including alginate, silicone, bitumen and modelling compounds) a process I found enjoyable and absorbing in spite of the darkness of the subject matter.’ Alice Reti-Steel, Lithgow Mercury, 28.2.15 ‘Sour Light Crude’, Alice Reti-Steel, Lithgow High School, 2014
  17. 17. THE FRAMES AND THE BODY OF WORK: STRUCTURAL FRAME ‘The 2010 Gulf of Mexico spill continues to affect that region, hence the oil pool in my sculpture mimics the shape of the United States portion of the north American land mass.’ Alice Reti-Steel, Lithgow Mercury, 28.2.15 ‘Sour Light Crude’, Alice Reti-Steel, Lithgow High School, 2014
  18. 18. 2013 HSC Examination VISUAL ARTS: Art criticism and art history Section II: Frames Question 8 (25 marks) ‘If I could say it in words, there would be no reason to paint.’ Edward Hopper Discuss this statement with reference to how artists communicate concepts using visual language. Question 9 ( 25 marks) Analyse how artworks represent and document cultural histories. SAMPLE HSC QUESTIONS: FRAMES
  19. 19. Art Gallery Publications: •AGNSW http://www.artgallery.nsw.gov.au/research /gallery-publications/ •MCA http://www.mca.com.au/ •NGA http://nga.gov.au/Publications/ •NGV http://www.ngv.vic.gov.au/explore/publications/ KEY RESOURCES:
  20. 20. Data Bases: Artstor http://www.artstor.org/index.shtml Oxford Art Online http://www.oxfordartonline.com/public/;jsessionid=55731E77B808EF85693CDE 47C37F8BDC KEY RESOURCES:
  21. 21. Data Bases: Useful aggregating sites: Yale University Library http://guides.library.yale.edu/artsdatabases AGNSW: http://www.artgallery.nsw.gov.au/research/tools/ UWA: http://guides.is.uwa.edu.au/history_art KEY RESOURCES:
  22. 22. Magazines and Journals: Art and Australia Artlink Art Monthly Art in America Frieze Art International ArtAsiaPacific Artforum Artist Profile Studio International Flash Art KEY RESOURCES:
  23. 23. Textbooks: Piper Press http://www.piperpress.com.au/piperpress.com.au/Art_Books.html Ariel Booksellers http://www.arielbooks.com.au/ TASCHEN http://www.taschen.com/? utm_source=bingads&utm_medium=cpc&utm_campaign=taschen_uk THAMES & HUDSON http://thameshudson.com.au/ KEY RESOURCES:
  24. 24. GPO BOX 5300 CLARENCE ST SYDNEY, 2001 EMAIL: rosemary.gorman@bostes.nsw.edu.au PHONE NUMBER: 9367 8161 ROSEMARY GORMAN

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