Visual Arts - Paterson, Poppy and Vaughn - Oxford 2017

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V IS U A L

C O U R S E

C O M PA N I O N

Jayson Paterson

Simon Poppy

Andrew Vaughan

G R

A

M

M

E

A RT S

Jessica

Megu

3

Leaf,

Moyes,

Great

Clarendon

Street,

Oxford,

OX2

6DP,

United

Kingdom

Rebecca

Giuseppe

Pan,

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Acknowledgements

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Contents

Introduction

1

iv

The visual arts journal

4

The process portfolio

What

is

the

What

are

process

the

70

portfolio?

requirements

of

70

the

process

1 portfolio?

What

is

the

visual

arts

journal?

Making

the

visual

arts

journal

a

habit

criteria

Assembling

your

your

visual

arts

journal

as

process

portfolio

with

the

assessed

components

process

portfolio

90

The exhibition

Formal elements of art

are

the

formal

elements

of

94

4 is

the

Starting

exhibition?

94

points

95

15

Developing

ideas

and

intentions

15

Developing

skills

and

considering

art?

art-making Composition

16

Light

17

Themes,

Form

100

forms

ideas

Sensitive

and

104

concepts

issues/provocative

106

art

117

18

Academic Space

and

depth

honesty

and

the

artworks

you

18

present Line

20

Colour

20

The

Texture

118

impact

and

your

and

motion

process

and

technique

The comparative study

Making

What

How

the

comparative

we

120

by

Visiting

museums,

How

interpret

do

we

culture?

for

How

to

present

How

to

make

exhibition

121

the

artworks

for

your

exhibition

133

exhibition

135

Glossary

143

Bibliography

151

Recommended reading

152

Index

153

34

the

39

exhibitions

function

mean

make

the

29

study

to

for

35

criteria

How

criteria

30

mean

comparative

What

study?

research

Assessment

to

culture,

29

choices

do

to

your

24 The

is

school,

23 Selecting

What

your

22

Materials,

3

of

teacher

Assessment

Time

75

3

What

What

the

a

tool

5

2

for

3

learning

Linking

Assessment

2

Format

Using

71

1

by

and

context

and

galleries

purpose

and

53

audience?

comparisons

your

60

61

comparative

connections

45

to

your

study

own

65

art

67

iii

Introduction

This

guide

will

help

successfully.

It

It

wealth

includes

but

also

a

plenty

effectively.

course,

when

The

has

or

you

of

You

of

need

has

to

complete

written

ideas

to

suggestions

can

simply

course

you

been

choose

as

a

to

to

to

save

use

IB

visual

inform

and

you

this

book

your

assessed

the

both

challenge

reference

answers

three

to

to

as

and

a

reach

course

inspire

stretch

time

book

arts

and

your

help

guide

for

in

students.

creativity,

you

to

work

throughout

a

moment

of

the

panic

questions!

components

that

have

different

weighting

Tip for

Make sure you balance your time

assessment:

●

the

comparative

●

the

process

●

the

exhibition

study

worth

20%

between the dierent elements portfolio

worth

40%

appropriately.

And

there

is

a

worth

key

element

There

is

no

necessary

will

this

visual

parts

of

formal

areas

Familiarize

on

in

the

visual

gain

will

a

arts

sense

also

work

to

the

have

content

understand

better

It

also

meet

and

course.

expands

actually

at

a

feel

of

a

There

is

a

suggest

throughout

on

study,

a

that

to

is

help

to

to

all

the

each

the

detailed

bibliography

links

book

introduction

section

language

the

this

introduction

by

work

between

this

comparative

Finally

this

the

look

for

this

an

book.

past

advice

to

of

the

process

glossary

essential

and

you

the

students

the

that

is

of

of

list

for

of

expand

short

your

section

student

have

criteria

scope

the

part

each

through

assessment

with

Read

important

introduction

how

the

for

of

is

Flicking

familiar

on

criteria

meant!

tells

the

guide

ideas

as

is

for

the

relevant

for

that

has

practical

giving

arts

plenty

guide

teachers

for

required

essential,

language

well

Visual

methods

what

is

the

students,

assessment

the

as

introduced

that

exactly

The

understand

the

to

as

course.

are

syllabus

that

this

get

you

required

you

use

an

the

teachers

organized

an

journal.

the

section

studies

so

you

examples

produced

each

book

to

the

assessed

then

different

course.

will

course

is

your

balance

with

will

there

exhibition.

content

rst

look

whole

where

the

teacher

study

iv

of

start

arts

complete

but

have

followed

the

course.

a

We

you

then

reading

the

demands

Once

know

with

to

We

you

visual

introduce.

then

the

you

demands

ofcial

and

of

achieve

as

art,

as

the

course,

subject-specic

the

journal

help

will

Your

arts

meet

component.

you

we

yourself

visual

of

the

recommended

ideas

to

journal

course,

the

of

arts

exibility.

and

providing

follow

visual

components:

portfolio

all

to

assessed:

components.

elements

assessed

not

lessons

arts

the

is

order

the

assessed

reect

the

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set

for

structure

three

to

40%.

but

the

of

been

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in

book

used

projects

you.

in

that

pictures

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is

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help

the

help

illustrate

to

you

ofcial

really

is

the

important

choosing

will

to

This

examiners

course.

you

this

to

and

to

guide.

you

what

to

is

The visual arts journal

1

L TA

What is the visual arts journal?

The

visual

arts

journal

is

the

most

important

learning

tool

for

your

course.

Thinking skills

In

“ Visual” is a key word when the

following

chapters

there

are

plenty

of

suggestions

of

ways

you

can

use

thinking about the visual ar ts your

journal

to

support

introduction

to

the

each

component.

Here

you

can

nd

a

more

general

journal, and being visual is the concept

of

the

visual

arts

journal

and

the

different

forms

key to keeping a successful it

can

take.

You

will

use

it

throughout

your

visual

arts

course.

journal. It is a way to make

The

visual

arts

course

is

studio-based.

What

this

means

is

that

during

your thinking visible. Try

your

time

following

the

course,

you

will

be

adopting

the

work

practices

using sketches, annotated

and

habits

of

a

working

visual

artist.

The

Diploma

Programme

is

a

images and diagrams, ow

university

matriculation

course,

so

you

won’t

have

all

of

the

artistic

char ts, concept webs and

freedoms

that

you

might

imagine

artists

to

enjoy.

After

all,

your

work

mind maps in dierent ways to

will

be

assessed

against

standardized

assessment

criteria,

therefore,

it

will

communicate your processes

need

to

comply

with

a

range

of

specic

requirements

and

will

need

to

be

and your ar t-making practice.

submitted

in

art-making

ideas,

and

as

a

of

part

critical

in

they

the

artist

and

use

the

–

a

them,

in

be

expected

practice

and

body

use

more

but

of

their

where

range

varied

approach

you

your

develop

with

materials

artworks.

some

what

to

techniques

form

Sketchbooks,

whole

even

artist

a

today,

practice.

probably

to

will

skills

complete

past

will

you

develop

workbooks

and

become

but

discipline-based

art-making

them,

individual

a

ultimately,

both

their

of

forms,

concepts,

notebooks,

describe

each

a

and,

artists,

part

journals,

to

as

investigate

media

Many

particular

of

is

they

of

visual

different

the

arts

in

journal

visual

terms

different

have

art-making

visual

diaries,

are

ways

common

is

used

that

how

practice.

Real ar tists use visual ar ts journals too. This shows a sketch of an ar t installation in

progress by British ar tist Andy Goldswor thy at the Château de Chaumont-sur-Loire

in central France. It is entitled “Egg-shaped cairn of slates”.

Section 1

1

T H E

V I S U A L

A R T S

J O U R N A L

The

journal

is

not

formally

fundamental

activity

components.

It

the

visual

they

will

research

journal

arts

use

for

will

●

will

the

to

put

be

a

as

assessed

the

glue

journal

their

development

You

is

in

course,

that

will

be

together

sticks

the

artist

will

them

If

most

and

the

but

into

of

well,

it

For

a

three

many

assessed

students,

evidence

and

your

written

is

the

the

portfolio

used

visual

throughout

feed

together!

of

process

study.

comprehensive

moderated,

source

their

comparative

an

or

and

all

of

the

visual

record

of

that

arts

your

course.

record:

observations

from

real-life

experiences

through

notes,

drawings

and

photography

●

your

research

works,

visual

from

stimuli

●

your

interactions

●

your

references

assessed

You

will

books

and

with

so

and

contextual

your

that

electronic

it

is

teachers

easy

to

media

into

other

artists’

ideas

and

add

class

critiques

citations

when

you

submit

work.

experiment:

Tip

●

with

new

skills

●

with

new

concepts

and

technologies

Organize your electronic records and

ways

of

working.

carefully. As par t of your journal

you will take many photographs.

You

will

practise:

Whether you use a camera or ●

rening

●

writing

your

existing

art-making

your phone, over two years it is

very easy to accidentally delete

text

portfolio

or simply forget where you have

for

and

your

for

the

exhibition

curatorial

comparative

statement,

for

your

process

study.

stored the les. Similarly, if you You

will

reect:

upgrade your phone – or lose

●

it – all those records are gone.

on

the

development

portfolio

So download your les to a safe

projects

of

and

your

your

new

ideas

and

evaluate

plans

for

process

exhibition

folder and back everything up on ●

on

visits

●

on

the

●

on

your

to

museums

and

galleries

and

on

artist

visits

and

workshops

one of the various cloud storage

challenges

that

you

face

and

how

to

improve

your

art-making

systems available. Your school

will probably create a shared

folder for you to put these in –

own

development

as

an

artist

through

your

art-making

practice.

if they don’t do this you could

suggest that they do.

Making the visual arts journal a habit

Keeping

will

images

you

are

to

nd

a

become

2

Section 1

got

to

as

the

journal

back

used.

the

to

up

goals

your

an

to,

for

by

the

You

end,

and

your

other

side

hues.

can

your

you

what

next

areas

of

in

When

can

you

and

make

were

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you

a

lesson

and

study

until

will

of

do

allow

next

that

any

you

a

you

that

are

problem,

until

feedback

your

to

source

colours

These

to

you

or

scheduled

remind

next.

time.

artworks

and

journal

As

notes

to

on

encounter

arts

teacher.

quick

of

ratios

note

going

work

sketches

names

visual

make

peers

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and

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also

as

ideas,

record

combinations

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from

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original

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alternatives

solution.

value

to

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various

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comes

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arts

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produce

workable

time

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sketch

suggestions

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you

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your

enable

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your

S E C T I O N

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visual

arts

conventional

allocate

and

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possibly

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and

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teacher

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of

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for

on

time

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study

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typically

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home

up

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progress

images

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follow

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and

course

homework

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of

time

of

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your

next

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or

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work,

studio

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artist

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level

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start

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arts

them

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to

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but

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or

of

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piece

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1

that

of,

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reect

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ideas

work.

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in

of

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format

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single

nd

it

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an

that

artist’s

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journal.

should

hardbound

experiments,

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form

take:

book,

folio,

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a

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course

collection

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les

forms

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combination

between

gives

of

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of

all

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of

arts

computer,

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journals

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using

explore

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form

different

of

art-making

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journal

forms

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and

work

media.

better

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for

might

you

nd

while

that

you

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are

working

on

a

screen-based

art-making

form,

for

example.

The

journal

a wide selection of pages or

could

be

a

single

sketchbook

or

dozens

of

notebooks.

It

can

be

long

or

extracts from pages from your

short,

small

and

private,

or

large

and

public.

You

can

write

in

ink

with

visual ar ts journal as par t of

a

quill

pen

or

dictate

your

thoughts

directly

onto

your

phone.

It

might

your process por tfolio. It will

include

photographs,

lms

and

recordings.

It

will

denitely

include

notes,

pay dividends if you take the

annotations

and

reection.

Of

course

there

will

be

drawings,

scribbles

and

approach of considering every

mess!

In

other

words,

the

visual

arts

journal

is

a

general

term

for

what

is

page as a potential process

likely

to

be

a

number

of

different

ways

you

record

visual

creative

work.

por tfolio screen. Always be

You

will

eventually

comparative

The

most

–

for

some

whatever

as

your

of

be

your

of

arts

in

your

for

is

your

to

use

journal,

in

this

the

process

assessment

a

on

chapter

as

an

a

to

this.

practice.

of

scan

a

of

the legibility of your work . Journal

pages will need to be scanned

complete

the

body

screen.

similar

However,

Choose

of

a

mindful of your presentation and

and

horizontal

you

do

development

development

portfolio

sketchbook

allowing

art-making

recording

own

both

approach

examples

best

ways

viewed

visual

the

works

appropriate

aswell

to

presenting

time-efcient

proportion

pages

study

be

or photographed for inclusion

in the process por tfolio, so it is

use

impor tant that there is adequate

most

contrast between any text and

work,

the background, and that the

artist.

size of the text will be legible on Before

you

start,

look

at

the

examples

in

this

section

of

how

your

screen. journal

that

will

the

connect

learning

to

from

the

assessed

your

journal

areas,

will

as

be

it

is

in

these

presented

to

components

be

assessed.

Using your visual arts journal as a learning tool

The

core

three

arts

of

the

areas:

presenting

of

will

you

arts

(ways

of

ideas).

help

which

which

syllabus

visual

methods

teacher

all

of

will

in

feature

could

use

engage

in

your

(artists

art)

practice

to

students

context

making

In

you

expects

your

and

this

in

a

and

wide

as

learn

through

why

they

communicating

means

visual

journal

to

arts

part

that

in

range

of

your

this

make

art),

visual

art

different

journal.

of

engaging

Below

arts

classes

with

visual

(ways

your

activities,

are

ways

in

learning.

Theoretical practice: Thinking and ideas

This

will

include

judgments.

You

gender-based

looking

might

issues

in

at

other

evaluate

relation

artists

ideas

to

and

such

considering

as

feminism,

contemporary

art

as

how

we

make

colonialism

well

as

or

using

Section 1

3

T H E

V I S U A L

A R T S

J O U R N A L

L TA

historical

frameworks

for

traditional

art.

Much

of

this

material

will

Creativity box be

included

techniques

in

your

are

comparative

used

to

express

study.

ideas;

Consider

this

will

how

processes

become

part

of

and

your

This is a Pandora’s box of ideas

process

portfolio.

You

can

explore

different

ways

of

communicating

for when you get stuck, or need

these

concepts

by

making

notes

and

perhaps

audio

recordings

for

your

to shake up your creative work,

journal,

but

also

reect

on

the

most

successful

ways

of

presenting

ideas

for when your ar t is becoming

in

preparation

for

your

nal

exhibition.

repetitive or boring. Find or

make a container – it could be

an envelope, a tin, a basket, a

Ar t-making practice: Doing stu

shoe box; you might want to

You

give it ex tra value by decorating

your

it or making your container

and

from scratch.

an

will

create

with

intentions.

select

which

essential

artwork

for

new

media

Experiment

art

activity

element

your

in

in

this

and

a

evaluate

expresses

process.

exhibition

and

which

meaningful

it

your

This

is

in

way,

ideas

will

the

materials

rene

–

the

develop

journal

best

your

journal

into

that

a

will

body

you

suit

choices

will

be

of

organize

Then prepare a stack of cards

the

connections

and

prepare

the

text

to

support

your

presentation.

Most

and on each one write a word

of

this

material

will

become

part

of

your

process

portfolio.

– these are going to be your

inspiration triggers. Think of

Curatorial practice: Presenting stu qualities such as rough, hard,

thick, silken and so on. Think

Respond

of values such as rened,

artist

tiny, large, colourful. Think

own

of materials and substances

like

such as string, chalk, charcoal,

recordings

to

visits

the

and

artwork.

your

interactions

This

is

exhibition

in

you

workshops.

the

when

to

you

have

journal

have

Then

on

into

with

evaluate

will

the

the

other

what

consider

the

audience

assessed

art

is

by

through

most

exhibitions,

relevant

impact

you

to

your

would

synthesizing

all

your

exhibition.

sharpies, oil, sugar. Think of

what is impor tant to you such

as sunshine, bagels, the sea,

dogs. Think of feelings such

as sad, reective, instinctive,

angry, impulsive.

If you work with a friend you

can add words to each other ’s

box. In spare moments add new

words. Then when your work

gets dull, pull out three words

and use them to change your

ideas. A rough and impulsive

Linking with the assessed components

How

will

material

components?

sketchbook

If

you

do

matches

their

You

pages

this,

a

in

your

scanned

with

a

as

that

record

of

then

stay

studio

a

take

this

rst

screens

for

record

the

clear,

the

use

of

assessed

organized

process

format

that

even

the

portfolio.

readily

for

journal

presentation.

trials

where

experimentations

coherent

to

approach

students

reorganize

as

as

into

landscape

most

there

portfolio

journal

scanned

A3

students

they

transferred

your

an

However,

making

be

directly

choose

may

process

pieces,

be

Some

study.

journal

in

photo

exhibition

might

step

journal

complete

can

screenshot.

comparative

made

your

might

that

you

developmental

or

from

or

end

they

and

your

are

the

art

up

as

So

a

sketches

photographed

combined

development

of

journey.

drawing of your dog, for If

you

choose

to

keep

an

electronic

journal,

then

word

processed

text

example! can

easily

personal

type

be

pasted

touch

them

up

of

into

nal

presentations.

handwritten

unless

you

have

notes,

really

then

clear

If

you

you

prefer

will

to

keep

probably

the

need

to

handwriting.

Linking the journal with the comparative study

You

do

will

be

when

study

keeping

you

should

also

juxtapositions

4

Section 1

research

prepare

be

and

for

an

visual

graphics

notes

essay,

so

in

that

the

and

but

you

writing

journal

are

screens

draft

work

equipped

you

paragraphs

for

to

submit

your

make

for

just

as

you

comparative

exciting

assessment.

S E C T I O N

1

Meg and Meghan are preparing

topics for their comparative study.

This is an example of how working

on a large scale — they have spread

big sheets of paper on the oor –

has helped them to explore ideas

in a free manner. Meg has taken

books on Ukiyo-e prints and then

used paint to make a visual link

with Maggie Hambling’s paintings

of waves. Meghan knew that she

wanted to write about Alexander

McQueen, but was unsure how to

develop connections. Her teacher

has suggested themes and she is

beginning to trace links by adding

images and using her fashion books

as inspiration. Work such as this is

easily photographed on a phone

to refer to later when the detailed

comparative study research starts

This could be seen as stage two of the work that Meg and Meghan were engaged in. Anson is using collage and juxtaposition to

make meaningful links with his comparative study on iconoclasm.

Section 1

5

T H E

V I S U A L

A R T S

J O U R N A L

On a museum visit Anthony is using his journal to record his interest in Picasso and Matisse. This is the rst stage of his research

on Matisse’s use of colour for his comparative study. Alongside his notes he used sticky coloured paper and sharpies to respond

directly to the paintings in the gallery.

Carl and Becky are sketching in the Stedlijk Museum in Amsterdam. The point of these drawings is to slow down and look

carefully. The notes can be prompted by the museum labels (remember to cite these if you use this text later) and observations

of formal qualities and function. Spending time sketching also allows you to consider the relationship to the gallery audience – to

observe how others respond to the ar tworks and to think about the way the works are presented.

6

Section 1

S E C T I O N

1

Kierlan’s work on Dali forms one of the case studies in the comparative study chapter. Here are three early pages from her

journals. In the rst she makes rough notes in front of the painting, in the second she develops a focused analysis of formal

qualities and the third is par t of her research into Dali himself.

Emma and Carolyn visited an exhibition of Chinese

painting. Back in the studio they are experimenting

with brush and ink in the Chinese fan fold

sketchbooks they bought at the gallery. These

practical experiments are nicely combined with

research in materials and function. Some of these

pages are clear enough to be directly included in

either their process por tfolio or their comparative

study.

Section 1

7

T H E

V I S U A L

A R T S

J O U R N A L

Linking the journal with the process por tfolio

As

has

are

the

already

same

been

thing!

said,

sometimes

Notice

how

your

often

this

journal

is

the

and

case

your

in

process

these

portfolio

examples

This double page spread was presented for assessment as par t of Jonathan’s process por tfolio, but

it is in fact a collage from earlier journal work in several dierent formats: his photographs of owls,

his preparatory sketches and stills from his stop animation.

This investigative journal page could easily be scanned as a complete process por tfolio screen.

8

Section 1

S E C T I O N

1

Taking photographs is an impor tant par t of all ar tists’ work. Often we leave them in les without reecting on how they will

feed into studio ideas. Selecting and presenting photos in her journal has helped Sophia to think about how to compose her

exhibition sculpture piece. On the next page she begins to reect on these ideas and make preliminary sketches.

Here is another example of evaluating photographs in a journal. Octavia had been looking at Mondrian’s drawings of trees

when she decided to see if she could develop abstract forms in a similar way. She has star ted to play with unexpected

compositions. It is easy to see how with added captions this page can be scanned as par t of the development of her

exhibition pieces in the process por tfolio.

Section 1

9

T H E

V I S U A L

A R T S

J O U R N A L

Carolyn is planning a textiles piece based

on corsets for her exhibition so in her

journal she has taken photos, chosen the

ribbon colour and added reections on

corsets from a feminist perspective. Katie

is preparing for a still-life painting that

includes a glove, by drawing with dierent

media. Both students can easily scan these

pages for inclusion as assessed process

portfolio screens. Free, creative approaches

like this are the great advantage of the

journal – it allows you to concentrate on the

art ideas in any form you wish.

These are focused experimental pages,

mixing card collage with photocopies

and researched vocabulary on human

anatomy. These were produced in

preparation for a sculpture, but Chris can

now scan these pages for his process

portfolio – he will just need to type some

clearer explanatory notes and make links

to the development of his exhibition piece.

10

Section 1

S E C T I O N

1

Playing with materials is

one of the most impor tant

activities for an ar tist. Not

all of your pages will look

as exciting as this one,

but that is the point of the

journal – it allows you to

produce lots of material,

then scan the best

examples for the process

por tfolio. All that needs to

be added is some text to

contextualize this mixed

media work with the

development of studio

ideas.

Anthony’s collage book

is a studio tool, feeding

his paintings and

sculptures. The journal

has allowed him to work

free from concerns

about presentation or

assessment, although he

has added notes so this

is a resource for writing

about his ar t later too.

Linking the journal with the exhibition

The

the

most

obvious

journal

exhibition

need

to

you

and

record

However,

through

far

link

will

between

day

your

in

the

important

journal

the

preparing

developing

every

more

your

be

which

journal

to

write

connecting

studio

than

will

as

this

be

the

is

and

your

your

ideas.

well

the

exhibition

curatorial

as

To

on

do

foundation

this

well

museum

learning

that

for

is

that

statement

for

you

in

the

will

visits.

takes

resolved

place

works.

Section 1

11

T H E

V I S U A L

A R T S

J O U R N A L

Anson is developing a second outcome from an earlier sculpture idea – his notes record this and will be

useful when he explains the concepts in his curatorial statement. Below these he sketches some rst

ideas, while on the right he experiments with how he might use spray and stencil in this work. These

journal pages are essentially exhibition preparation, but could well be par t of his process por tfolio.

12

Section 1

S E C T I O N

1

Kitty has thought about the curation of an exhibition in Leicester City Art Gallery. Her

photo of a group of paintings will help her to consider how she arranges the paintings

in her own exhibition. The ground plan, the shots of the lighting and of the overall

space are a purposeful consideration of how an audience experiences art in a public

space, making this very good preparation for her curatorial statement.

Remember that

sometimes your journal

is just a sketchbook.

Antonia is preparing for

her exhibition paintings

of the life model and here

she uses contour lines to

capture the dynamism

of movement. Ella has

used her small notebooks

to doodle – it is easy to

imagine these sketches

as par t of a process

por tfolio page.

Section 1

13

.gnikam-t ra nwo reh tuoba setirw ehs nehw lufesu eb lliw sihT .puorg nwot nedmaC eht dna dralliuV fo sgnitniap eht yb detpmorp yralubacov

ciceps-tcejbus desu sah ehs segap eseht nO .yduts evitarapmoc reh ot sknil hcihw ,secaps roiretni ni tseretni reh dnuora noitibihxe reh gnipoleved si ronaelE

Section 1

14

J O U R N A L A R T S V I S U A L T H E

Formal elements of art

2

What are the formal elements of art? Key terms

This

chapter

provides

you

with

a

structured

approach

to

the

critical

Subject-specic language: analysis

of

formal

qualities.

This

is

an

important

skill

that

you

will

words that are specic to need

to

use

in

your

visual

arts

journal

when

writing

about

your

own

the eld of ar t. The use of artworks

or

the

art

of

others

and

in

the

three

assessed

components.

subject-specic language is an

The

formal

and

their

elements

of

art

are

the

physical

qualities

of

an

artwork

assessed element of the course

visual

effects,

a

separate

aspect

from

function

and

meaning.

and this book includes plenty

A

consideration

of

the

formal

elements

is

a

way

of

making

a

focused

of ideas for how to develop your

description

of

an

artifact

and

the

processes

through

which

it

was

made.

language to analyse ar t.

To

do

this

At

the

effectively

back

vocabulary

There

are

of

this

to

you

book

support

good

guides

●

The

●

Thinking

●

The

Tate

●

The

Metropolitan

There

Thames

are

divides

About

task

wildly

consider

you

which

approach

impact

of

your

A

way

while

is

Composition

You

of

arts-related

as:

(Thames

Penny

&

Hudson,

Huntsman

2015)

(2015)

at

http://www.metmuseum.org/

structure

second

and

need

be

the

the

As

exible

you

begin

work

function

analysis.

considers

develops

what

always

of

rst

technique.

to

to

formal

the

and

–

your

into

so

will

meaning

the

give

that

a

many

approach

examining.

noting

this

takes

chapter

formal

elements

art

in

are

by

This

the

and

However

emotional

you

you

an

can

later.

could

start

your

diagram.

description,

follow

Art

aspects:

suited

you

to

points”

the

but

analysis

These

don’t

order

that

with

points

follow

seems

act

the

as

them

most

“Seven

prompts

formal

to

your

systematically

appropriate

to

–

the

Light

Colour

artwork.

Emotion

it

Meaning

may

time

For

be

and

second

your

contemporary

appropriate

motion.

materials,

Space

to

impressions

return

such

by

Website

the

into

glossary

language .

http://www.tate.org.uk/

will

most

to

Guide

process

insight

Texture

at

ways

you

subject-specic

task.

analysis

related

analysis,

rst

this

Museum

forms,

use

Introduction

Website

two

to

comprehensive

in

Thematic

material,

the

a

need

formal

effective

into

of

different

to

Art:

individually,

consideration

is

you

Hudson

Gallery

many

the

elements

and

will

process

part

formal

of

the

to

works,

look

Remember

and

at

that

technique

chapter

will

such

the

installation,

element:

discussing

as

be

as

eighth

detailed

an

the

in

the

important

part

of

analysis.

and Form

depth

Line

Section 2

15

F O R M A L

E L E M E N T S

O F

A R T

Composition Key terms

Composition

Golden mean: a system to

create aesthetically pleasing

painting.

the

In

is

the

arrangement

sculpture

surrounding

it

is

the

and

structure

relationship

of

of

the

the

elements

forms

to

each

within

other

space.

propor tions originating in The

principals

of

harmony,

rhythm,

emphasis,

proportion,

variety

and

ancient Greece. The principle balance

can

all

be

evaluated

in

relation

to

composition.

You

might

also

is that a line is divided so that consider

theories

such

as

the

golden

mean,

or

the

rule

of

thirds

the smaller section’s relation to

the larger section is the same

When

you

analyse

composition

you

could

discuss:

as the larger section is to the ●

the

format

●

the

arrangement

●

negative

●

cropping

●

the

whole, approximately 5:8.

of

lines

and

shapes

Rule of thirds: imagine a

composition divided into thirds;

and

positive

space

these lines become the most

signicant points at which to

scale

place key elements.

Negative and positive space:

Tip:

useful

vocabulary

negative space is the area

around the forms (void) and

Useful words to use when describing composition:

positive space is the area arbitrary, asymmetrical, balanced, busy, calculated, chaotic, confused, taken by the form. In a strong cropped, cut, discordant, divided, dramatic, complex, geometric, golden mean, composition there will be an harmonious, informal, imbalanced, irregular, random, regular, repetition, interesting balance between the rhythm, rule of thirds, segmented, symmetrical areas, with the negative space

being just as visually arresting

as the positive.

Cropping: this is when objects are

When

considering

the

scale

●

How

●

Do

I

need

to

stand

●

Do

I

need

to

go

●

What

●

How

●

What

●

Do

does

the

human

and

form

impact

of

compare

an

to

artwork

the

size

you

of

might

the

ask:

artwork?

cut o by the edge of the picture,

back

to

see

the

painting?

as often happens in photography.

Cropping is less evident in

really

close

to

engage

with

the

artwork?

paintings before the invention of is

the

relationship

between

the

scale

and

the

detail?

photography. Cropping reminds

the viewer that we are looking

has

the

artist

drawn

us

into

their

world?

through a window or seeing a is

our

role

in

this

scene?

portion of a reality that continues

outside of the frame.

we

need

Perhaps

we

to

move

around

experience

the

the

gallery

artwork

to

experience

the

work?

kinetically?

Scale: the relative size of an object.

You

might

ask

the

following

questions

about

composition:

K inetic: movement. Some ar t,

such as Calder ’s mobiles, move

●

Which

shapes

and can therefore be described

the

as kinetic, but we also move

elements?

dominate?

composition

been

Where

used

to

is

the

emphasis?

emphasize

the

How

most

has

important

around static sculptures in a ●

Where

is

●

Where

are

the

eye

led?

gallery so we experience them

kinetically: through movement.

the

major

divisions?

A

quick

sketch

can

help

to

analyse

these.

●

Is

it

arranged

perhaps

●

16

Section 2

How

with

does

the

on

a

arcs

vertical/horizontal

and

axis,

or

with

circles?

composition

affect

our

feelings?

diagonals,

or

a

and

S E C T I O N

●

Are

to

the

shapes

create

unsettle

●

How

do

aspect

arranged

order?

the

are

in

an

the

organized

elements

and

balanced

random

and

way,

arbitrary

designed

to

spectator?

our

to

Or

2

eyes

read

another?

the

Has

composition?

the

artist

Perhaps

created

traveling

rhythms?

Variety

from

of

one

interest?

The street ar tist Ernest Pignon has used

the traditional technique of chiaroscuro

to give a strong sense of form to his

drawing of lm director Passolini carrying

his own body. He has then fur ther

enhanced the form with the outline to the

gures. He needs to use strong contrast

so the image will show up in the strong

light on the streets of Rome where he has

pasted it. He has also created eective

contrasts of texture.

Light

The

use

of

light

will

determine

the

mood

of

an

image.

Darkness

can

Key terms create

an

uplifting

tranqil

intense

and

depth

creates

atmosphere

brilliance.

Light

a

or

and

psychological

sense

a

raking

of

well-being.

mysterious

across

power,

a

one.

surface

Soft

light

Strong

will

wheras

light

reveal

light

gives

a

brings

the

is

suffused

clarity

and

and

Value: degrees of tonal

variation.

textures. Cross hatching: hatching is the

Tone

from

you

a

the

intensity

colour

to

tonal

as

is

by

better

(subtle

graphic

printing

or

tonal

a

art

the

subtle

range

modulations

Sometimes

light

understand

contrast

wide

of

cross

light

range

from

is

in

of

artist

mid

to

How

Consider

black

The

black

greys).

hatching

glows

dark.

image

value.

(from

of

and

used

white)

to

the

build

the

white.

might

tones.

has

within

and

tonal

a

can

be

different

or

strong

expressed

the

of

from

use of parallel lines to create

tone; when these are overlaid

in dierent directions (cross

hatching) successively darker

range

tone?

densities

radiates

help

very

tonal

created

separately

will

used

narrow

artist

image

This

have

This

or

contrast

tones are created.

In

shadow.

the

light

Tip of

the

You

white

might

paper

ask

behind

these

a

drawing.

questions

about

“Capture” is a useful word, as

light:

in, “The ar tist has captured ●

Is

the

atmosphere

●

Is

the

artist

cold

or

warm?

the mood of the scene”. For

using

candlelight?

light

or

Or

warm,

articial

maybe

yellow,

light?

Perhaps

daylight?

southern

If

so,

is

electric,

it

cold,

gas,

neon

blue-tinted

or

example, “I have attempted

northern

sunshine?

to capture the eect of water

on skin” is better than “I have

attempted to get the eect of ●

Where

is

the

light

source?

Perhaps

from

within

the

picture?

Or

from

water on the skin.” outside?

From

which

side?

Are

there

multiple

light

sources?

Section 2

17

F O R M A L

E L E M E N T S

O F

A R T

●

Tip:

useful

Is

vocabulary

the

light

clear,

Alternatively,

appears

to

is

be

as

it

if

the

scene

cinematic,

spot-lit?

is

as

on

in

Consider

a

the

a

stage

lm

in

still?

the

theatre?

Perhaps

relationship

to

the

scene

shadow,

obscurity

Useful words to describe light and

darkness.

Maybe

the

light

appears

to

lter

through

the

gloom.

and tone: How

is

the

light

used

to

create

emphasis?

atmospheric, back lit, blinding, ●

Does

the

light

have

a

symbolic

or

metaphorical

meaning

in

the

bright, chiaroscuro, contrasting, context

of

the

artwork?

contrejour, crisp, dark,

darkness, deep, oodlit, glaring,

Form graduated, gradual, half light,

Form

has

a

specic

meaning

in

art:

it

refers

to

the

three-dimensional

harmonizing, harsh, highlights,

aspect

of

solids,

even

objects.

In

images

form

makes

objects

appear

to

be

realistic

illuminated, light, medium, mid

though

they

are

in

fact

two-dimensional.

Draw

a

circle.

Now

tone, monochrome, obscurity,

shade

one

side

rendering

from

light

to

dark,

then

make

it

cast

a

shadow.

ominous, reected, rendered,

You

have

used

chiaroscuro

to

give

an

illusion

of

form

–

transforming

a

romantic, sharp, shade, shadow,

two-dimensional

shape

into

an

illusion

of

three-dimensional

form.

soft, spot-lit, suused, tint, void

Sculptors

is

the

deal

relationship

considered

Tip:

useful

with

in

real

form

between

relation

to

rather

form

the

than

and

the

space.

surrounding

illusion

Forms

space

of

in

or

form.

Sculpture

sculpture

void

and

in

can

be

relation

to

vocabulary the

Useful words to analyse form:

space

outwards

weigh

in

that

they

as

it

if

on

contain.

will

the

ll

forms,

the

Sometimes

the

surrounding

seeming

to

volume

space.

crush

of

the

form

Conversely

the

expands

space

can

them.

abstract, amorphous, biomorphic,

circular, closed, concave,

Form

convex, distorted, enclosed,

words,

can

also

be

making

used

in

concepts

the

sense

of

“giving

form”

to

ideas;

in

other

concrete

erotic, at, free-form, geometric, You

might

ask

these

questions

about

form:

geomorphic, heavy, light,

●

How

●

Do

massive, monumental, modelled,

has

the

illusion

of

form

been

given

in

two

dimensions?

modulated, nebulous, open, the

lines

follow

the

forms?

Perhaps

curving

and

owing

lines

are

organic, planar, palpable, realistic, used

to

emphasize

How

do

them?

rendered, seductive, sensual,

●

the

forms

relate

to

the

surrounding

space?

Has

the

artist

solid, vague, volumetric

fragmented

space?

Or

weight

of

them?

Perhaps

alternatively

the

to

has

create

the

the

artist

effect

of

emphasized

movement

the

and

density

and

objects?

Key terms ●

How

has

light

been

used

to

help

describe

the

forms?

Metaphor: in ar t an image Of

three-dimensional

artwork

you

might

ask:

that suggests or symbolizes

●

Is

the

●

Is

this

form

of

this

sculpture

expanding

or

contracting?

a dierent idea or feeling is

metaphorical. For example, Van

Gogh’s sunowers can be seen

space

open

surrounding

as a metaphor for idyllic rural

or

closed?

spaces?

To

the

How

do

plinth?

the

To

forms

the

relate

ground?

to

To

the

the

human

form?

life in the south of France.

Plinth: the base of a sculpture.

A useful synonym is “socle”,

which is more often used to

describe the base for classical

sculptures.

Void: nothingness, or the empty

space that is the opposite of

mass, substance and form.

18

Section 2

Space and depth

Space

images

is

the

artists

dimensional

surface

In

of

or

sometimes

surface.

the

sculpture

mass

three-dimensional

picture

and

density.

expanse

attempt

Depth

(the

is

picture

architecture

to

how

give

far

in

an

which

objects

illusion

back

the

of

image

are

space

located.

on

appears

a

In

two-

from

the

plane).

space

or

voids

can

usefully

be

related

to

S E C T I O N

The

principal

ways

of

creating

an

illusion

of

depth

2

are:

TOK

●

overlapping

●

linear

and

intersecting

planes

Can form exist without space?

perspective,

when

a

scene

is

viewed

from

a

single

viewpoint

Can space exist without form?

with

objects

shown

diminishing

in

size

as

they

become

more

distant

Is a balloon dened by what it

●

atmospheric

and

crisper

perspective,

in

the

when

foreground

forms

to

give

are

the

out

of

effect

focus

of

in

the

distance

depth

contains or by what surrounds it?

Star t by asking these questions

in front of a sculpture, or the ●

aerial

perspective,

when

colour

values

are

used

to

create

an

illusion

trash can! Then apply the same of

depth

questions to metaphysics and

●

isometric

perspective,

a

system

to

describe

space

where

uniform

the universe.

objects

●

tonal

Depth

remain

same

size

contrast.

can

traditions,

Chinese

the

be

shown

for

landscape

These

multiple

When

considering

theviewers,

without

example,

in

painting

uses

viewpoints

are

space

in

and

relation

perspective

Indian,

the

create

depth

to

the

as

Islamic,

concept

a

it

in

of

oating

is

in

of

high,

to

ask

other

the

and

eastern

Japanese

level

sensation

essential

artwork;

many

Chinese

and

for

the

where

words,

works.

deep.

viewer.

we,

what

is

the

Key terms viewpoint?

This

can

denes

the

used

establish

to

gives

power

important

subjects.

secret

who

way

to

we

a

read

spectator.

the

gures

Sometimes

witnesses

invites

us

depth

hierarchy

the

than

determine

or

we

spying

into

the

effect

and

the

between

A

in

are

the

low

the

scene

the

by

the

sense

image.

of

spectator

viewpoint

scene;

positioned

on

of

this

as

scene.

space

and

often

voyeurs,

our

eye

an

it

seem

the

high

that

case

there

or

by

is

also

image.

A

a

It

that

can

be

viewpoint

we

with

suggesting

Sometimes

catching

in

image.

makes

is

Viewpoint

are

less

religious

we

are

Mass: the body of matter. In

sculpture you might refer to

the physical mass of the forms;

in architecture the sense of

weight, solidity and force, such

protagonist

as in the ancient pyramids.

gesturing. Picture plane: the surface of a

If

the

picture

viewpoint.

is

in

Often

strict

linear

artists

perspective,

combine

several

there

will

viewpoints,

be

one

even

xed

though

two-dimensional work of ar t.

the Foreshor tening: this is the

picture

appears

to

be

from

one.

You

will

need

to

consider

the

cultural

illusion in perspective when a context

when

writing

and

Cubists

about

perspective,

for

viewpoints

and

example,

non-western

art

artists

the

form, such as an outreached the

use

multiple

very

few

follow

arm, leads into the space. rules

You

of

perspective

might

ask

completely.

these

questions

about

space

and

depth:

Tip: ●

How

has

the

artist

created

●

Why

did

the

artist

show

●

Do

the

the

illusion

space

in

of

this

useful

vocabulary

depth?

Useful words to describe space

way?

and depth: the

forms

come

forward

from

the

picture

plane,

or

do

they

Ambiguous, aerial perspective, recede,

as

if

we

are

looking

through

a

window?

atmospheric perspective,

●

Has

the

artist

used

foreshortening

to

create

drama

and

to

draw

us

background, deep, depth of

into

the

scene?

eld, diminishing, distance,

●

How

have

space

and

colour

and

atmosphere

been

used

to

give

an

illusion

expanse, faceted planes, focus,

of

foreground, at, illusionary,

depth?

isometric, perspective, linear You

might

ask

these

questions

about

viewpoint:

perspective, middleground,

●

Are

we

often

looked

the

case

down

with

upon

from

monumental

above

to

make

sculpture.

us

feel

small?

This

is

negative, open, overlapping,

positive, receding, repoussoir,

shallow spatial, vast

Section 2

19

F O R M A L

E L E M E N T S

O F

A R T

●

Are

we

more

●

Do

raised

we

confront

stage

drama?

●

Does

the

●

At

a

up,

perhaps

even

oating

above

the

scene

to

make

us

powerful?

what

artist

kneeling

scene

want

height

religious

the

did

work

draw

the

of

position

to

art

directly

us

painter

the

looking

as

into

equals

the

intend

intention

as

in

a

scene

or

to

the

may

work

be

television

to

that

stand

be

we

or

apart?

hung?

view

If

it

from

is

a

up.

Ancient Greek vase painting in

black over red ceramic. Line can

Line eectively describe form. In this

vase painting notice how we read

Lines

the volumes of the gures, yet there

boundaries

is no chiaroscuro.

Key terms

said

“A

a

line

is

might

●

Do

●

What

the

that

dot

ask

the

edges

between

famously

You

Contour: a line which connects

describe

“A

that

forms,

and

for

is

a

the

or

solid

they

simply

a

meets

follow

line

space.

They

contours.

going

for

a

Paul

walk”

dene

Klee

and

walk”.

questions

follow

where

dark

drawing

went

these

lines

of

light

about

line:

contours

of

the

forms?

points of equal value, such does

the

character

of

the

lines

tell

us

about

how

the

artwork

as the contour lines on a map was

made?

Are

they

fast

and

expressive

capturing

the

dynamic

showing points of equal height. movement

of

the

artist’s

hand

–

or

arm

–

gestures?

Or

are

they

slow

The same principle is used in and

careful,

conveying

precision

and

accuracy?

Or

even

hesitant

and

drawing when lines follow the sketchy,

showing

doubt,

change

and

uncertainty?

boundaries of a form or points

Lines

also

have

expressive

qualities

and

can

be

used

to

reveal

texture.

of equal tone.

When

an

artist

draws

Mark-making

pen,

Tip:

useful

brush,

a

when

line

they

drawing

spray-can,

pencil,

leave

a

depends

trace

on

charcoal,

or

mark

of

implements,

and

the

their

such

surfaces

action.

as

ngers,

worked

on,

such

vocabulary

as

Useful words to describe line:

paper,

effects

using

canvas

of

this

words

or

plaster.

There

mark-making.

such

as:

blot,

Try

are

to

bleed,

many

express

blotch,

useful

this

drag,

words

variety

drip,

to

describe

when

erase,

you

etch,

the

write

by

inscribe,

Angular, blurred, broken, bold,

score,

scratch,

scumble,

splatter,

smear,

smudge,

spot,

spray,

stain.

condent, controlled, contoured,

cross hatched, cur ved, crisp,

Colour delicate, descriptive, dragged,

edged, engraved, etched,

Colour

faint, ne, owing, freehand,

(how

is

the

strong

visual

the

sensation

red

is)

and

of

hue

(red,

brightness

for

(how

example),

light

or

dark

saturation

the

red

is).

geometric, gentle, gestural, We

can

see

up

to

ve

million

colours

but

colour

is

very

difcult

to

graceful, granular, harsh, describe

in

words

so

be

imaginative

and

make

up

your

own

colour

incised, heavy, hesitant, loose, vocabulary.

Use

the

names

on

paint

tubes

to

help.

Or

refer

to

the

many

meandering, organic, outlined, colour

name

websites

to

spark

your

imagination.

ragged, ruled, sensitive, sinuous,

sharp, sketched, smudged, soft,

subtle, streaked, tentative, thick,

thin, wide

White,

do

not

you

of

not

used

can

the

also

and

be

expressive

not

always

spectrum,

create

link.

are

colour.

will

liasons,

values.

on

It

memories

the

in

light

the

to

and

relation

have

for

they

always

deplete

context

might

and

will

helping

adds

analysed

considered

however,

Black

grey

White

depending

associations,

Section 2

to

normally

example,

20

in

grey

analysing

neighbours

be

Colour

or

and

occur

are

its

also

black

it

power

purity

to

to

function

have

chosen

psychological

colours

very

intensify

of

harmonize

may

been

are

true

colour

colours.

colours

Grey

can

would

colours.

meaning.

For

symbolism

evoke

effect.

when

values

that

surrounding

and

they

important

the

cultural

to

as

Some

feelings,

artists

are

S E C T I O N

more

concerned

with

the

phenomenological

aspects

of

colour–

2

the

Key terms sensations

the

of

conict

light.

Painters

between

our

such

as

Cézanne

perception

of

have

local

attempted

colour

and

to

resolve

reected

light. Local colour: the actual colour

You

might

ask

these

questions

about

of an object when unaected

colour:

by reecting light. ●

How

have

colour

contrasts

and

harmonies

been

used?

Is

the

Analogous colours: colours composition

constructed

around

analogous

colours?

which sit next to each other in

●

How

●

Are

●

What

has

the

artist

used

colour

to

create

a

mood?

the colour circle, such as yellow

by

the

colour

would

making

a

contrasts

be

lost

tonal

if

and

this

harmonies

artwork

was

related

in

to

black

white

and

or

to

white?

black?

Test

and green.

this

version.

Tip:

●

How

in

a

would

the

different

Given

meaning

colour

variety?

of

range?

Created

this

painting

Has

the

be

artist

altered

created

if

it

was

colour

useful

vocabulary

executed

rhythms?

discord?

Useful words to describe colour:

Analogous, brash, bright,

brilliant, bleached, calm, The

three

basic

colour

contrasts

are:

clear, contrasting, cool, dull,

●

contrast

of

hue,

for

example,

yellow

against

red

exciting, garish, glowing,

●

contrast

of

pigments,

against

saturation,

for

bleached,

saturated

the

example,

pale

colours

or

a

contrast

pure,

yellow

of

pure

strongly

reections,

de-saturated

pigments

pigmented,

hence

with

you

can

glazed, harmonious, hue,

diluted

yellow

iridescent, faded, uorescent,

sun

refer

monochromatic, muted, neutral,

to

pale, pastel, polychrome,

colours

primary, pure, opaque, ●

contrast

of

brightness

(tonal

contrast),

for

example,

a

contrast

secondary, subdued, ter tiary, between

light

blue

water

lilies

in

the

sunlight

with

those

in

shadow.

tint, translucent, warm

Four

●

other

active

colour

and

contrasts

passive

are:

contrast,

we

sense

reds,

oranges

and

yellows

as

Key terms busy,

moving

hues,

while

greens,

browns

and

blues

tend

to

feel

quieter

Colour contrast: colour is

usually described in terms of ●

contrast

of

temperature,

colours

can

be

labelled

as

hot

or

cold

hues

contrasts as the eect of colour in

a

temperature

contrast.

Although

blue

is

generally

regarded

as

is always dependent on its cool,

some

blues

are

have

quite

different

warmer

than

others.

Colours

such

as

yellow

can

neighbours.

●

complementary

opposites

against

on

blue

the

and

temperature

contrast,

colour

this

circle,

yellow

effects

term

that

against

according

describes

is,

red

violet.

the

against

When

to

their

three

pairs

green,

placed

context

of

orange

against

RED

each

RED-

RED-

ORANGE

other

red

they

seems

enhance

redder

their

and

the

hue.

When

green

red

seems

is

placed

greener.

against

(Do

not

green,

get

VIOLET

the

confused VIOLET

with

the

spellings

different

of

meanings

complimentary

as

in

“He

and

complementary

complimented

me

on

my

which

blue

dress

ORANGE

have

with

BLUE-

YELLOW-

VIOLET

its

●

complementary

contrast

of

described

orange

colour

as

on

a

key,

scale

ORANGE

pattern”.)

as

with

with

notes

yellow

in

at

music,

the

top

colours

being

can

high

be

key

YELLOW

BLUE

and BLUEYELLOW -

indigo

blue

at

the

bottom

being

low

key.

GREEN GREEN

When

you

describe

colour

harmonies

colour

circle

while

those

will

that

the

and

effects

the

far

colour

colour

harmonize

are

of

will

can

contrasts.

(these

apart

it

are

also

contrast.

be

helpful

Colours

called

Often

that

to

are

analogous

artists

GREEN

consider

will

close

on

the

colours)

build

a

Section 2

21

F O R M A L

E L E M E N T S

O F

A R T

TOK

Colour is a phenomenon. We each perceive colour dierently. Consequently,

philosophers have mistrusted colour because of its subjective nature.

•

Can colour be considered as a useful area of knowledge if we each

experience it dierently?

•

Is colour necessary to our understanding of the world? Is colour blindness a

limitation?

“Scientists are not concerned with colour but with radiant stimuli in light, or

with the physiological processing of those stimuli by the eye. Whereas colour

is in the mind which apprehends it.” (John Gage, 2000)

•

Do you agree with Gage’s statement? Where does that place ar t?

“Blue is always dierent from yellow, for example; depressed (‘the blues’), where

yellow is gay, loyal (‘true-blue’) where yellow is cowardly, and the like. Yellow has

the same meaning as blue once in a blue moon.” (Ludwig Wittgenstein, 1953)

•

Is language inadequate as a tool to describe colour sensation?

•

Do you agree with Wittgenstein’s colour mood associations?

Early Spring 1072 by Guo Xi. When

analysing space and depth you will

need to consider the conventions of

dierent cultures. Guo Xi describes

a totally believable spatial world,

theme

around

colour

to

colours

that

are

adjacent

adding

a

strongly

contrasting

yet much of his picture is empty. He activate

the

composition.

also reminds us that this landscape

is an illusion by emphasizing

In

your

practical

the picture plane with his use of

contrasts

calligraphy.

the

is

colour

circle

so

art,

effective.

circle

that

it

to

planning

Build

act

“pops”

as

a

a

colour

schemes

harmony

foil

to

a

from

colour

around

colours

that

is

harmonies

that

are

opposite

and

adjacent

on

the

on

colour

out.

Texture Tip:

useful

vocabulary

Textures

are

the

tactile

qualities

of

surfaces,

in

other

words

the

qualities

Useful words to describe of

touch.

Art

often

represents

one

texture

with

an

equivalent

in

a

tex ture: different

Actual, abrasive, bumpy, brittle,

cold, coarse, corrugated, dense,

delicate, dry, ephemeral,

feathery, at, furry, fragile,

gooey, glossy, granular, hairy,

media,

medium.

as

example,

surface

evoke

these

in

of

a

silk,

a

In

painting

are

description

generally

representational

mood

as

Your

texture.

fur,

or

stone

act

as

or

a

Sometimes

used

of

to

imitate

painting

esh.

In

metaphor.

artworks

texture

when

will

the

oil

be

linked

surfaces

paint

is

of

detail

include

real

in

a

textures

to

art

painting

that

that

of

objects,

used

non-representational

The

to

for

mimic

texture

can

can

be

be

the

can

read

felt.

layered, leathery, oily, open, and

in

textiles

the

support

that

is

used

will

contribute

to

the

pimply, pitted, plastic, prickly, texture:

canvas,

linen,

board,

wood,

metal,

silk,

hessian

and

so

on.

rened, repulsive, rough, sandy,

In

sculpture

the

surface

of

the

material

will

be

crucial

to

the

effect:

satiny, scaly, seductive, sharp,

shiny, slick, smooth, soft,

●

plaster

●

stone

●

bronze

●

wax

is

dry,

absorbent,

inert

sticky, tacky, touchy-feely,

can

be

rough,

abrasive,

granulated,

translucent, tactile, velvety,

waxy, wet

22

Section 2

is

is

patinated,

soft,

greasy,

shiny,

reective

malleable.

veined,

polished

or

smooth

S E C T I O N

Pattern

and

decoration

can

be

considered

as

elements

of

2

texture.

Key terms In

textiles

weaving

the

or

physical

the

relief

structure

of

of

the

embroidery,

cloth,

for

the

warp

example,

and

build

weft

pattern

of

through Patina: this is the sheen or

repetition,

through

a

tracery

of

lines,

through

lattice

work

and

through

colouration on an object’s

grids.

Similarly

appliqué,

embroidery

and

quilting

are

techniques

which

surface produced naturally by

combine

texture

with

decoration,

achieving

surfaces

that

have

variety.

age or deliberately by the ar tist.

In

ceramics

pattern

is

often

inscribed

into

a

surface

or

built

up

in

relief, Appropriation: when an image

creating

both

decoration

and

a

real,

tangible,

physical

texture.

or an idea is taken from its

Street

effect

iron.

artists

when

The

spray

smooth,

weathered

You

appropriate

they

might

the

these

of

textures

brick,

enamelled

roughness

ask

on

the

quality

walls

questions

of

the

rendered

of

they

about

real

walls,

spray

work

world

to

concrete

paint

dramatic

or

contrasts

original context to be recycled

corrugated

to

the

by an ar tist in order to create

new meanings, or to subver t its

on.

conventional meaning.

texture:

Emboss: to emboss is to create

a relief surface. In printmaking ●

What

●

How

would

these

surfaces

feel

like

to

touch?

this is achieved by pressing into

Is

it

was

this

surface

embossed?

Polished?

Is

it

Abraded?

created?

in

relief?

Are

there

Has

the

layers

surface

of

different

been

materials?

distressed?

soft paper, in leather work by

using stamps, in sculpture by

Weathered?

carving, in ceramics by pushing

into the soft clay etc.

Time and motion

All

art

exists

increasingly

museum.

in

time

and

challenged

Installation

space

the

art,

although

xed

land

nature

art,

contemporary

of

artifacts

performance,

practice

preserved

video

and

has

in

lm

a

share

Tip: many

apply

of

the

formal

additional

qualities

vocabulary

described

and

above,

questions

but

when

it

can

be

analysing

helpful

useful

vocabulary

to

them.

Useful words to describe time

You

might

and motion-based ar t:

ask:

Anti-aesthetic, contemplative, ●

How

does

●

How

has

this

work

engage

with

time

and

space?

challenging, disorientating,

lighting

been

used?

disturbing, distasteful,

●

How

long

transient

does

it

take

the

audience

to

experience

this

work?

Is

this

a

ephemeral, engaging,

evocative, kinetic, multimedia,

experience?

mesmerizing, par ticipatory, ●

How

has

technology

●

How

has

the

●

What

been

adapted?

physical, psychedelic, pseudo

artist

arranged

the

space

to

create

scientic, repellant, sensory,

atmosphere?

shocking, tangible, transient, other

senses

are

involved?

Perhaps

the

artist

has

used

smell,

sublime, unconventional, touch

or

sound?

unsettling

African Dogon head from Mali made in wood.

Notice how this head combines form, line and

decoration to dramatic eect. The sculptor

makes use of crisp edges to ensure that the

features are drawn with the shadows cast by

the strong sunlight.

Section 2

23

F O R M A L

E L E M E N T S

O F

A R T

Materials, process and technique Tip Your

description

analysis

of

the

of

formal

making

of

qualities

the

will

artwork

have

if

you

already

have

involved

been

using

an

the

When you write about ar t

vocabulary

above,

why

medium

but

you

will

want

to

think

further

about

the

how

and

you will need to refer to the

of

the

and

process.

ar twork repeatedly. You can

avoid repetition by the way

You

you structure your writing.

be

You can also nd varied ways

might

a

why

of referring to the ar twork by

netsuke

think

using alternative nouns such

consider

question

what

about

they

of

the

value,

are

the

artist’s

of

carved

from

technical

were

made

for

choice

economics,

ivory

materials

skill

and

properties

(their

of

of

of

or

bone

as

particular.

tradition.

will

carving

function),

in

of

lead

the

you

to

material,

fastenings

for

It

might

Considering

not

but

only

also

clothing.

as creation, picture, image,

Sometimes

materials

are

chosen

because

they

have

special

symbolic

sculpture, installation, tex tile,

signicance.

In

other

words,

they

connect

with

the

artwork’s

function

and

canvas or composition.

meaning,

Joseph

want

A

the

seek

an

to

it

is

properties.

sculptor

is

should

qualities

of

Here

some

are

their

of

be

that

Think

the

use

felt

and

to

reect

the

then

be

Jackson

wood:

ideas

fat

for

by

his

as

John

is

the

Ruskin

in

to

the

the

of

nature

materials,

The

to

case

of

paint

their

photography

Renaissance

At

in

“truth

expressing

attempts

true

in

materials.

often

dripping

artist

are

blue

installations.

of

distinctive

describing

textiles,

for

Pollock

they

lazuli

aware

honest

neither

media,

sculpture,

lapis

imitate,

suggested

and

of

of

particularly

materials

used

carving

painting,

to

use

idea

artist

way

choice

viewer

further

that

example,

Beuys’s

the

artists

for

his

or

other

oil

to

an

might

times

painting.

materials”,

medium

those

hide

artist

or

in

distinctive

African

the

expressive

materials.

technique

and

and

process

for

print

Painting

Paint

can

be

opaque,

that

is,

solid,

impermeable

to

light,

white,

or

it

Key terms can

be

translucent,

colour,

as

in

a

that

stained

is

glass

allowing

window.

light

to

shine

Consider

the

through

a

layer

relationship

of

between

Brushwork: the way an ar tist

the

consistency

of

the

media

(uid

or

viscous)

and

the

effects

of

the

has applied the paint. Fast and brushwork

(owing

or

heavy).

textured (loose brushwork) or

careful and controlled (tight

Paint

brushwork).

(which

is

pigment

makes

available

Type

of

paint

Watercolours

colour)

paint

with

its

ow

own

pigment

+

glue

(that

it

is

gum

arabic

(a

natural

resin)

light,

bright,

delicate,

+

polyvinyl

acetate

+

water

bright,

pigment

+

oil

the

pigment)

There

and

wax

are

+

medium

various

types

spontaneous,

transitory,

both

translucent

dull,

uid,

intense,

smooth,

Oil

binds

applied).

Characteristics

water

pigment

+

when

characteristics.

Composition

+

Acrylics

each

(the

the

rich,

or

pure

articial,

opaque

opaque,

varied,

plastic,

and

translucent

uid,

impasto,

shiny

or

sensual,

natural

Fresco

pigment

plaster

Tempera

+

water

that

pigment

+

acts

egg

applied

as

the

yolk

onto

wet

binding

dry,

at,

opaque,

smooth,

24

Section 2

cool,

pure,

fresh,

bright,

light

medium

chalky,

cool,

at,

pure,

inexpressive

dry,

even,

S E C T I O N

The

support

create

●

is

the

different

Wooden

surface

panel

or

painting.

●

Metal

used

●

Canvas

or

If

oil

under

paint

become

is

dull

traditionally

sealant

About

on

the

for

linen

brushstrokes

the

been

painted

on.

Different

surfaces

board

tends

smooth

is

and

used

dry

and

for

a

to

lead

to

intricate

freer,

brushwork

a

and

more

detail.

more

so

smoother

one

textured

colour

is

surface

with

fragmented

looser

over

painting.

put

as

on

the

with

the

an

oil

a

unsealed

soaks

glue

surface

artist’s

choice

Why

acrylic

●

Why

modelled

●

Why

embroidered

●

Has

the

artist

used

●

Has

the

artist

been

●

Is

paint

special

in

of

they

clay

and

silk

symbolic

or

to

the

modern

might

carved

not

materials

truthful

colours

usually

you

not

and

the

will

surface

artists

fade

is

use

and

sealed,

an

acrylic

paint.

media

oils?

the

so

although

not

on

surface

away

size,

before

●

there

has

effects:

detailed

is

that

2

from

printed

to

the

ask:

stone?

onto

imitate

reality?

properties

economic

cotton?

value

of

to

the

the

materials?

choice

of

materials?

Tex tiles

First

ask,

might

multiple

the

wool

is

it

recycles

might

What

from?”

camel),

and

At

a

cotton,

processes

such

basic

or

as

level

silk,

but

the

raw

most

synthetic

materials

textile

bres,

artists

paper,

hair,

use

or

materials.

ask:

were

before

made

(sheep,

materials

artist

You

●

“what

be

the

being

original

processes

transformed

by

the

that

the

materials

went

through

artist?

Dusasa II 2007 by El Anatsui. When

analysing the formal qualities ●

How

●

Has

has

the

raw

material

been

prepared?

Rened,

bleached,

spun?

of textiles many elements will

it

been

coloured

before

being

used?

Dyed,

stained,

aged

or

contribute to your description.

However, the tactile surfaces can

distressed?

be crucial to the eect, as in the ●

Has

the

artist

then

added

other

colours

and

materials?

magnicent pieces by El Anatsui

●

How

has

structure

Tip:

useful

the

artist

and

form

made

of

the

the

piece?

Describe

the

techniques,

with their recycled materials.

work.

vocabulary

Useful words to describe tex tiles:

Adorn, construct, deconstruct, distress, emboss, ephemeral, embellish,

entwine, fragile, frayed, inter weave, knit, layer, loop, pattern, pleat, sculpt,

sumptuous, sew, spin, stencil, starch, tattered, tufted, warp, weft, weave, yarn

Section 2

25

F O R M A L

E L E M E N T S

O F

A R T

Sculpture Key terms Sculpture

is:

Assemblage: when objects ●

constructed

●

modelled

●

carved

from

wood,

plastics

or

metal

(steel

or

iron)

(often found from everyday

life) are put together to create

from

clay

or

plaster

a sculpture – think of a threefrom

wood,

plaster

or

stone.

dimensional collage.

The Readymade:

artist

might

have

used

natural

found

materials

such

as

branches

or

a term developed pre-manufactured

materials

such

of

readymade.

as

scrap

metal

to

make

an

assemblage

by Marcel Duchamp to describe forms

or

even

a

manufactured items that were

removed from their original

context by the ar tist to become

ar t .

Traditional

with

a

material

angel

sculpting

void

in

and

and

the

add

take

processes

bits,

stuff

marble

or

away.

and

I

can

be

described

subtractive,

set

you

Michaelangelo

him

as

additive,

start

with

famously

a

you

mass

said,

“I

start

of

saw

the

free”.

Armature: the structure that

suppor ts a sculpture, usually

You

might

ask

these

questions

about

sculpture:

underneath the modelled ●

Did

●

Was

●

The

the

sculptor

start

with

a

block

and

carve

material

and

then

it?

material such as wax, clay or

plaster. It is often constructed

it

shaped

from

a

soft

cast?

from wire, wood or welded steel. surface

nger

armature

The

sculptor

will

and

material.

Stone

stone

it

be

what

can

be

Tip:

treat

as

useful

left

the

the

might

such

of

you

support

painted

species

give

evidence

function

original

Wood

or

to

meaning

could

will

marks

clues:

of

his

surface

the

work

be

left

coloured

rough,

it

is

Did

textures

of

hard

might

nd

the

traces

artist

of

the

work

artist’s

over

an

clay?

and

polished

from?

and

in

as

is

classical

can

appropriate

to

textured

marble

smooth

Steel

as

relation

and

smooth

naturalistically

tree

you

chisel.

or

be

or

the

according

grittier

sculpture

even

shiny

to

to

the

granite,

was

painted.

or

the

chosen

or

originally.

Can

you

tell

rusty.

vocabulary

Abraded, armature, bronze, car ved, cast, constructed, chiselled, ceramic,

clay, framework, hewn, hacked, modelled, moulded, maquette, man-made,

malleable, marble, model, natural, objets trouvés, organic, patinated, plaster,

plastic, polished, raw, relief, smoothed, stone, structure, synthetic, wax,

readymade, unprocessed, weathered, welded

The

term

cast

sculpture

is

used

when

the

sculptor

started

with

clay,

The relationship between form plaster

or

wax.

Once

the

sculptor

has

moulded

the

forms

of

the

original,

and space is always an essential they

cast

it

by

creating

a

mould

into

which

a

molten

metal

is

poured

element when analysing sculpture; (usually

bronze

which

is

a

mixture

of

copper

and

iron)

to

form

a

even when colour and decoration permanent

version

of

their

original.

(Research

“lost

wax

technique”

for

grab our attention, as in this piece of more

information

on

this.)

Because

metal

is

expensive,

cast

sculptures

eye candy by Yayoi Kusama. Notice are

usually

hollow

–

you

can

tap

the

sculpture

to

nd

out

if

you

are

how the mass is emphasized by the

outside,

but

not

if

you

are

in

the

gallery!

Casting

allows

the

artist

to

placement of the pumpkin on the

sand and against the sky.

make

can

several

be

polished

brown.

26

Section 2

copies

The

to

a

surface

of

their

original

reective

nish

is

shine

called

–

or

the

an

edition.

left

to

patina.

Bronze

oxidize,

sculptures

becoming

green

or

S E C T I O N

2

Photography Tip:

Photography

to

a

has

specialist

can

use

the

however,

a

wide

source

seven

some

technical

for

these

formal

terms.

points

questions

vocabulary

that

as

are

When

you

of

and

you

analysing

would

with

particular

a

will

need

to

photography,

painting.

useful

vocabulary

refer

you

There

are,

Useful words to describe

photographs:

relevance.

Blurred, candid, captured,

crisp, depth of eld, decisive, The

gaze

Why

is

the

Why

are

photographer

looking

at

this

person?

documentary, dramatic, fake,

they

looking

back

at

eeting, focused, grainy,

us?

historic, iconic, in focus, The

gaze

of

the

photographer

and

of

the

subject

intimate, objective, posed, is

often

private

and

intimate.

However,

when

an

snapped, factual, momentary, image

is

displayed

in

public

this

personal

moment

objective, out of focus, private, is

shared

with

strangers

from

a

different

time

and

public, propagandist, repor tage, space

(hence

the

public

gaze).

How

does

this

make

sepia, shaky, social realist, the

viewer

feel?

subjective, split second,

Cropping

Why

the

Depth

of

eld

has

the

photographer

chosen

this

section

of

view?

Why

why

is

is

transient, tinted, truthful,

voyeuristic

this

the

part

of

other

the

area

photograph

out

of

in

focus

and

focus?

Key terms

Time

A

photograph

“Why

has

is

the

of

a

split

second

photographer

so

you

chosen

could

this

ask,

Gaze: this is the word ar t

precise

historians use to refer to how

moment?”

we look at a gurative image, The

French

photographer

Henri

Cartier

Bresson

par ticularly the spectator ’s titled

his

book

The

Decisive

Moment

(1952)

because

gaze, that is, the gaze of the he

considered

it

the

photographer’s

art

to

choose

viewer at an image of a person. the

moment

that

captured

the

essence

of

a

subject.

It can also be used to describe

the way the gures within the

Printmaking

Printmaking,

and

in

the

You

will

composition look out at us or

like

photography,

glossary

there

is

a

has

very

a

rich

brief

specialist

overview

vocabulary.

of

the

between each other.

Here

principal

terms. Monoprint: one of a series of

need

to

refer

to

specialist

books

to

enrich

your

subject-specic

prints, each with individual

language

when

writing

about

prints.

variations.

When

been

can

looking

used?”

be

at

The

difcult

a

print,

caption

to

judge

the

rst

should

so

ask

question

help

your

you

to

ask

is,

answer

teacher

to

“which

this.

If

it

process

does

has

not,

it

help.

Monotype: a unique print

made by working freely with

inks or paints on a smooth

surface (metal, plastic or A

print

is

usually

one

of

a

series

or

edition

of

identical

prints,

except

for

glass). Sometimes the paper monoprinting

and

monotype

is laid over the inky surface

The

print

processes

used

in

ne

art

are

often

technologies

that

were

and the ar tist draws on the

originally

used

for

commercial

reproduction,

but

have

since

been

back to produce a granulated

superseded

by

more

efcient

processes.

For

example,

the

wood

cuts

of

line. Alternatively, the paper is

the

middle

ages

were

replaced

by

engraving,

just

as

lithographic

printing

pressed onto the inked surface

of

the

20th

century

has

been

replaced

by

digital

print

technologies.

and a print is pulled.

However,

these

old

methods

are

still

used

by

contemporary

artists

for

Fine ar t: a generic term for the their

distinctive

creative

properties.

creative disciplines that do not

Fine

art

print

can

be

divided

into

two

main

categories:

relief

printmaking

have a practical application. For

and

intaglio.

example, painting, printmaking

and sculpture.

Section 2

27

F O R M A L

E L E M E N T S

O F

A R T

In

relief

when

printmaking

ink

removed

●

areas

create

up

wood

create

●

lino

and

mark.

relief

a

press

These

in

implements,

and

making

●

dry

line

●

the

to

in

then

The

other

the

side

is

as

cut

away

positive,

as

card

hard

then

end

is

so

that

while

the

is

cut

be

to

of

cut

into

into

and/or

inked

wood

is

made

wood

so

incised

is

cut

into

to

printed

covering

incised

from

wood

printed

can

and

alternative

out

both

grain

oor

of

and

that

inked

a

grain

inked

surface

surface

a

for

that

lines

from

relief

when

as

a

cork

printing.

put

positive

ne

the

grooved

ground

so

but

grooves

are

the

used

the

is

lled

metal

are

wiped

lifted

out,

pressure

the

ink

out

processes

of

artist

(usually

holds

heavy

and

acetate

creating

lines

with

a

burnishes

is

hard

and

steel

scrapes

protect

of

to

are

ink

a

a

metal

metal

can

and

the

printing

make

a

plate

be

etched

top

press,

positive

lithography

surfaces

paper

is

mark.

which

You may nd the mark-making works

on

the

principle

of

water

being

grease

resist

and

screenprinting

words in the “Line” section in

which

inks

are

drawn

through

a

mesh.

useful when writing about

prints.

Printmaking

and

28

Section 2

colour.

results

in

a

rich

variety

of

a

expressive

burred

it

ink

tones

with

the

plastic

rocking

to

under

print

or

exposed

pulling

art

ink

then

surface

lighter

is

that

or

edge

systematically

in

with

surfaces

dark

zinc)

this

delicate

black,

incised

top

paper

or

burr,

is

the

press

white

design

into

then

lines

principal

as

wax

resulting

the

by

a

and

nely

the

drawn

a

light

prints

create

of

plate

plate,

(copper

create

plate

zinc

the

the

metal

which

clean

into

on

both

a

or

to

pressure

to

be

which

the

wiped

forced

vocabulary

is

pulled

marks

surface

which

are

useful

this

in

surface

acid;

the

linoleum,

copper

the

copper

etching

by

Tip:

on

is

a

the

print

then

such

grain-free

applied

which

can

mezzotint

edge;

●

in

is

inscribed

which

created

which

ink

positive

is

uses

is

is

create

surface

include:

which

which

when

ink

under

point

sheet)

to

and

are

in

which

which

which

the

These

a

they

include:

engraving

clean

in

surface,

cheap

areas

material

textures

processes

a

white.

a

printing)

top

surface,

when

printing

through

●

relief

engraving

as

block

the

printmaking

a

with

a

oil,

Intaglio

(or

over

remain

collograph

built

●

rolled

woodcut

to

●

is

surface

textures,

tonal

subtleties

The comparative study

3

What is the comparative study? Key terms

The

comparative

study

is

a

critical

and

contextual

investigation

of

other

Screens: the term “screens” is artists’

works.

It

is

worth

20%

of

the

marks

you

receive

for

your

visual

used as a constant reminder arts

course.

You

will

choose

art

and/or

artifacts

by

different

artists

and

that the nal product for from

different

cultures

to

analyse

and

compare.

If

you

are

taking

the

assessment is a digitally subject

at

higher

level

(HL)

you

will

also

show

how

these

artists

have

uploaded le that will be viewed inuenced

your

art.

Standard

level

(SL)

students

do

not

do

this

last

part.

on a computer monitor as a

Through

the

practices

of

comparative

study

you

investigate

the

meanings

and

series of screens. “Screens” is

art

from

different

times

and

cultures.

This

will

develop

used instead of “pages”, which

your

analytical

skills

so

that

you

can

better

understand

the

connections

would imply that the original

between

making

art

and

experiencing

art.

It

will

also

develop

your

format was in book form,

communication

skills

so

that

you

can

articulate

your

art

ideas

and

or “slides”, which suggests

intentions

more

clearly.

You

will

move

from

description

to

interpretation.

an electronic presentation

The

comparative

students

of

three

submit

HL

artists.

from

and

is

uploaded

screens

objects

The

different

students

work

10–15

artworks,

different

come

study

submit

practices

or

works

at

for

contexts.

been

assessment

examine

artifacts,

screens

have

that

selected

cultural

3–5

for

that

least

as

and

two

of

addition

analyse

inuenced

by

PDF

compare

comparison

In

a

which

and

to

document.

a

minimum

need

analysis

this

SL

to

be

by

should

requirement,

the

extent

to

the

artworks

which

their

examined.

using software such as

Microsoft’s® PowerPoint® or

Apple’s® Keynote®. While all

of these are valid tools for

generating potential screens

for the process por tfolio or

comparative study submission,

they are not, in any way, There

is

no

word

limit

–

this

is

not

an

essay,

although

it

might

contain

prescribed. sections

visual

of

more

extended

presentations

to

writing.

You

communicate

may

your

well

prefer

annotation

and

ideas.

So what do I need to do?

1.

Choose

is

art

relevant

2.

Discuss

3.

Make

4.

Conduct

from

to

with

a

your

formal

●

Try

●

Pose

●

Use

different

your

cultural

creative

teacher

analysis

your

of

contexts

that

excites

you

and

that

practice.

choices

these

and

the

timetable

for

completion.

works.

research.

to

arrange

to

meaningful

a

range

of

see

at

least

research

sources

to

one

of

these

works

in

its

original

state.

questions.

answer

these

questions.

Tip

5.

Analyse

the

content

and

context

of

the

works,

that

is,

their

function

If you are also writing an and

meaning.

ex tended essay in visual ar ts,

6.

Compare

and

contrast

the

works.

make sure you choose a dierent

7.

Present

8.

Add

your

ideas

in

a

visually

appropriate

and

engaging

format.

topic. You must not use the same

material as in the comparative a

separate

screen

with

your

sources.

study.

9.

Upload

your

presentation

for

assessment.

Section 3

29

T H E

C O M P A R A T I V E

S T U D Y

Case study

In

this

section

screen

art

at

with

the

you

title

end.

Chapman

about

a

the

can

that

The

follow

gives

three

Brothers’

Kierlan

us

a

illustrations

sculptures

as

sense

and

she

of

help

made

prepares

what

us

she

to

her

make

own

her

will

comparative

be

exploring,

visual

copy

of

links.

the

She

Dali.

the

well

This

as

explains

She

also

a

is

her

introduction

connection

that

she

introduces

has

to

her

seen

some

of

own

the

her

ideas

works.

Making choices

During

study.

as

course

your

Tip

interests

and

understanding

of

art

will

develop

Think local. Even if you don’t have and

change.

You

will

investigate

a

broad

range

of

artworks

rst

and

then

a museum within reach, we are all narrow

down

your

interests

as

you

see

how

looking

at

art

can

help

to

surrounded by cultural artifacts support

and

inuence

creative

studio

work.

Build

your

knowledge

by

worthy of study, such as textiles visiting

museums

and

galleries,

browsing

the

art

shelves

in

a

library,

or architecture, and we live among looking

at

art

blogs,

pin

boards

and

artist

websites.

Discuss

your

interests

the people who make them. There with

your

teacher

as

they

have

the

experience

to

suggest

how

to

develop

are many artists who are pleased meaningful

connections

from

what

you

like.

Then

review

your

interests

to show their work to students. to

select

what

to

investigate

for

the

comparative

study.

This will take more eort than

As

you

make

your

choice

remember

that:

downloading images by famous

artists, but will lead to a more ●

You

●

They

should

try

to

experience

at

least

one

of

the

works

rst-hand.

personal and original comparative

should

come

from

different

cultural

contexts.

study. Things that you have seen

and experienced are also easier to ●

If

you

are

an

HL

student,

the

artworks

should

connect

with

your

write well about. practical

30

Section 3

art

work.

S E C T I O N

Exhibitions

are

juxtapositions

starting

points

Thought

three

you

like.

idea

with

boxes

box

and

the

related

art

for

can

be

draw

rst

ideas.

curated

from

your

write

Then

from

often

of

a

helpful

in

the

another

that

this

can

Think

of

provide

using

interesting

these

as

study.

to

make

spaces.

thought

most

Through

way

These

cultures.

comparative

ideas

set

thematically.

different

3

Don’t

box.

interests

process

decisions.

reect,

This

you,

you

time

then

can

First

Draw

just

put

ll

into

the

narrow

a

write

three

by

down

the

artists

centre

surrounding

your

the

spaces

choices.

thoughts:

Pop

Roy

Damien

Art

Lichtenstein

Hirst

Tip

Guy

Jeff

Students often include extra

Grafti Denning

Koons

works in the study; this is very

successful when it enhances the

contextualization of the principal Street Manga

M.C.Escher

works. However, students

Art

that present a sequence of

unconnected works all analysed

at the same level fail to achieve

More

focused

NYSF

depth. It is strongly advisable Banksy

Jazi

thoughts:

Crew

to concentrate on three clearly

dened and meaningfully linked

ar tworks. Keith

Street

Guy

Haring

Art

Denning

Ernst Blek

le

Rat

Jon Pignon

(Xavier

Prou)

Matos Ernst

Comparative

rst

artist

Blek

le

study

choice

Rat

Antonia has used three thought boxes: the rst lists the artists she

likes; the second the themes from her process portfolio and potential

ideas for her nal exhibition; for the third box she has extracted

the three artists for her comparative study and some associated

themes. Because she is an HL student it is important that she makes

connections between her work and the artists that she studies. At SL

you don’t need to worry about this. Antonia then completed a study

that compared three contrasting ways of showing movement: the hip

hop-style paintings of Keith Haring, the Balinese shadow puppets of

Wayang Kulit and the illustrations of Max Busch. She made a puppet

theatre as part of her nal exhibition so there were plenty of links to

discuss in her connections screens.

Section 3

31

T H E

C O M P A R A T I V E

S T U D Y

Below

are

personal

As

you

the

make

artworks

links,

heading

theme:

Natural

forms

examples

in

for

in

put

your

so

perhaps

suggested

Connecting

some

choices

here

choices

ensure

through

the

of

to

table.

comparative

suggest

remember

that

the

sharing

If

the

they

three

that

or

by

Frank

Lloyd

Wright

architecture

A

visit

to

Casa

Milà

(1906–10),

(1939),

Bear

as

to

is

to

copy!

compare

meaningful

with

unrelated

to

all

not

the

then

topics

you

are

Barcelona

prompted

Gaudi’s

in

this

use

of

Run, forms

in

architecture

and

Art

USA

known

as

Barcelona,

‘La

Pedrera’

by

Antonia

Gaudi

Pavilion

by

Spain

Zaha

then

Hadid

(2009),

Chicago,

This

development

form Burnham

aim

lead

subjects

are

interest

Nouveau.

La

main

These

possible–

trouble!

organic Pennsylvania,

ideas

will

completely

student’s Fallingwater

topics.

of

the

works

themes

are

study

range

the

in

led

of

to

research

modernism

contemporary

Hadid’s

use

in

of

into

the

America,

organic

computer-designed

Illinois,

structures. USA

HL

connections

abstract

to

sculpture

Connecting

studio

and

theme:

work:

painting

her

of

Cultural

exhibition

natural

signs

explored

organic

and

and

patterns

An

interest

trace Ta moko

examples

of

indigenous

Maori

man-made

the

(1861)

as

Shikan

an

as

example

Kurikara

of

by

traditional

32

Section 3

tattoos

by

Maud

Wagner

Toyokuni

Japanese

tattooing

Circus

tattoos

tattoos

Denshichi”

Irezumi,

in

signicance

traditional

“Nakamura

structures

through

forms.

(1877–1961)

cultures.

led

of

this

student

designs

in

to

three

S E C T I O N

Connecting

theme:

Monuments

Visiting

an Portable

War

Memorial

by

Ed

Kienholz

Jima

memorial

(1954),

Arlington,

Iwo

in

Virginia,

USA

student

anti-war

to

the

Third

International

monument

nature

by

Vladimir

contrasted

sentiment

assemblage Monument

Jima

the

of

started

memorials.

(1968) This

Iwo

the

interest

3

and

of

then

this

with

the

Kienholz’s

the

political

Tatlin

optimism

of

Tatlin’s

tower.

(1919)

HL

connections

constructed

to

his

forms

Connecting

studio

partly

theme:

work:

his

suggested

by

Photographs

exhibition

these

of

included

modernist

Pop

Art-inspired

children

This

student

different “Virginia

at

Four”

by

Sally

Mann

Mother”

by

Dorothea

Lange

(1936),

MET

New

started

one

Julia

Margaret

Cameron

(1865),

Victoria

Connecting

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London,

and

with

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cultural

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silk

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theme:

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work:

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developed

political

and

social

satire

through

a

series

of

caricature

animation.

American

land

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exhibition

to

of

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Pollock’s

student

drip

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painting

comparative

art

Frederick

E

Church

(1857)

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Pollock

about

landscape,

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Field”

by

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responses

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the

to

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symbolic

through

the

art

19th

of

century

(1950)

sublime

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of

meaning.

prompted

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post-First

the “Lavender

photographs

scarves.

portrayed

exhibition

study

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with

wedding

and

design,

suggested Navaho

children

UK

an Prado,

of

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contrasted

images

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grotesque

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head

tradition

explore

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started

parents’

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then

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photography.

student

kimono

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documentary

scarves

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very

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and “Bijin

two

one

romantic

ceremonial

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with

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from Ichafu,

three

childhood.

albumen

in print,

of

contemporary,

these by

compared

visions

photographers,

York

“Hosanna”

and

(1989) She

“Migrant

assemblages

approaches.

Maria

to

late

20th

century

land

art.

(1977)

Section 3

33

T H E

C O M P A R A T I V E

S T U D Y

What do we mean by culture?

The

Visual

“learned

arts

and

of

behaviour

of

symbols,

create

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all

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ideas,

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artworks

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and

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patterns

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production

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humans

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your

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from

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cultural

viewpoint

history

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of

art

of

1950)

is

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their

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context.

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of

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as

western

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art.

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painting

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then

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silk

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material

recently

seeing

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to

does

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attitudes,

culture

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story,

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of

lives.”

task

relatively

unfolding

civilization.

introduction

beliefs

about

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view

daily

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as:

interests,

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their

you

writes

identity.

progression,

values,

society.

culture.

who

culture

explanations,

manipulate

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a

shared

created

expressions

cultural

guide

artificial

act

wanted

study to explore the cultural issues

of colonialism and gender evident in

symbolism

the orientalism of the 19th century.

culture.

part

recreate

for

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my

exotic

their

design

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painters

subvert

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represent

symbols

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roses

as

to

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kimono

kimono

orientalism

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to

link

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interior

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culture,

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aesthetic

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to

use

colonialist

of

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modern

use

of

As she is an HL student she has

then made connections to her Edward

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a

post

colonialist

literary

critic,

said

that

exhibition work.

much

of

their

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work

painting

with

Section 3

servile

to

suspect

by

into

James

shows

the

a

nineteenth

culture.

East

as

Japanese

Western

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a

The

McNeil

Whistler

century

western

title

princess,

painters

of

fantastical,

the

mythical

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belittling

orientalism.

sp tt h

34

makes

ne//

exemplifying

the

which

political,

intellectually

Asian

portrays

transformed

to

2013)

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eh t _m o r f_s se cn i r P _e h T / ikiw / gr o . a id e p ikiw

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societies

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orientalism

imperialist

S E C T I O N

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western

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questioning

artists

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relationship

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1907

art,

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marked

cultures

other

the

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cultures,

birth

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power.

a

new

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Picasso

Make your task simpler by subverted

the

established

western

order,

opening

the

way

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for

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choosing ar tworks that are explosion

of

modern

art,

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also

for

the

different

readings

of

art

history

from obviously dierent cultural that

exist

today.

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reading

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artwork

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contex ts. This will make the ideas

of

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time

in

which

it

was

made,

but

we

also

reveal

our

own

values.

contrasts easier to explain. It

can

be

useful

to

consider

these

four

themes

in

relation

to

art

criticism:

If the works are close in time ●

colonialism

●

nationality

●

gender

●

ethnicity.

you will have to consider the

nature of the dierences

very carefully. For example, Culture

can

be

used

to

exert

power.

The

gathering

together

of

conquered

Edward Degas and Jean peoples’

cultural

artifacts

Gramsci

described

in

national

museums

is

an

example

of

this.

Renoir were both French 19th the

idea

of

cultural

hegemony,

the

use

of

culture

to

century ar tists associated with dominate

over

another

group.

This

is

evident

through

racism,

colonialism

Impressionism. One was from and

sexism.

It

is

an

area

that

has

been

explored

by

many

contemporary

a rich bourgeois background, visual

artists

and

is

an

important

theme

in

modern

art

criticism.

the other poor and working

class. These dierent cultural

How to research

contex ts did aect their ar t, So

far

we

have

been

analysing

formal

qualities

of

artworks

by

looking

but in a subtle way, which is carefully

at

them.

However,

in

order

to

be

able

to

consider

function,

dicult to explain. This can purpose

and

cultural

signicance

you

will

need

some

background

be resolved by choosing a knowledge.

This

section

is

about

how

to

nd

out

that

information.

third work that is obviously

from a dierent culture, but

Asking meaningful research questions linked thematically: perhaps a

It

is

a

mistake

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and

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to

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to

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know?

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journal

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it

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as

research

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you

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chapter

advice

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questions.

teacher.

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suggestions

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at

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list

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the

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visual

research.

comparative

Ukiyo-e prints?

function

questions

in

genre scene such as Japanese

Tip

study

that

compares

Why should I spend time

landscapes

by

Edvard

Munch,

Caspar

David

Friedrich

and

Vincent

van

asking questions?

Gogh.

The

task

is

not

to

nd

biographical

information

but

to

answer

the

Because spending a little following

questions.

time planning will save you a

●

Why

did

Munch

use

non-naturalistic

colours?

lot of wasted time looking up

●

Why

is

●

How

did

Munch

called

an

Expressionist

information that is not relevant.

artist?

Filling your comparative study Munch

use

the

landscape

to

express

feeling?

with research is not the aim

●

How

was

Munch

inuenced

by

Van

of this task; you want to use

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selected knowledge to inform Your

teacher

will

help

you

to

formulate

meaningful

questions

for

your investigation. research.

questions

You

may

(1956).

information

also

nd

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when

you

it

will

useful

help

to

you

look

move

at

Bloom’s

beyond

thinking

just

repeating

research.

Section 3

35

T H E

C O M P A R A T I V E

S T U D Y

Rory has applied his understanding of Munch’s style when taking photographs of his brother in Edinburgh.

This is a practical way of answering research questions. It helps him to appreciate the relationship between

gure and surroundings, which he has then developed by using Expressionist colour in his painted study.

Below

how

is

you

a

table

might

with

apply

Bloom’s

them

categories

to

Category

Question

Evaluation

Judge,

the

of

questions

landscape

and

examples

words

appraise,

of

assignment.

Example

evaluate,

assess

How

to

Synthesis

Compose,

construct,

Analysis

Compare,

contrast,

design,

predict

examine,

analyse

effective

express

Make

a

that

is

study

Edvard

of

Van

Munch’s

use

of

colour

feelings?

colour

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to

his

in

Munch’s

Munch’s

Gogh

and

use

of

Caspar

style.

colour

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Friedrich.

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Interpret,

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list

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ve

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36

Section 3

photographs

Munch’s

the

Friedrich’s

of

key

compositions.

differences

and

Munch’s

aspects

inuenced

of

between

use

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colour.

Munch’s

S E C T I O N

L TA

Case study

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questions:

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contemporary ar tist try already

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Encyclopaedia

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answer your questions directly! information.

Other

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websites

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Section 3

37

T H E

C O M P A R A T I V E

S T U D Y

Case study

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most

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the

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Paul

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he

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the

illness

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little

artist

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consciousness.

recall

nothing

piece.

with

itself:

he

During

about

the

This

whom

he

began

one

of

event.”

2015)

false;

they

academic

information

are

just

institution

about

Van

presented

and

so

is

differently.

the

most

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likely

Van

to

Gogh.

How to reference your research

The

Visual

“Every

arts

image

acknowledge

The

A

same

used

the

is

a

information,

screen

is

As

you

be

able

Look

at

a

of

research

to

cite

the

A

of

you

(when

the

the

you

wrote

study

it

need

the

to

to

study

see

your

keep

how

to

of

be

your

a

list

then

do

it

your

appropriately

is

known)

information

wrote

came

this

from.

comparative

of

referenced

and

the

to

source”.

artwork.

who

where

from

and

own

that

detail

and

must

information

reader

the

references

will

in

is

study

this

include

telling

they

all

them

case

comparative

date

reference

when

list

the

artist,

when

way

elsewhere.

states:

within

title,

applies

citation

from

guide

references

compile

your

has

come

original

The

sources

study.

so

that

sources

you

will

screen.

this.

Assessment criteria for the comparative study

Part

1:

Comparative

A

Analysis

of

B

Interpretation

study

formal

C

Evaluation

D

Making

of

E

Presentation

F

(HL

of

function

cultural

comparisons

and

Marks

qualities

and

purpose

6

signicance

and

Total

6

6

connections

subject-specic

30

6

language

6

only)

12

Making

connections

to

own

art-making

Diploma

42

practice

Programme

Visual

arts

guide,

page

39

Section 3

39

T H E

C O M P A R A T I V E

S T U D Y

Tip

Properly citing your sources

shows that you have

researched thoroughly and that

you know how to distinguish

between other people’s

ideas and your own original

comment. If you don’t do this,

then you are committing

plagiarism (copying). The IB

can disqualify your work and

remove your cer ticate or

diploma. Simply listing your

references on the sources

screen does not mean that you

can then copy the words freely

into your study. You must still

use quotations and citation at

the point of use as described in

this section.

“Soft Construction with Boiled Beans (Premonition of Civil War)”, Salvador Dali (1936)

Case study

Kierlan

is

in

has

their

“Though

it

for

Kierlan

Dalí

likely

mind,

Soft

that

a

volatile

Construction

makes

these

He

prepared

●

He

changed

●

Spain

she

information

is

●

And

good

Here

unconscious

studies

found

collection.

was

for

the

in

records

a

is

notes

her

state

so

of

where

that

she

visual

it

social

in

would

this:

Philadelphia

the

military

1935,

Museum

website

about

the

Dali

painting

that

text.

political

arts

1935,

and

read

after

and

Beans

in

the

museum

title

social

Boiled

in

from

the

the

of

painting

title

of

changed

climate

with

the

part

coup

struggle

sketching

to

had

the

add

to

existed

the

in

hideously

seemingly

the

country

deformed

prophetic

power

for

Dalí

years.

anatomy

of

the

of

his

began

colossal

his

creature.”

journal:

before

seem

political

the

that

civil

he

war.

had

anticipated

the

war.

struggle.

Education:

Philadelphia

Museum

of

Art

http://www.philamuseum.

org/collections/permanent/51315.html.

This

is

where

“Dali

there

the

it

the

began

was

has

knowledge

came

the

going

painting

She

40

new

from.

painting

to

still

put

in

be

a

in

civil

reects

information.

Section 3

a

to

This

the

her

is

1935

war .

by

will

however

she

writes

sketching

(Education:

suffering

reference

She

and

what

so

of

we

also

the

on

this

decides

her

people

where

the

reference

to

use

this

comparative

deformed

Philadelphia

Spanish

know

put

the

she

gure,

but

Museum

at

this

ideas

onto

of

he

information

study

changed

Art)

she

must

tell

the

reader

as

he

screen.

the

However ,

I

title

to

think

make

that

it

seem

even

though

if

he

knew

did

this

time.”

came

her

from

sources

and

then

screen.

made

a

personal

response

to

S E C T I O N

3

Introducing quotations

Simply

adding

understood

then

quotations

their

respond

by

to

relevance

your

to

expanding

screens

your

or

study.

explaining

will

not

Instead

the

show

that

introduce

you

have

them

and

ideas.

Case study

Kierlan

Beans”

direct

“Dali

into

nds

on

described

monstrous

2015)

of

We

surrealist

she

“The

auto

see

stone

“Soft

Construction

website.

She

with

can

Boiled

make

a

can

of

both

painting

as

of

being

arms

this

like

from

forms

the

in

‘a

and

vast

legs

(Education

way

the

the

feet

body

at

one

Philadelphia

limbs

and

human

tearing

transform

hands

breaking

another

Museum

from

creating

a

soft

out

in

of

a

Art,

esh

nightmare

vision.”

paraphrase:

monstrous

ideas

of

Museum

strangulation.’

human

strangulation.

typical

In

this

excrescences

auto

can

gnarled

Or

description

Philadelphia

quote:

delirium

to

Dali’s

the

his

‘paranoiac

cases

with

she

her

forms

(Education

has

own

according

to

Dali

Philadelphia

critical’

linked

break

Museum

out

of

into

Art,

a

delirium

2015),

of

which

is

method.”

and

developed

Dali’s

words

to

other

comment.

(Kas) (Kingdon)

List of Sources.

Africa Remix: Contemporary Ar t of a Continent Johanesburg Ar t Gallery

Bibliography Education: Philadelphia Museum of Ar t

Africa Remix: Contemporary Ar t of a Continent Johanesburg Ar t http://www.philamuseum.org/collections/permanent/51315.html) Gallery. (n.d.). Johanesburg.

(Education)

Chevalier, H. M. (1942). The Secret Life of Salvador Dali. New York:

Dial Press.

(Africa Remix: Contemporary Ar t of a Continent Johanesburg Ar t Gallery) Education. (n.d.). Retrieved December 25, 2015, from Philaadelphia

Museum of Ar t: http://www.philamuseum.org/collections/ Britannica School permanent/51315.html)

Kas, S. L. (n.d.). Makonde . Retrieved March 2016, from Grove Ar t •

Salvador Dalí. (2016). In Encyclopædia Britannica. Retrieved Online.Oxford Ar t Online. Oxford University Press.: .

•

MAKONDE CARVINGS UNDER THREAT. (2001). African Business, (27 1), 38.

•

Stock Photo - SPANISH CIVIL WAR (19361939) Anarchist ghters from the

Making of Makonde Spirit Carvings. Retrieved from Google Books:

National Confederation of Labour in Barcelona in July 1936

https://books.google.co.uk/

Kingdon, Z. (n.d.). A Host of Devils:The History and Context of the

•

•

Stock Photo - Makonde car vers with ebony car ving in Dar es Salaam T anzania

Fiona Bradley. "Dalí, Salvador." Grove Ar t Online. Oxford Ar t Online. Oxford

University Press. Web.22 Mar. 2016. .

Twentieth Century Painting and Sculpture in the Philadelphia Museum of Ar t

(2000), p. 76. Look up proper details

Note:

1) Salvador Dalí, The Secret Life of Salvador Dalí, translated by Haakon M.

Chevalier (New York: Dial Press, 1942), p. 357 .

(Chevalier, 1942)

This is Kierlan’s list of sources which she will upload with her completed comparative study. She used the citation tool in

Microsoft Word to compile her references as she went along. This helps to ensure academic consistency in her list. Remember to

cite the illustrations too.

Section 3

41

T H E

C O M P A R A T I V E

S T U D Y

Using the visual ar ts journal to record research

Presenting

assimilate

●

mind

●

ow

information

ideas

and

in

make

different

ways

important

in

your

journal

connections.

maps

●

timelines

charts

●

annotated

You

will

could

help

you

to

try:

sketches.

Case study

Kierlan

has

painting

image

the

mapped

she

in

main

has

the

centre

related

the

important

the

artist’s

realizes

relationship

of

the

in

a

20th

of

This

interrelationship

Kierlan

of

of

sheet

that

she

the

the

century.

so

a

related

and

her

then

and

to

to

the

placed

Dali

the

added

then

links

assess

with

the

events.

there

is

Dali’s

She

can

She

concepts,

time

helped

between

timeline

ideas

studying.

contextual

ideas

life.

out

been

a

very

work

decides

relate

it

close

and

to

to

the

record

the

history

this

Makonde

carving.

Kierlan uses a simple line drawing of the painting to link

her research ideas to evidence so that when she writes

in her comparative study she will be able to relate the

context of the painting to specic detail such as the man

in the background that might represent Sigmund Freud.

42

Section 3

S E C T I O N

3

This student has used concept maps to build two possible themes for her study: rstly she explores the purposes

of por traiture and then takes the idea into a study of self-por traits by women.

Section 3

43

T H E

C O M P A R A T I V E

S T U D Y

This student has made careful annotation on her watercolour drawing of a Kimono.

44

Section 3

S E C T I O N

3

Visiting museums, exhibitions and galleries

We

understand

The

differently,

in

value

we

than

comparative

gallery

You

of

art

of

a

more

in

real

study

or

if

this

life

and

and

space

at

This

seeing

visit

differently

or

gallery

we

from

makes

tend

a

us

to

give

of

the

reproduction.

look

them

at

a

objects

different

elsewhere.

important.

perhaps

organize

real

way,

placed

time

is

in

museum

focused

would

visit,

could

work

context

a

Experiencing

or

a

unfamiliar

an

least

one

might

be

artwork

yourself,

or

works

through

displayed

make

it

part

a

in

of

for

school

a

a

your

museum

public

holiday

space.

trip.

We become accustomed to Or

you

might

be

lucky

enough

to

visit

an

artist’s

studio.

viewing ar tworks as reproductions.

Wherever

and

experiences

however

carefully.

you

It

is

see

art

possible

it

to

is

important

see

a

lot

of

to

record

However, the experience of seeing

your

art

in

a

going

to

leave

short

time

the original ar twork in a museum,

by

such as this painting by Chuck wandering

through

a

museum,

but

if

you

are

with

really

Close, is quite dierent. We can useful

material

for

your

comparative

study

it

is

important

to

slow

down.

properly understand the impact of An

hour

of

focused

rst-hand

observations

in

front

of

one

work

of

art

scale or the handling of media. will

provide

invaluable

material

for

you

to

use

later.

Prepare your visit

Arrive

with

selection

is

on

in

arrive

if

that

Then

your

research

objective.

works

display!

notes

you

an

of

still

arts

are

been

museum/gallery

you

want

information

journal.

inspired

have

the

think

download

visual

you

will

Scan

you

by

You

to

see.

and

might

something

website

Check

make

change

new,

some

your

but

to

that

make

the

preliminary

mind

this

a

work

when

preliminary

useful.

Record your obser vations

Your

visual

seeing

(except

the

on

for

the

is

in

of

tempting

that

by

is

exhibit

order

to

you

doing

journal

in

label.

If

moving

to

rely

achieve

or

a

schematic

●

a

written

●

a

focused

to

the

so

give

work

around

on

vital

just

an

in-depth

of

the

drawing

recording

your

museums

your

sense

is

your

for

Most

use

a

the

understand

more

●

be

context.

exhibitions)

displayed,

properly

one

will

artworks

special

artwork

experience

It

arts

original

of

camera

scale

experiences

allow

to

and

record

to

three-dimensional

when

photography

note

record

the

way

the

details

the

kinetic

work.

electronic

artworks

response.

record

you

will

Change

to

refer

need

the

to

pace

to

later,

slow

of

but

down

your

so

looking

following:

with

annotations

Key terms

description

Schematic: as in a diagram, drawing.

like the simplied gures of a

In

the

example

journal

by

to

to

make

Anthony

record

journal

on

next

careful

Gormley.

the

page

the

shapes

shows

page,

notes

Notice

and

a

during

the

and

a

clear

distinctive

quick

student

visit

has

to

an

drawing

features

effective

note

used

of

their

visual

exhibition

style,

the

which

of

sculptures

has

sculptures.

arts

helped

The

man or woman on the doors of

bathrooms in public places or

the characters in the television

show South Park.

taking.

Section 3

45

T H E

C O M P A R A T I V E

S T U D Y

Clear line drawings and notes make this a really eective record of looking at Antony Gormley’s

sculptures.

46

Section 3

S E C T I O N

3

Consider the cultural and architectural contex t of the work

We

look

the

expectation

this

objects

special

evenly

and

and

lit

a

and

a

new

we

to

of

see

traditional

an

art

modern

distractions.

or

the

same

place

of

Even

gallery

The

gallery

The

you

the

we

that

They

put

is

you

arrive

help

neutral

audience

respect

worship.

if

because

surroundings

white

full

everyday

with

create

space

sometimes

might

are

to

subdued

expect

of

is

of

expectation

objects

in

this

differently.

gallery,

wall

a

sensibility.

them

in

experience.

In

show

shrine

heightened

expensive

a

devoid

tend

visiting

context

differently

of

atmosphere.

visitors

those

In

at

the

coverings

rich

help

surroundings,

to

create

a

ornate

sense

of

frames,

gold

and

value.

How to make formal analysis of ar t in a gallery

Describe

in

this

the

Materials

the

I

and

artist

make

formal

technique:

start?

Another

a

copy

of

need?

Take

a

the

need

Curation:

by

gallery?

could

consider

of

the

Is

be

is

the

the

a

that

in

Presentation:

sculpture.

the

seven

a

the

or

you

The

at

the

formal

With

of

the

here?

points

from

earlier

to

made.

ask:

What

sculptures

processes

you

of

can

worked

and

did

would

materials

Usually

has

How

How

see

on

artifacts

I

would

by

you

construction

or

on.

museum.)

Why

Would

was

to

artist

Consider

dialogue

want

is

start?

the

of

so

exhibited?

(And

Why

and

I

work

this

surfaces.

that

combination

casting

the

would

painting.

work

will

how

answering

surfaces

differently.

time

How

look

deliberate

displayed

factors

of

of

Where

raw

room.

curator.

there

component

a

edges

How

Consider

close

and

modelling

decoration

made

using

way

work?

really

the

to

reduction,

are

this

underpainting

examining

will

qualities

guide.

with

consider

other

the

change

in

architecture

Consider

the

between

this

the

the

works

exhibits?

the

relation

decisions

of

art

Ask

meaning?

to

your

and

in

the

how

it

These

exhibition

too.

framing

might

or

you

lack

of

present

it;

it

the

pedestal

differently?

or

lack

Who

of

one

made

for

these

Key terms choices

or

and

previous

why?

Not

owner.

Or

necessarily

perhaps

it

the

is

in

artist,

the

but

perhaps

original

frame

a

gallerist

designed

by Provenance: this is the term

the

artist.

used to describe the history of

Provenance:

it

come

will

to

help

be

What

is

its

exhibited

consider

the

provenance?

here

and

contextual

in

In

this

other

way?

words,

how

Answering

and

this

why

did

question

who has owned an ar tifact or

work of ar t.

meaning.

Tip

You will nd information about the provenance of an ar twork on the

museum label or on its website. For example, the provenance for Dali’s “Soft

Construction with Boiled Beans” is given as:

“With Julien Levy Gallery, New York, by 1937 (on consignment from Peter

Watson?); Stendahl Ar t Galleries, Los Angeles, purchased from the ar tist,

November 4, 1937; sold to Louise and Walter C. Arensberg, Los Angeles, 1937;

gift to PMA, 1950.” (Education Philadelphia Museum of Ar t, 2015)

Section 3

47

T H E

C O M P A R A T I V E

S T U D Y

This student was excited by William Pye’s fountain during a visit to the Yorkshire Sculpture Park. She used this experience as a

star ting point for her comparative study that compared modern with Baroque fountains. Notice how the rst two paragraphs are

entirely based on her personal experience of the work in context. This is reinforced by her photographs and gives an authenticity

to her later comments on Pye’s intentions.

TOK

Consider these questions in relation to a museum experience:

•

Why are some objects treated as ar t?

•

Why do we put ar tifacts into museums?

•

How does an object’s function and signicance change when it is exhibited in a

special place?

•

How does the cultural value change?

•

How is cultural power exer ted by the museums of past empires, such as the

Louvre in Paris or the British Museum in London?

•

Do ethnographic museums preserve past cultures or destroy them by taking

ar tifacts away from their true context?

Duchamp believed that the urinal became a work of ar t because it was presented

as such by the ar tist. It is more accurate to suggest, however, that the urinal

becomes a work of ar t when it is successfully exhibited in an ar t gallery/museum.

48

Section 3

S E C T I O N

3

Sophie has thought very carefully

before placing the lines which analyse

composition onto the images. Read

her text as a ne example of formal

analysis and comparison. Her choice

of images with their linking theme

of the sea makes this especially

meaningful.

In

I

order

like”

the

to

move

approach,

artworks

between

the

you

how

and

and

then

course

The

Secondly,

purpose.

form,

formal

as

have

it

their

things

they

study.

have

the

why

You

the

it

to

taste,

art

describing

critical

was

nally

for

is

their

can

the

see

rst

context,

and

formal

contextual

artworks

what

about

divided

we

of

know

write

be

what

the

“I

to

can

analysis

made

consider

the

skills

for

function

their

although

of

interrelated.

section

will

your

is

and

always

needed

for

is

of

thinking

Analysing

Firstly,

made

content,

art

apply

selected.

approach

of

expressions

to

why.

was

are

are

selected

need

analysing

good

elements

comparative

you

A

for

these

analysis,

how

simple

will

that

understanding

qualities.

beyond

you

for

gave

both

now

you

your

need

to

comparative

the

tools

process

apply

to

make

portfolio

this

a

and

analysis

to

formal

the

the

works

study.

This is a really eective practical

Jessica was excited by Alexander

exploration of the formal qualities in

McQueen’s culture collaging in fashion.

architecture. Even without the text

On this screen she explores how

we have a clear understanding of

Nick Knight has photographed one of

how cantilevers, mass and space

McQueen’s creations to emphasize

are evident in modernist building.

the negative and positive shapes. She

Think about creative practical ways of

has cleverly used collage to juxtapose

showing formal qualities in the works

Ukiyo-e prints. This eectively

you are exploring.

meets the ‘creative’ descriptor for

presentation too.

Section 3

49

eht

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3 S E C T I O N

51

Section 3

T H E

C O M P A R A T I V E

S T U D Y

Ella used annotation to consider the formal qualities of Ukiyo-e prints. This is a very eective

method as it allows her to make each point clearly and then suppor t it by directly showing

an example in the image.

This screen is the companion to Ella’s analysis of formal qualities in the prints of Utagawa

Yoshitora. Here she has used her watercolours to act as a background to comments about

the use of colour in Ukiyo-e prints. Notice the colour samplers that are an eective way to

capture an ar tist’s palette.

52

Section 3

S E C T I O N

3

How to interpret function and purpose

“Looking

Victor

is

not

indifferent.

Burgin

There

can

never

be

any

question

of

‘just

looking’.”

(1982)

Key terms

Your

next

task

is

to

investigate

the

function

and

purpose

of

the

works,

Ambiguous: having more than although

you

will

have

begun

to

open

out

ideas

as

you

described

the

one possible interpretation. The formal

qualities.

meanings of most works of ar t

Many

pieces

will

fulll

more

than

one

function,

for

example,

a

wedding

are ambiguous.

dress

is:

symbolic

beautiful

All

art

is

and

at

made

both

the

for

of

a

same

a

culture

time

reason.

a

The

and

of

practical

aim

of

a

rite

item

this

of

of

passage;

aesthetically

clothing.

section

is

to

help

you

Tip consider

study.

the

But

“why

and

remember,

what

art

for?”

rarely

of

has

the

a

artworks

you

straightforward

have

chosen

purpose.

to

Artists

You will nd the highlighted often

make

their

work

deliberately

ambiguous

and

rather

than

giving

words useful tools in your denitive

answers,

consider

the

multiple

functions

that

your

artwork

analysis of meaning; they are may

have.

dened in the glossary.

Questions to ask

You

will

was

created.

When

then

need

you

you

to

rst

Refer

have

will

research

to

read

be

the

the

cultural

research

about

equipped

the

to

section

history

answer

context

in

and

these

this

in

which

chapter

context

of

to

the

artwork

guide

your

you.

Tip

artworks,

questions.

Evaluation of cultural

signicance

Why was this ar twork made?

Some

possible

It is impor tant to comment

answers:

on the cultural signicance For

status:

to

enhance

the

power

or

social

standing

of

the

owner.

of your selected ar tworks. In To

display

wealth

(through

the

use

of

precious

materials,

skilled

order to do this well you will craftsmanship

or

For

a

the

creative

originality

of

the

artist).

need to understand the original

ask

ritual:

for

attain

as

part

forgiveness,

spiritual

of

as

a

religious

an

icon

to

celebration,

worship,

to

or

as

a

votive

alleviate

offering

suffering

or

to

to

cultural contex t in which they

were made. However, before

enlightenment.

you star t the task, it is wor th

pausing to consider your own For

education:

to

teach.

For

example,

religious

works

which

tell

a

story

cultural contex t, as we are or

have

a

narrative.

Images

are

especially

important

when

much

of

a

all inuenced by the values population

are

illiterate,

such

as

the

Christian

frescos

of

the

Renaissance

and beliefs with which we or

the

political

murals

of

the

Mexican

revolutionary

artists.

have grown up. Think about

To

of

understand

abstract

concepts

metaphor

the

a

legacy

ssure

the

and

of

and

colonialism

works

For

the

Modern

example,

shown

through

of

condition:

feelings.

allegory.

running

existential

human

by

oor

art

the

Doris

of

through

the

does

9/11

the

this

by

means

memorial

Salcedo’s

Tate

representation

in

New

“Shibboleth”

Modern

in

your cultural identity and

of

what makes you dierent to

York,

(2007),

London,

or

the

Giacometti.

others. Remember that these

dierences inuence the way

you interpret the world, the ar t

that you are interested in and

the judgments that you will As

propaganda:

art

that

contains

a

strong

polemical

(one-sided)

make about it. Awareness of message

aimed

to

distort

the

truth

for

political

advantage.

our personal viewpoint can help

As

documentary:

to

record

an

event.

For

example,

Goya’s

etchings

of

us to be more objective in our

the

atrocities

of

the

Napoleonic

wars,

or

the

work

of

war

photographers

opinions, less prejudiced and

such

as

Don

McCullen.

Similarly,

social

realism

seeks

to

use

such

as

the

art

to

more international-minded.

show

the

lives

photographers

and

in

suffering

1930s

of

ordinary

America

aiming

people,

to

promote

FSA

change.

Section 3

53

T H E

C O M P A R A T I V E

S T U D Y

TOK

L’ART EST INUTILE, RENTREZ CHEZ VOUS

Jean Vautrier

This translates as “Ar t is useless go home”. Vautrier makes use of irony to

question the value of making ar t. In utilitarian terms the statement is correct.

Yet humankind has expended considerable energy and resources in the

making of cultural ar tifacts. Consider what justications there could be for

this. When the Taliban destroyed the ancient Buddhist sculptures at Banyan

they claimed that the act was par tly in protest at the money being paid for the

statue’s upkeep, which could have been better spent on the starving people of

the region. What do you think?

L TA

Social skills: dening our cultural identities

In pairs draw a Venn diagram. Write each of your names in an oval. Now

ll your ovals with all the aspects of your life that dene your culture. Any

aspects you share with your par tner go in the middle, where the ovals overlap.

Here are some suggestions:

•

Personal details: religion/beliefs, ethnicity, nationality, gender, age

•

Signiers: dress, make-up, hairstyle, music, dance, food, language,

customs, rites of passage (how do you celebrate bir th, coming of age,

marriage and death?)

When you have nished, discuss with other students. Perhaps you can divide

Tip

into dierent cultural groups within the class.

The introduction Which aspects of cultural identity do you think are most impor tant in relation

Your rst screen will introduce

to your judgments of visual ar t? Perhaps gender and religious belief?

your study. Make the content

very clear by including:

• a title To

question:

in

the

past

art

wa s

us e d

wi thi n

the

cons t ra i nt s

of

• illustrations of the main strict

convention ,

but

in

modern

so ci e ti es

the

ro le

of

a rt

is

o ft e n

works you will analyse to

subvert

accepte d

w a ys

of

d oi ng

th in g s ,

or

to

m ak e

us

s ee

wi t h

• explain any linking theme or fresh

eyes.

Irony

is

often

used

to

s ub v e r t

co nve ntion :

by

ch oo si n g

framework. a

disjuncture

normally

such as mentioning where

inappropriate

you have seen the works or

soft

what attracted you to them,

For

can make your work more

reef,

interesting.

ironic

and

in

gentle

fo r

a

and

its

by

purp o s e

Appropriati o n

of

usi ng

ha r d

is

is

contemp o r a r y

the

conte xt ;

to

and

a nd,

of

or de r

an

c ou r se ,

p ro je c t

into

the

wa y

by

the

in

whi c h

re c yc li n g

to

s uc h

by

to

 uffy

no t

u si n g

and

wa ys

a r tis t s

new

as

c r oc he t

i ma g er y.

s u gg e st

w or ld .

woul d

u n e xpe c t e d

s tyle ,

c o nve n t io n al

i ma ge s

of

that

us in g

of

g ro up

we t

di sr up t

cul ture

imagery

by

i na p pr opr ia t e

a ct,

a nothe r

juxta p o s i tio n

establi s he d

an

We r the i m’s

the

values

the

juxtaposing

sa me

g r ue s ome

Marg a r e t

world.

on

by

the

med i a ;

“transforming

disrupt

Section 3

sca l e ;

seen

example,

relies

54

be

of

Adding a personal touch,

of

or

bei n g

hu m o ur.

a

dr y” ,

c or a l

t h is

s ee i ng

q ue s t io n

Mos t

is

the

the

c o ll ag e

me an i n gs ,

or

to

S E C T I O N

For

self-expression:

this

are

considered

in

are

for

is

fact

few

better

For

this

of

is

called

was

of

from

early

of

ideas

our

the

many

For

in

your

idea

feelings

of

spectator

of

our

to

a

a

death

and

of

sometimes

function

gleam

of

and

(the

in

to

the

be

challenged

classical

there

ideas

are

aesthetic,

(this

a

car

is

that

what

bonnet,

white

late

to

die.

surfaces

20th

century

all

serve

to

primary

patterns

true

of

give

variety

function

on

the

of

ceramics

original

and

many

to

the

purpose

of

museums.

of

powerful

violence

through

method

and

terror

as

by

us

styles).

the

is

help

principal

also

forms

Munch

art

movement

as

there

they

working

beauty;

the

if

suffer

aesthetic

aesthetic

the

be

live,

context

and

Even

their

such

has

the

pure

texture

same

from

images

aggression

is

in

release

see

curve

from

the

art

machine

is

to

culture

opposing

lives,

and

is

cultural

postmodern

colour,

it

Although

audience,

Edvard

through

emotions

(the

artist.

always

and

Romantic

Consider

sensual

will

aesthetic

The

the

the

modern

Gogh

what

its

on

Decoration

now

–

of

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themselves.

they

Van

modern

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daily

are

as

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Some

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the

for

western

depends

the

pattern,

that

In

by

trauma

pleasing.

completely

trainers,

as

for

beautiful.

–

or

rare,

considering

and

surroundings.

catharsis:

images

is

to

art

sake”.

modern

combining

objects

Greek

the

the

is

such

enjoy

this,

what

purely

condition

beauty.

aspired

artifacts

on

to

Greece

decoration:

to

stripes

our

of

which

Aesthetics

of

art

artists

expression

motivation

psychological

art’s

modernism)

fashion

For

for

than

ancient

Futurists

create

human

changed

example);

life

the

personal

main

aesthetically

beautiful.

different

for

be

powerful

the

the

personal

“art

to

century

more

is,

their

contemplati on :

18th

of

who

However,

understand

art

the

independent,

audience.

examining

for

artist’s

artists

nancially

an

the

3

art

emotions.

helps

rather

achieving

this.

us

than

Think

This

is

to

control

in

action.

also

of

an

or

ancient

release

Shocking

gothic

lm

and

destruction.

Who paid for this ar twork?

Consider

who

is

paying

may

have

been

made

may

have

been

a

pays

for

or

an

group,

contracts

wage

the

for

state,

their

a

contract

artwork).

with

for

to

The

or

their

a

in

materials

drawn

patron

wealthy

artists.

artists

the

specic

order,

up

by

may

and

that

the

have

private

for

a

artist’s

set

labour.

commissioned.

patron

been

a

(the

gallerists

number

person

religious

individual.

Contemporary

exchange

the

is,

Art

piece

who

individual

dealers

provide

of

The

There

arrange

studios

and

a

artworks.

Where was it created for?

Art

or

is

often

private

few

made

space.

privileged

secular

for

Was

people

building.

Was

a

specic

the

or

it

place.

work

for

made

many

designed

to

for

Consider

for

the

admire?

a

whether

private

specic

this

was

a

public

contemplation

Perhaps

for

a

architectural

of

religious

a

or

a

setting?

Who is looking?

Consider

the

considers

consider

audience,

how

them

artwork?

you

in

What

the

might

relation

are

the

viewer,

present

to

ways

the

function.

in

spectator.

answers

which

to

Who

we

The

these

are

we

regard

next

section

questions,

when

the

but

looking

rst

at

this

gures?

Section 3

55

T H E

C O M P A R A T I V E

S T U D Y

Freya has eectively combined an analysis of formal qualities with careful consideration of cultural signicance.

Her combination of word processed text and handwritten comments are very eective.

56

Section 3

S E C T I O N

useful

use

the

how

we

gaze

of

Laura

way

of

look

the

has

of

at

a

the

a

this

gaze:

gurative

viewer

Mulvey,

Elkins

considering

concept

at

an

described

the

is

the

image,

image

feminist

question

this

lm

of

a

modern

art

particularly

a

person.

theorist.

different

for

word

It

More

types

of

the

was

use

spectator’s

a

term

recently

gaze

audience

historians

you

rst

the

art

might

is

to

to

L TA

A

refer

gaze,

used

Thinking skills

to

the

by

critic

3

Consider these views on "the

gaze". What do you think of the

James

speakers' opinions?

experience

“In adver tising males gaze, and when

you

look

at

a

gurative

painting

in

a

gallery:

females are gazed at.” (Fowles,

“You,

the

looking

painting

at

the

who

painting,

look

at

one

gures

in

another ,

the

painting

gures

in

the

who

look

painting

out

who

at

you,

look

at

gures

objects

in

1996)

or

“ The gaze signies a stare

off

into

space

or

have

their

eyes

closed.

In

addition

there

is

often

the

museum

psychological relationship of guard,

who

may

be

looking

at

the

back

of

your

head,

and

the

other

people

in

power, in which the gazer is the

gallery,

who

may

be

looking

at

you

or

at

the

painting.

There

are

imaginary

superior to the object of the observers,

too:

the

artist,

who

was

once

looking

at

this

painting,

the

models

for

the

gaze.” (Schroeder, 1998). gures

in

the

painting,

who

may

once

have

seen

themselves

there,

and

all

the

other

In Ways of Seeing (1972) John people

who

have

seen

the

painting

–

the

buyers,

the

museum

ofcials,

and

so

forth.

Berger obser ved that: And

it

nally,

only

there

from

are

also

people

reproductions...

or

who

from

have

never

seen

descriptions.”

the

painting:

(Elkins,

they

may

know

1996)

“… according to usage and

conventions which are at last The

gaze

is

a

way

of

considering

the

social

power

relationships

between

being questioned but have by no the

observer

and

the

observed

that

are

implied

by

gurative

images,

means been overcome – men especially

with

respect

to

the

male

gaze

and

the

female

gaze:

men

gaze

act and women appear. Men at

women;

women

gaze

at

themselves;

women

gaze

at

other

women;

look at women. Women watch and

the

effects

of

these

ways

of

seeing.

Consider

these

ideas

in

relation

themselves being looked at.” to

contemporary

media.

Is

this

statement

still

true?

Berger argues that in European

ar t from the Renaissance

Tip

onwards women were depicted

Be careful with the word “simple”. You can describe works as being “simple”,

as being:

meaning straightfor ward or direct and uncomplicated, for example, Van Gogh’s “aware of being seen by a sunowers have a simple composition. However, avoid saying “simplistic” [male] spectator. … Women unless you intend to suggest that what you are describing lacks meaning. are depicted in a dierent way

to men – because the ‘ideal’

of

status.

From

Prince

“dragon

the

the

exhibition

with

robes”.

modern

the

if

inhabitant

Yellow

Silk:

the

pale

silk

yellow

actually

and

the

only

fu

and

fact

this

for

for

use

it

is

colours

in

his

and

coffin

600

were,

in

family

essence,

of

sold

that,

simply

eerie

Huang

of

Lu’s

actually

other

clothing

not

an

had

six

Dragon

in

Robe

buried.

feeling

–

as

robes.

years

old

quality

and

of

been

also

only

robe

with

item

or

the

and

And

this

along

evokes

all

originally

embroidery.

imperial

that

Lu,

expensive

wear

have

out

of

inherited

durability

would

the

an

been

around

sheer

the

found

this

as

a

has

the

copyrighted

of

silk

their

for

I

found

yellow,

yellow

sign

not

silk.

bright

the

out

with

a

was

authority

highest

society.

these

pattern,

tigers,

robes

that

its

I

Huang

such

have

to

robe

Symbols:

person

symbols

six

going

thread

of

of

Prince

clearly

would

shows

for

superiority

Imperial

the

is

reserved

echelons

the

it

catalogue,

T an,

was

necessity

disintegrated

that

It

world

Also,

the

Zhu

there

who

were

axe,

water

was

could

the

two

also

wear

sun,

a

fire

and

law

in

garment

moon,

sacrificial

weed,

a

stars,

cups

place

with

that

the

the

twelve

mountains,

were

emperor

was

imperial

dragon,

representations

pheasant,

of

to be male and the image of the

woman is designed to atter

him.”

ta

in

buried

ehT

been

dna

details

muesuM

signifier

4102

a

:morf

was

dna

robe

ehT

this

gniM

period

ytsanyD

Ming

noitibihxE

Purpose

the

hsitirB

and

In

lmths.yrotsihklis/ltra/moc.daor-klis.www//:ptth

Status:

noitamrofnI

spectator is always assumed Function

monkeys

grain.

Jessica shows her textiles skills on

this screen. Machine-embroidering

a copy of the silk patterns as well

Long

sleeves:

becoming

sleeves

the

colour

to

only

the

did

the

They

earth,

this

product

suggest

for

empire.

of

only

high-end

used

reserved

of

a

Not

complex

of

wealth

statues

emperor,

would

his

wear

outside

of

in

the

the

and

palace,

a

garment

so

It

used

extremely

inside

and

this

add

to

impractically

period.

and

silk

in

class,

Ming

family

white

silk

I

long

drew

front

people

silk,

would

as distressing fabric to create an

be

notable

yellow

robe

to

it

the

have

the

sketch

me.

silk

mas

been

this

of

This

justice.

made

In

from

showing

why

delicacy

made

in

the

British

however,

the

silk

the

Museum

does

museum,

worms

quality

of

that

the

not

I

do

learnt

fed

on

with

the

the

robe

intricacies

that

the

silk

in

of

garment

is

so

appropriate background has helped

was

her to understand the relationship

mulberry,

high

The

between materials and meaning. worn

only

on

public

occasions.

accurately,

Exclusive:

the

robe

is

given

high

value

simply

by

association

with

Human

nature

suggests

that

we

instinctively

want

power

can

This

over

have.

God-like

his

The

completely

presumably

people,

robe

with

indicating

also

contrasting

status

grants

the

distances

day-to-day

his

the

emperor

strength

the

that

Emperor

clothing.

foreignness,

an

This

leading

to

extra

a

element

piece

from

his

of

gold

to

draw

and

record

Notice how a gallery sketch has

embroidery.

embroidered

the

sample

(left)

in

the

style

of

the

dragon

been presented on a nal screen,

gives

I

enjoyed

the

hue

of

the

embroidery

against

the

of

colour

clothing

people,

separation

an

the

difficult

the

robe. forbidden.

did

robe

the

I emperor.

as

the

the

with

him

a

of

real

the

robe

distressed

in

the

material,

British

in

Museum

a

similar

contrast

of

making this much more personal

exhibition.

than simply pasting in a photograph

idolisation

of the robe.

Section 3

57

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Section 3

58

that screen one onto

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S T U D Y C O M P A R A T I V E T H E

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yltnatsnoc

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skrow

elkcis

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era

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esuoh

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a

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yllarutluc

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taht

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dnah

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ot

ehT

nac

nwo

troppus

noitisop

eht

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.ereh

eht

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suggested by Donald Rodney’s piece. Notice how she reects on our response to the use of skin. She has used her

In this student’s work the simple act of photographing her hand and that of her grandmother illuminates the meanings

own feelings about the work to explore function and purpose rather than reading the ideas of others.

59

Section 3

T H E

C O M P A R A T I V E

S T U D Y

What do we mean by context and audience?

We

have

link

considered

those

ideas

the

artworks,

the

audience.

conceptual

cultural

with

that

A

is,

signicance

and

function

and

purpose

the

and

place

useful

time

way

framework

of

doing

that

this

is

the

to

viewer;

explore

they

to

use

now

the

were

June

you

context

created

King

and

McFee’s

(1978).

AUDIENCE’S

ARTIST’S AUDIENCE

ARTWORK

ARTIST

WORLD

The

in

WORLD

audience’s

world

is

a

which

The

context

events

Events

significance

to

as

be

of

the

bring

need

impact

way

are

collectives

of

on

experience

particular

be

of

An

be

of

a

well

for

cultural

values,

impact

as

as

or

the

time

the

work.

its

The

practice

The

is

artist’s

by

association

styles,

the

the

can

informed

size.

and

used

The

to

be

considered.

of

artist

work

An

beliefs,

be

can

the

collective

experience

particular

place

be

considered.

but

be

of

age

a

or

may

deeply

also

personal

experiences.

in,

Events

of

significance

can

or

uninformed.

to

be

as

they

also

way

impact

the

way

are

created.

are

on

artworks

The

beliefs,

values,

religions,

rituals,

ideas

concepts

impact

understood.

need

researched

cultural

and

that

the

artist

and

are

for

the

the

time

informed

of

occur.

of

significance

place.

audience

in

events

Events

or

technical

intent

world

significance

with

schools

processes

artist’s

context

any

movements.

meaning

a

which

mood,

signs

symbols

is

of

outside

same

and

is

formal

convey

are

by

artist

author

name,

qualities,

and

created

from

the

a

religions,

artworks

The

can

it

The

a

medium

and

artwork.

audience

was

of

ideas

concepts

title,

is

as

the

existence

rituals,

an

place

also

audience’s

place

of

their

contemporary

to

age

can

as

creator’s

any

The

described

the

world

to

entity.

identified

understanding

collective

place

who

different

world

artwork

sole

and

understood.

or

The

considered

and

experiences

the

artworks

valued

can

discreet

individuals

researched

they

audience

comprise

significance

occur.

can

of

an

the

artist

and

also

way

creates.

Visual ar ts teacher suppor t material

To

for

complete

whom

the

the

table,

you

artworks

will

were

need

a

good

understanding

of

why

made.

Dali

‘Soft

Boiled

Construction

Beans’

with

1935

www.alamy.com

Comparison

between

Unknown

Makonde

Sculpture

and

Dali

Painting

artist

African Distorted

Member

of

forms

the Anthropomorphic

Makonde

people.

Sculpture

in

Dream

like Famous

artist

black Use

positive

and European

ebony negative

shapes Member

Smooth

of

the

sculptural Figures

stand

on

a surrealists.

forms solid

base Painting

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in

oil

on

form Combine

abstract

and canvas

Flowing

and

balanced realistic

elements Heightened

realist

composition Forms

viewed

in colour

silhouette Strong

chiaroscuro

Precise

TANZANIA

ebony

www.

60

Section 3

East

wooden

Africa

Makonde

sculpture

Alamy.com

detail

Complex

and

S E C T I O N

3

How to make comparisons

This

component

expected

keep

A

in

is

mind

they

the

the

can

that

be

well,

in

and

that

where

are

shown.

the

works

important

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It

is

evidence

details

some

from

nd

it

chosen

hard

to

draw

to

to

to

this

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at

as

is

a

your

the

start

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than

of

only

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in

thematic

chapter

your

this

so

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out

and

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connect

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works

time,

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these,

painting

have

exercise

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on

pointing

this

that

are

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artists.

diagram.

themes

the

you

it

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really

perhaps

need

to

by

be

concentrate

on

lists.

this

choose

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comparisons,

same

themes,

meaningful

or

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rely

duck

on

reason:

cultures!

end

here

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works.

at

you

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a

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you

technical

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when

a

don’t

concentrate

support

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use

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a

artworks,

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stylistic,

comment

links

lack

as

different

suggestion

is

the

for

different

simplistic:

see

treating

point,

the

such

better

to

at

and

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than

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this

study

from

differences.

important

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have

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much

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you

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insightful

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to

and

art

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compared

you

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called

compare

straightforward

clarify

a

to

is

comparisons.

was

artworks.

where

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that

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you

very

you

the

will

best

works

now

studies

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Highly

skilled

Dynasty

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films

team

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craftsmen/

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manipulated

drawings

technicians

Chinese to

High

art

for

an

elite

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audience.

make

colour

themes

Expensive

materials.

and

harmonies

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Religious

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and

significance

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use

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space

colour

of

designed

form

and

st

21

Flowing

All

forms

use

rhythm

century

and Contemporary

Busy

composition

movement

to

excite Pop

Complex

use

of

signs

culture

visually. Japanese

and

symbols Mass

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of

cultural

appeal

identity Fun

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expensive Dynamic

Playful

Childlike

Appeals

Post

Modernist

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gallery

for

a

to

all

aesthetic

modern

art

audience

International

Murakami

Section 3

61

T H E

C O M P A R A T I V E

S T U D Y

start

comparing

the

artworks

from

the

introduction,

pointing

out

the

Tip key

the

thematic

same

as

links

you

when

would

the

in

a

artworks

good

are

essay

rst

that

mentioned.

develops

a

This

is

just

convincing

Be careful not to simply repeat

argument

by

adding

evidence

as

the

ideas

are

explained.

So

in

fact

your

information from earlier screens

comparison

should

be

something

that

develops

and

ows

across

all

the

when making comparisons;

screens,

rather

than

just

an

isolated

activity

towards

the

end.

this will not gain you any

new marks. Instead aim to

synthesize your research,

developing the themes of your

As

in

an

different

essay

parts

comparisons

you

to

will

make

rather

need

a

than

to

synthesize

coherent

whole.

repeating

earlier

–

bring

Try

to

together

make

–

the

meaningful

information.

comparisons into new insights. You

●

might

Formal

colour,

●

●

Style

compare

the

qualities:

ways

and

of

such

technique:

manipulation

the

different

of

ways

and

differently?

as

the

representing

the

Function

following.

for

meaning:

How

are

light

in

landscapes,

illusion

of

of

depth.

example,

media,

fabric

use

the

is

the

transformed

how

they

comparing

nishing

are

of

in

handling

surfaces

in

of

in

paint,

sculpture

or

dress.

overarching

culturally

the

expression

themes

interpreted

dependent?

Freya has compared these paintings mainly for their formal qualities, but then she has added focused paragraphs on

function and cultural signicance. This is a discussion of dierences, rather than a simple bullet point list and this is what

places it at a higher level.

62

Section 3

3 S E C T I O N

.secneidua tnereid no sesucof nosirapmoc sihT

63

Section 3

T H E

C O M P A R A T I V E

S T U D Y

Gaudi’s

‘La

wealthy

Milà

Buildings

class

a

and

Casa

had

to

been

so

moreover

a

factor

houses

keep

colour

with

cast

also

due

of

to

ground

Above

is

analyse

my

the

photograph

flowing

art

taken

nouveau

from

the

forms

roof

of

inspired

the

by

house

and

it

is

could

assumed

and

The

balustrades,

flowing

house

an

is

lot

of

that

their

a

Gaudi

famous

wealth

it

house

This student has made eective

use of graphics to compare the

visual forms in the architecture

of three dierent buildings as

well as developing the contrasts

in her text.

64

Section 3

that

windows

balconies.

to

The

consideration,

up

of

curved

forming

the

façade

abstract

the

but

structure,

and

variable

plan.

below

is

my

AutoCAD

drawing

of

the

façade

nature.

This student has used their freehand sketches together with drawing to make a very coherent and well-

presented sequence of pages.

and

follows

made

roof

period

similar

functionality,

small

in

their

develop

expensive

only

upper

asked

parabolas,

shaped

to

was

include

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a

Milà

important

brick

includes

irregular

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as

need

façade

waves.

an

the

nothing

good

seen

to

the

showing

Gaudi

he

expose

a

of

as

family

with

clearly

also

labels,

out.

edge,

because

house

cool

as

way

stand

countries

tones.

the

it

by

(1906-10).

allowed

cutting

is

is

hotter

scheme

the

a

interior

iron

shape

they

This

lighter

make

a

before. The

have

in

the

to

as

this

house,

which

includes.

considered

was

seen

commissioned

Barcelona

houses

style

their

architect,

was

in

success,

Milà

build

be

their

different

La

family

can

use

wealth

Pedrera’

to

S E C T I O N

3

How to present your comparative study

Your

work

clear,

will

be

coherent,

uploaded

support

for

awarded

engaging

assessment

animations

planning

these.

or

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marks

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effectively

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sketchbook

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Section 3

65

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he has told us how the composition style has aected his own work.

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namuh

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desu

smrof

:serugĮ

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wohs

- mi

si h t

hcus

eht

htped

noƟroporp

sa

emas

htiw

-moc

-asoP

stĮ

desu

etaretilli

htiw

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KH

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Section 3

66

S T U D Y C O M P A R A T I V E T H E

Revolution. His research suggested to him how he could respond in the studio to events that were important in his life using

Anson was interested in the student protests in his home city of Hong Kong. This led him to research the art of the Mexican

language of these artists.

a similar approach to that taken by the artists he had read about. He did not use painting but print to explore the visual

by placing the Siqueiros mural next to his print so that we can readily see the similarities. However, this is not a copy. Instead

Notice how Anson has agged up the connections with his paragraph headings. He has made the visual connection very clear

S E C T I O N

3

How to make connections to your own art Tip

If

you

are

taking

this

course

at

HL

your

comparative

study

will

conclude

There are three aspects to with

three

to

ve

screens

that

analyse

and

reect

on

how

the

study

address on these nal screens: has

inuenced

connections

and

your

When

and

not

being

one

creative

are

to

way

for

which

that

assessed

or

as

more

an

of

artist.

the

You

works

will

that

need

you

to

have

show

studied

•

work.

assessed

extent

meaningful

development

between

own

you

the

your

is

this

you

as

task

have

being

here,

it

looked

you

is

your

linked

will

at.

understanding

processes

The

and

quality

probably

have

of

of

the

practices

the

ideas

in

artworks

included

these

•

exhibition

or

process

portfolio

where

they

will

be

assessed

identify connections between

one or more of the ar tworks

a

and your own ar t-making

is

in

•

your

reect on the outcomes of

your investigation

for

explain how these inuenced

the

your development.

skill

and

ideas;

rather

it

is

how

you

have

made

meaningful

and

informed

Many students forget to reect connections

that

matters.

So

the

writing

here

has

a

different

purpose

on the outcomes of their studies to

your

exhibition

text

even

though

you

will

be

describing

some

of

the

of the ar tworks. But the most same

works.

common mistake is to discuss

To

prepare

for

these

screens,

reect

and

review

what

you

have

already

creative ideas and process on

written

about

other

artworks.

Your

visual

arts

journal

will

be

useful

in

these screens without making

this

task.

You

may

well

want

to

take

key

points

that

you

have

made

explicit connections (with

about

other

artists

from

earlier

screens

to

now

directly

link

to

your

work.

words) to the ar tworks studied.

To

help

own

start

your

practice

reection

might

have

consider

been

these

three

ways

in

which

This is a dierent task to the

your

descriptors that are included

inuenced.

in your process por tfolio and 1.

Formal

qualities:

Refer

back

to

the

formal

qualities

section

of

this

exhibition, so don’t use the guide

and

apply

these

to

your

artwork.

Are

there

connections

in

same text! And remember to the

approach

to

colour,

light,

form

and

texture?

Look

for

specic

include images of your ar tsimilarities

that

you

can

demonstrate.

Perhaps,

for

example,

you

making to suppor t the links. started

using

vibrant

2.

painter

Technique

their

you

saturated

and

working

were

Perhaps

that

you

were

media:

methods

triggered

you

colours

began

for

are

seeing

to

change

to

use

rst

time

in

response

to

a

studying.

Artists

by

the

scale,

paint

frequently

what

others

format

more

or

freely.

inspired

have

to

Or

to

done.

try

a

change

Perhaps

new

maybe

medium.

you

Tip

were

Here are some key points to encouraged

to

be

more

accurate

and

attentive

to

detail.

Again

look

consider for your connections for

evidence.

screens.

3.

Concepts:

How

does

the

function

and

purpose

of

the

works

you

Making connections: Have you studied

connect

with

your

creative

idea

development?

There

might

been able to make meaningful be

a

strong

political

or

social

connection.

Are

there

cultural

links?

links? You

might

you

have

have

taken

applied

aspects

different

of

cultural

cultural

style

insights

to

to

develop.

the

context

Perhaps

of

your

art.

Development: Have you

demonstrated how your thinking/ 4.

Presentation:

You

will

need

to

explain

connections

visually

by

approach has changed over time? juxtaposing

your

artwork

These

don’t

need

to

Often

cropping

with

examples

that

you

have

studied.

Reection: Have you paused to be

large,

just

clear

so

that

the

links

are

obvious.

consider what you have learned?

elsewhere

longer

in

details

the

written

is

study,

passages

the

most

effective

annotation

to

show

and

your

way

lists

can

thought

of

showing

be

just

process.

as

this.

As

effective

as

Analysis: Is there precision to

your comments? Have you

shown detail and depth?

Section 3

67

T H E

C O M P A R A T I V E

S T U D Y

Julia compared dierent ar tists’ por trayal of the story of Adam and Eve in her comparative study. This is one of her

connections slides. She has taken a more straightforward approach than the other examples by using bullet points, but this

is eective. Her sculpture is really original; she is not attempting to copy style or technique. Instead she has been inspired

by the ideas of the ar tists, especially the way they have used symbolism.

Tip

Signal the connections between the artworks and your work clearly by using the names of the artists and the titles of

the artworks studied. Then give clear evidence in words and images of the link. Trigger phrases such as these will help.

•

I was inuenced by …

•

The aspects of the ar tworks I studied that most aected my development were the way that …

•

As I developed my ideas I considered how the ar tworks that I had studied …

•

The ideas from this ar tist that are most evident in my work are …

•

This inuence is evident in my use of …

•

My choice of colour/forms shows how I was inuenced by …

•

I then developed the concepts I had researched into …

•

The inuence can be seen in the way that I …

L TA

Communication skills

In pairs, explain how your personal ar tworks have been inuenced by other ar tists. Are these descriptions

convincing? Suggest to each other ways that the ideas could be more clearly communicated.

68

Section 3

S E C T I O N

3

Brianna has made a thematic

Making

Connections

to

Francis

comparative study that considers

Bacon

several artists’ responses to conict

My

painting

Francis

Figures

Bacon

at

the

from

including Goya, Francis Bacon My

‘Three

base

of

Figures

Crucifixion’ 1945

The

left

Chalk

Francis

a

drawing

Bacon

at

the

from

and Marina Abramovic. Here in her

‘Three

base

of

a

nal connections slides she has

Crucifixion’ 1945

panel

The

right

concentrated on her response to

panel

Francis Bacon’s “Three Figures at the

Base of a Crucixion”. The screens Francis

Bacon

the

differences

to

include her painted copies of the my

I

art

use

work:

textiles,

sculpture

work, which give a good sense of her

and

performance.

exploration of his style, but she has

then reinterpreted the painting in new Francis

Bacon

similarities

to



Shocks

the



Distorted

the

my

forms. She clearly explains how it is in

work:

audience

Reflection:

I

the

the

photographs

of

found

inspiration

holocaust

in

her nal painting that the inuence of

to

forms develop



Influenced



Responding

by

an

expressive

language.

I

have

these artists has become assimilated

surrealism. used

Bacon’s

mixture

of

paint

handling

into a personal work of art rather than to

and

the

violent

strong

mark

formal

making

as

well

compositions.

as

his

However

holocaust. my



Use

of

second

work

is

also

photographic

sources

Me

and

my

soft

‘Balkan

Expressive

paint

of

by

the

Marina Abromvitch’s

use of bullet points to reinforce the

Baroque’ 1997

main links between her work and My



influenced

hand performances

being just a transcription. Notice the

work

is

more

interactive

and

kinetic

handling

sculpture

in

the

whereas

Francis

traditional

churchyard.

Bacon

format

of

relies

easel

on

the

Bacon’s. These slides are also legible,

painting.’

visually appropriate and engaging

with their sombre olive green and

blood red theme.

Section 3

69

The process portfolio

4

What is the process portfolio? Tip

The

process

portfolio

task

is

the

largest

externally

assessed

component

The process por tfolio does not of

the

visual

arts

course,

worth

40%

of

your

total

mark

for

visual

arts,

exist! The process por tfolio so

it

puts

a

high

value

on

the

art-making

processes

you

engage

in

as

a

is not a physical object. It part

of

your

practice

as

a

developing

artist.

It

is

uploaded

to

the

IB

for

is a digital record of your assessment

as

a

single

portable

document

le

(PDF).

development as an ar tist.

In

the

process

portfolio

you

need

to

show

evidence

of

an

art-making

It should be considered

process

that

demonstrates:

as a collation of evidence

to be viewed on screen by

●

that

an external examiner. This

you

media

should guide your selection of

have

and

experimented

techniques,

and

techniques

that

your

that

and

are

with

and

selected

appropriate

manipulated

art-making

to

your

a

variety

materials,

artistic

of

media

intentions

evidence when you curate your ●

art-making

practice

has

been

informed

by

critical

investigation

process por tfolio submission of

artists,

these

●

how

Key terms

you

Medium (singular)/media

artworks

have

your

have

chosen

and

inuenced

initial

made

media

artistic

and

ideas

impacted

and

ideas

and

wish

to

own

have

between

you

provides

your

intentions

connections

and

genres

the

evidence

of

how

artwork

been

formed

techniques

and

how

employed,

the

communicate

(plural): refers to the more ●

how

you

review

and

rene

your

ideas,

skills,

processes

and

specic materials used in techniques,

and

reection

on

your

development

as

a

visual

artist.

an ar t-making practice such

as watercolour, charcoal and

In

plaster. In the ar t-making forms

presented

addition,

the

with

screens

uent

you

use

submit

of

must

be

clearly

subject-specic

and

coherently

language.

table, these are listed after the To

compile

your

process

portfolio

you

will

need

to

critically

review

all

given forms. the

Technical and material

practice: refers to the aspects

of an ar tist’s ar t-making

practice that is concerned

work

select

you

the

an

your

undertaken

materials

manipulation

as

have

artist.

and

You

which

conceptual

document

renement

will

also

throughout

of

need

practice

as

your

your

to

an

the

course

carefully

experimentation,

technical

show

and

the

and

exploration,

material

development

of

practice

your

ideas

in

artist.

with the form of the work: You

do

not

have

to

represent

all

of

the

artwork

that

you

produce

specically, the choices and throughout

the

course

in

the

process

portfolio.

This

should

be

documented

decisions made about media in

your

visual

arts

journal.

Here

select

the

evidence

that

demonstrates

and materials, as well as most

clearly

that

you

have

met

the

course

requirements

and

shows

your

technique and application. strongest

achievements

against

the

assessment

criteria.

This

evidence

Conceptual practice: refers could

be

drawn

from

your

visual

arts

journal

as

well

as

other

sketchbooks,

to the aspects of an ar tist’s notebooks,

and

so

on,

but

could

also

include

photos

of

preliminary

work

ar t-making practice that is such

as

sketches,

maquettes

and

other

incomplete

or

unresolved

pieces

concerned with intent, and the that

may

have

been

signicant

in

the

development

of

other

pieces

in

your

visual communication of ideas. body

both

so

of

resolved

that

The

work.

you

most

probably

arts

70

Section 4

Ideally,

and

can

journal

source

your

as

a

examples

unresolved

achieve

useful

be

these

visual

the

of

evidence

arts

potential

works

highest

and

for

so

have

they

levels

journal,

process

should

of

use

portfolio

should

the

in

treat

led

to

be

the

carefully

assessment

your

every

screen.

process

entry

creation

in

of

selected

criteria.

portfolio

your

will

visual

S E C T I O N

4

What are the requirements of the process portfolio? Key terms

The

process

portfolio

does

not

exist

as

a

physical

object;

it

is

not

a

Forms: in ar t-making, the broad, notebook,

workbook,

sketchbook

or

your

visual

arts

journal,

but

all

of

generalized categories of these

things

can

be

used

to

contribute

material

to

it.

It

needs

to

show

your

creative endeavours such as development

as

an

artist

through

ongoing

investigation

into

other

artists

painting, drawing and sculpture. and

artworks,

into

a

variety

of

forms

and

media,

and

provide

evidence

of

In the ar t-making forms table, how

you

develop

a

body

of

work,

from

initial

ideas

through

to

realization,

forms are denoted by bold text. and

it

is

worth

a

substantial

40%

of

your

total

assessment

in

visual

arts.

Process: in ar t-making, Such

a

signicant

task

must

have

some

specic

requirements.

process refers to the means

In

any

same

assessment

scope

usually

or

apply

sometimes

if

task,

requirements

boundaries

if

a

student

they

within

fails

exceed

it,

to

are

which

meet

such

as

set

to

give

all

complete

the

going

to

the

minimum

over

a

candidates

task.

the

requirement,

word

limit

to the end (or product). It is

Penalties

in

an

and

essay.

an operation that involves a

range of cognitive (or thinking)

and practical methods or

techniques that are employed While

the

process

portfolio

is,

by

design,

an

open-ended

task

to

cater

when you are engaged in an ar tfor

a

wide

range

of

art-making

practices,

the

Diploma

Programme

making activity. Visual

arts

Failing

guide

to

meet

ultimately

art-making

and

state

these

receive

requirements

(SL)

does

and

specic

requirements

for

this

keep

practice.

higher

some

these

The

level

task,

so

in

will

a

negatively

good

the

place

back

requirements

(HL)

requirements

of

are

to

your

for

the

impact

start

is

mind

different

the

to

as

for

task.

mark

you

identify

you

start

standard

the

your

level

students.

Formal requirements of the task—SL

SL

students

submit

9–18

screens

which

evidence

their

sustained

TOK experimentation,

of

art-making

inat

least

exploration,

activities.

two

For

art-making

manipulation

SL

students

forms,

each

the

and

renement

submitted

from

separate

of

work

a

variety

must

columns

of

be

Process versus product

the

In pairs, small groups or as a art-making

forms

table.

class, debate the question,

“Is process more impor tant

Formal requirements of the task—HL than product in the visual HL

students

submit

13–25

screens

which

evidence

their

sustained

ar ts?” Choose an armative experimentation,

exploration,

manipulation

and

renement

of

a

variety

of

position (that is, “process is art-making

activities.

For

HL

students

the

submitted

work

must

have

been

more impor tant”) or a negative created

in

at

least

three

art-making

forms,

selected

from

a

minimum

of

two

position (that is, “product is columns

of

the

art-making

forms

table.

more impor tant”) and in your

Diploma Programme Visual ar ts guide, page 45

argument, consider examples

from ar t history that suppor t

The number of screens

The

for

number

HL.

the

SL

This

similar

the

(PDF)

work

of

is

120

portfolio,

assessment

As

screens

difference

course

process

of

of

criteria

quality.

process

with

that

below

is

unlikely

consider

No

the

and

and

HL

portfolio

over

or

direct

to

any

screens

le

penalty

achieve

a

size

are

high

of

the

is

of

in

of

range:

the

is

just

as

20

is

single

to

for

while

excess

this.

is

A

it

of

the

hours.

to

to

are

In

same

to

le

upload

number

portfolio

that

self-limiting

not

work

more.

required

maximum

the

the

produce

possible

be

13–25

level:

document

process

likely

examiners

of

is

the

SL;

each

produce

portable

range

for

against

expected

megabytes,

screens

at

240

judged

expected

a

9–18

course

course

work

specied

level,

are

HL

a

therefore

applied

number

that

the

students’

are

as

length

uploaded

under

minimum

given

the

students

is

is

while

HL

students

maximum

falls

screens.

is

a

reects

hours,

SL

your position.

required

and

permitted

number

of

to

screens.

Section 4

71

T H E

P R O C E S S

P O R T F O L I O

The number of ar t-making forms Tip

The

course

has

been

designed

to

encourage

visual

arts

students

to

From the outset, plan to submit experience

a

broad

range

of

art-making

forms,

and

you

must

give

the maximum number of evidence

of

this

evidence

of

work

in

your

process

portfolio.

At

SL,

students

submit

screens permissible for the created

in

at

least

two

art-making

forms,

each

from

process por tfolio at your level. separate

columns

of

the

art-making

forms

table,

while

at

HL,

students

Any less and you are likely submit

evidence

of

work

created

in

at

least

three

art-making

forms,

to be selling your ar t-making selected

from

a

minimum

of

two

columns

of

the

art-making

forms

table.

practice shor t. Remember, your Students

that

fail

to

do

this

can

only

receive

a

maximum

of

3

marks

examiner is not familiar with from

a

possible

12

under

assessment

criterion

A

for

the

process

portfolio.

your work in the same way This

is

a

substantial

penalty,

so

it

is

important

that

you

understand

the

that you and your teacher are, art-making

forms

table.

so you need to be informative

It

is

of

critical

importance

that

there

is

enough

visual

evidence

of

and clearly ar ticulate

your

engagement

with

the

minimum

number

of

art-making

forms

for

your intentions, ideas and

you

to

achieve

higher

than

3

marks

for

this

component.

Sketches

of

processes, as well as justifying

a

proposed

sculpture

are

not

sufcient

evidence

of

having

worked

in

the ar tistic decisions you make

three-dimensional

forms.

Similarly

if

you

work

in

lens-based,

electronic

throughout the course.

and

screen-based

involvement

sheets,

based

test

in

forms,

the

strips,

work

improvised

in

you

process.

darkroom

to

include

need

to

sufcient

provide

experimentation,

development,

lighting

need

You

photographs

or

evidence

of

evidence

of

proof

screenshots

of

screen-

diagrams

of

studio

or

set-ups.

The ar t-making forms table

Two-dimensional

forms

Three-dimensional

forms

Lens-based,

electronic

screen-based

●

Drawing:

pencil,

such

ink,

as

charcoal,

●

collage

Carved

carved

sculpture:

wood,

such

stone,

●

as

block

Time-based

art:

such

digital ●

Painting:

such

watercolour,

as

acrylic,

oil,

●

murals

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wax,

sculpture:

polymer

such

Printmaking:

such

as

relief,

●

●

clays

Lens

animation,

media:

Constructed

planographic,

chine

such

collé

as

wood,

assemblage,

plastic,

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such

as

illustration

●

design,

graphic

novel,

such

(wet)

art

as

photography,

paper,

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sculpture:

wax,

bronze,

photography,

●

glass

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such

paper,

montage

as

media:

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photogram/rayograph,

plaster, scenography,

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as ●

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sculpture: digital

intaglio,

and

stop-motion,

as

analogue ●

as

and

forms

plastic,

pinhole

glass photography,

cyanotype,

storyboard ●

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forms,

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as

hand-built

vessels,

salted

mould●

made

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such

objects:

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design,

as

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and

software

painting,

design

illustration

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specic/ephemeral:

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performance

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objects as

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weaving,

art,

installation,

art

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Diploma Programme Visual ar ts guide, page 45

72

Section 4

S E C T I O N

To

satisfy

required

The

list

your

on

the

of

media

teacher

the

requirement,

number

table

if

to

of

is

you

forms

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in

to

in

to

ensure

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bold),

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just

exhaustive,

but

you

include

which

need

terms

considered

want

decide

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(the

any

category

medium

and

that

form

it

you

cover

different

should

does

best

the

media.

talk

not

4

to

appear

ts.

Case Study

A student example: Scarlett

Scarlett, Abstracted Face (blind

Scarlett, Reclining Nude (blind contour

contour drawing), felt tip pen on

drawing), felt tip pen on Fabriano paper,

Fabriano paper, 22 cm x 20 cm

22 cm x 20 cm

Scarlett, Mask no 2,

Scarlett, Reclining Upper Torso – Prole, felt tip

aluminium wire, 170 mm x

pen and water on fabriano paper,

250 mm x 100 mm

47 cm x 52 cm

In

Scarlett’s

had

a

came

across

Sklarsky,

form.

the

In

at

used

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eye

interest

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who

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train

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continuous

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hand

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contour

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take

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to

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resolved

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artist

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herself

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teacher,

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of

a

the

single

line.

+

Section 4

73

T H E

P R O C E S S

P O R T F O L I O

+

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pencil

black

felt

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in

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Section 4

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selected

S E C T I O N

4

Avoiding duplication of work

The

nal

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duplication

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work.

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for

referred

dipping”.

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misconduct

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the

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While the format for a screen is

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to think about the end user:

the examiner. Most examiners

will mark the process por tfolio

on a laptop or home computer. It

is

also

critically

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include

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citations

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Ensure each screen is oriented image

of

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own

artworks

in

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acknowledge

correctly (the right way up) the

work

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examiners

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throughout the submission. your

work

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you

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Most computer monitors are and

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minimum

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oriented horizontally, so it as

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examiner

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scale

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use

your

own

name.

Use

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phrase

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authenticity

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assessment

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monitors use a widescreen requires

student

identity

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format, so try working

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citation

lines

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Title

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examiner ’s screen.

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Assessment criteria for the process portfolio

The

assessment

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B:

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Section 4

75

T H E

P R O C E S S

P O R T F O L I O

investigation;

criterion

C:

communication

of

ideas

and

intentions;

and

Tip criterion

Criterion A : skills, techniques

and processes is a big deal.

D:

maximum

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level

descriptors

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specic

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eight screens in an SL process The

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76

Section 4

added

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photographs

sheets

strips

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treatments

inks Site

annotated

contact

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media:

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arts

arts

media

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pages

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maquettes

experiments Designed

with

of

taken

of

additional Painting:

progress

with

additional

swatches,

annotations dye

samples

and

so

on

Section 4

77

T H E

P R O C E S S

P O R T F O L I O

Selection

of

Across

all

forms

materials Your

appropriate

process

portfolio

should

include

evidence

that

artwork,

you

for

each

concept

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TOK examples

work,

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examples

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does “inspiration” become

address

other

assessment

criteria,

while

adding

value

to

criterion

A.

plagiarism?

In small groups, investigate the

Understanding criterion B: critical investigation terms “appropriation”, “parody”

and “pastiche”. Discuss how

impor tant originality is in ar t.

At what point does taking

inspiration from another ar tist

or ar twork become plagiarism?

When

of

a

do

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world

way

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long

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details

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birth

a detailed study of the exhibited

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78

Section 4

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achievement.

Section 4

79

T H E

P R O C E S S

P O R T F O L I O

To

achieve

engage

helping

then

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to

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In this image, Coralie has investigated

the work of contemporary Portuguese

artist Duarte Vitória. She has included

two images sourced from the artist’s

website (note the references) and

has then cropped the areas that have

interested her and attempted to paint

in Vitória’s style. The annotations she

has included reect Coralie's response

to the work in a personal manner, but

would have been a stronger submission

if the commentary had included more

critical language that justied or

explained why she found the images to

be beautiful.

Section 4

81

T H E

P R O C E S S

P O R T F O L I O

This image represents a screen from

Understanding criterion C: communication of ideas and

Ella's process portfolio submission

that gives some insight into the

development of an idea relating to

human skin and textiles, and how she

intentions

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82

Section 4

and

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or

where

design;

art

is

art

tells

mythical,

where

created

decoration

art

a

is

story

fantasy

to

or

or

promotes

serve

also

a

a

utilitarian

describes

historical

a

function,

such

function.

events

and

particular

or

are

idea,

experiences;

often

belief,

the

allegorical.

philosophy

product.

Some guiding questions for considering ideas and intentions

The

for,

●

following

in

your

Why

are

you

complete

●

What

questions

visual

do

message

you

Why

●

What

lasting

●

What

visual

this

What

and

●

be

to

to

you

helpful

when

work?

11

(The

consider,

begin

answer

a

and

new

is

not

write

answers

artwork.

“because

I

need

to

artworks”.)

share

like

to

you

with

the

your

audience?

completed

work

to

What

idea/theme/

convey?

important?

impact

and

communicate

●

this

8

want

would

may

journal

doing

between

●

is

arts

imagery

do

formal

your

will

you

qualities

ideas

you

want

and

use

the

will

work

you

to

use

have?

to

effectively

intentions?

to

effectively

communicate

your

ideas

intentions?

What

form

achieve

my

and

medium/media

would

be

the

most

suitable

to

intentions?

Section 4

83

T H E

P R O C E S S

P O R T F O L I O

L TA

Tip

Thinking skills

A pitfall for immature ar tists is

There are many strategies and techniques that can be useful to visual arts

underestimating their audience

students when developing and selecting ideas for art-making. The following can

and making the meaning

be used individually as starting points, but often are more powerful if combined.

behind an ar twork too literal or Brainstorming using sticky notes: Using a pad of sticky notes, write down

obvious. This usually happens every possible ar t-making idea that comes into your head. The ideas can range

when students try to produce from single words to phrases, but limit each sticky note to a single idea. As

persuasive ar tworks on issues each idea is written on a sticky note, stick the note on a desk, window or wall.

that they are passionate about. Stop after 20 minutes or when the desk, window or wall is covered in sticky

Meaning can be developed notes. Then spend 15 minutes reviewing what you have written on each sticky

through layers and with note. You can group common or related ideas together by simply rearranging

subtlety. To avoid overly literal the notes and eliminate ideas that are too crazy or just plain silly by removing

work or work that relies on the sticky note. Then take up to three of the most viable ideas and transfer

visual clichés, think about them to your visual ar ts journal where you can esh them out fur ther, perhaps

your concept from a range of with mind maps or concept webs, or by doodling and sketching.

perspectives and try to raise Brain dumping: Brain dumping is a similar process to brainstorming in that questions, rather than draw it aims to transfer ideas from the brain to another storage system such as conclusions. your visual ar ts journal. Brain dumping might begin as a list of ideas that you

star t to make in your visual ar ts journal, but becomes a bit more organic and

uid as you star t making the list of ideas and you get other ideas or make a

list of related tasks which you jot down as you go. It is a good idea to set a

time limit to do your initial brain dump. When the time runs out, nish writing

the last point, then star t to organize and evaluate the points. It may be useful

to categorize the ideas into “concepts” and “medium/techniques” or “now ”,

“maybe later ” and “probably not”.

Concept webs and mind maps: Concept webs and mind maps are visual/written

techniques used to expand upon ideas. After brainstorming or brain dumping,

they are a powerful way to take key ideas and esh them out. With either concept

webs or mind maps, place the key idea at the centre or bottom of the page, and

esh out or develop the idea further with branches that are used to explore it

from various points of view. Mind maps most often result in a tree or root-like

image, while concept webs take on a web or starburst shape. When developing

ideas for art-making using concept webs or mind maps, it is a good idea to add

sketches, cartoons and doodles to the page so your brain is already beginning to

give visual form to your ideas. This is also more interesting for the examiner.

Communication of ideas and intentions: satisfying the whole

criterion

So

far

down

this

the

we

really

level

“listing”

in

the

The

only

the

in

the

highest

you

part

into

a

of

level

the

for

communicate

to

or

to

of

6

of

1

or

2

help

dene,

your

criterion

C.

ideas

marks)

requires

skills

intentions

your

to

in

to

narrow

art-making,

The

and

rst

intents

“clearly

but

part

of

from

articulating”

marks).

technical

this.

explore

communicating

descriptors

and

documentation

approaches

aspect

(worth

level

ideas

rst

5

incorporated

your

of

want

with

(worth

Thorough

you

range

you

the

deals

lowest

level

have

at

ideas

addresses

descriptors

materials

Section 4

looked

rene

second

how

84

have

and

to

and

develop

art-making

Using

your

you

use

to

of

your

process

visual

arts

communicate

media

is

and

work

the

journal,

further.

best

way

annotate

S E C T I O N

a

range

of

experiments,

reworked

why

you

convey

to

are

your

various

go

to

your

annotations

as

Don’t

why

a

is

to

change

of

alter

the

pages

pages

of

in

were,

an

particularly

if

how

visual

see

is

your

composition

your

earlier

notes.

your

visual

or

Simply

also

arts

develops,

helps

how

work

image,

can

it

explanations

it

arts

helpful

the

You

it

artwork,

to

it

as

clear

you

of

better

audience.

your

and

work

with

and

your

Sometimes

changes.

in

to

development

pages,

your

doing,

intentions

the

of

diagrams

are

intentions

old

made

recent

you

developing.

or

and

formative

reworking

you

more

in

these

or

what

and

original

developed

such

ideas

points

back

what

doing

photographs

sketches

is

your

to

cross

has

Evaluating and reecting upon

your own ar t-making practice

directions,

change

in

media.

them,

explaining

references

Thinking skills: Reection

revisit

additional

changed

a

practice

to

work

add

update

make

good

journal

L TA

At

planning

4

to

the

journal.

can occur at any stage during

the ar t-making process, not

just at the end. A simple routine

you can use is asking yourself

these questions and answering

the questions in your visual When

it

is

time

to

start

assembling

your

process

portfolio,

you

will

have

ar ts journal: built

you

up

a

have

with

wealth

evidence

assimilated

your

which

of

material

addresses

your

and

the

in

your

visual

conceptual

technical

second

practice

practice

aspect

of

arts

journal

(your

(your

criterion

that

ideas

shows

and

art-making

how

concepts)

practice),

What’s working? (What are the

strengths in your work?)

C.

What’s not working? (What

are the weaknesses or what’s

Understanding criterion D: reviewing, rening and reecting

Many

given

an

a

rst-year

by

student

lecturers

artwork

that

before

if

they

at

art

the

college

student

start

has

can

been

frustrated

visualize

it,

then

there

do

you

begin

before

you

start?

is

no

the

point

by

nal

in

the

advice

outcome

beginning

of

it.

not going as well as you had

hoped?)

What have I learned about

myself as an ar tist? (Has your

work revealed some things that What

does

that

mean?

How

to

make

an

image

if

you

don’t

you are good at, or some things know

what

the

image

is

that you need to develop?)

Art-making

and

growth

development

You

and

are

begin

Your

not

to

create

brain

evaluates

it

gives

your

the

is

same

a

your

work,

Your

hands

you

accumulate

to

your

Each

have

more

your

For

work

as

selected

and

D,

of

of

will

resolved

of

the

artist.

in

develop

the

task

in

a

set

of

of

you

as

art-making.

outcome

of

your

soon

it

as

as

an

body

your

As

you

artist.

continually

as

conceived

engage

representation,

involves

technical.

As

your

were

It

skills

thinking

that

as

and

yesterday.

directing

concepts

skills

discipline.

intellectual

were

high-order

and

a

developing

and

rening

as

an

you

skills,

skills

to

your

your

artist

ideas

be

and

it

a

in

ngers

you

work,

rendering

endeavours

or

you

or

own

work

and

and

give

to

up

will

more

practices

disciplines

more,

failure,

understandings

diverse

critical

planning,

some

success

more

are

and

reecting

skills

or

submit

and

adopt

making,

rening

trying.

you

have

will

become

sharply

honed.

reecting

in

order

to

practice.

to

show

processes

and

research

satisfaction

outcome,

your

need

involve

reworking,

Your

art-making

ideas,

acquisition

are

physical

make

develop

is

an

growth

criterion

you

is

intentions.

you

your

as

skills

the

to

artist

simultaneously

ideas

motor

seek

sophisticated

improve

the

an

personal,

you

repertoire

regardless

grown

your

art

problem-solving,

Reviewing

on

a

you

artwork

However,

ne

is

engaged

undertake

artistic

reecting,

until

to

as

of

being

today

while

to

of

that

artist

work

form

and

modelling

practice

constantly

visual

mind.

the

your

and

that

you

can

techniques,

development

as

a

review

and

and

reect

visual

rene

on

the

artist.

Section 4

85

T H E

P R O C E S S

P O R T F O L I O

TOK: Caught in the act of reviewing and rening: Picasso’s Les Demoiselles d’Avignon – a case study

Look at Picasso’s Les Demoiselles d’Avignon. This is considered one the most

signicant images of modern western ar t, cer tainly in the development of the

style known as Cubism. What do you notice? Do you think the work is unied?

Does the work look nished? Compare the three gures on the left of the

canvas to the two gures on the right. Look specically at how their faces are

represented. How do they dier?

Daniel-Henry Kahnweiler was a contemporary ar t dealer to Picasso, and one

of the rst champions of the emerging style of Cubism. Kahnweiler perceived

Les Demoiselles d’Avignon as the beginning of Cubism. He recognized the

incongruent representations between the left- and right-hand sides of the

painting. In his book The Rise of Cubism (1920) Kahnweiler writes:

Early in 1907 Picasso began a strange large painting depicting women, fruit

and drapery, which he left unnished. It cannot be called other than unnished,

Pablo Picasso (Spanish, 1881–1973),

Self-Portrait with Palette (1906)

even though it represents a long period of work. Begun in the spirit of the works

of 1906, it contains in one section the endeavors of 1907 and thus never

constitutes a unied whole.

The nudes, with large, quiet eyes, stand rigid, like mannequins. Their sti, round

bodies are esh-colored, black and white. That is the style of 1906.

In the foreground, however, alien to the style of the rest of the painting, appear a

crouching gure and a bowl of fruit. These forms are drawn angularly, not roundly

modeled in chiaroscuro. The colors are luscious blue, strident yellow, next to pure

black and white. This is the beginning of Cubism, the rst upsurge, a desperate

titanic clash with all of the problems at once.

What Kahnweiler observes as unnished in Picasso’s piece is in fact evidence

of an ar tist in the midst of reviewing and rening their work from a style of

Pablo Picasso (Spanish,

1881–1973), Les Demoiselles

representation as seen in his Self-Por trait with Palette (1906) to the more angular

and fractured style that was to become recognizable as Analytical Cubism.

d’Avignon (1907)

Showing evidence of reviewing and rening your work

At

the

lowest

usually

level

limited

work

once

a

been

completed

evidence

of

is

that

reviewing

Working

out

were

or

your

not

and

If

about

86

Section 4

ways

a

the

and

idea

to

a

are

your

imagery.

not

You

inform

to

laws

or

can

and

is

of

is

the

a

you

prevent

against

learn

satised

be

to

in

with

a

art-making

is

process

which

part

the

work.

of

your

you

drawing

you

an

the

good

think

has

there

these

as

that

what

cannot

Perhaps

particular

you

can

of

subsequent

that

of.

is

sense

ongoing

important

up

you

an

enrich

physics

medium

there

a

techniques

an

of

how

D,

is

achievement,

includes

Coming

compel

use

of

ashamed

completely

and

There

conclusion

be

them

criterion

independent

and

better

the

form.

form

work

level

limitations

the

around

different

rene

the

perhaps

and

to

nothing

with

started,

practice

work

sculptural

work

work

or

is

is

of

rening.

processes

work

your

aspect

or

highest

skills,

Coming

enough

or

work

the

previous

idea

this

art-making

make

ambitious

at

ideas,

artist.

medium,

through

review

to

an

for

reviewing

another

while

in

original

nish

working

to

an

nding

you

failures

as

any

student’s

familiar

painting

realizing

of

rening

ways

development

realize

before,

the

and

achievement

“nished”,

and

successes

of

evidence

from

problems

artist.

outcome,

strategy

differently

forms

table

as

a

S E C T I O N

resource

for

this.

Take

a

painting,

for

example,

and

think

about

how

4

you

Tip could

represent

Documenting

way

to

aspect

work

at

process.

them

the

As

you

you

D.

of

what

and

explain

you

having

scanned

to

to

divert

or

into

in

arts

a

the

end.

image,

Do

the

that

especially

in

a

photos

explain

your

the

and

process

rst

of

When you review your work ,

your

your teacher are impor tant, but

pasting

why.

to

your opinions and those of

the

your classmates may be your

photograph,

be

greatest untapped resource.

Pay

A class critique can be very

where

solution

plans.

The more opinions the better

best

throughout

process

the

and

the

each

needed

if

is

photo

this

Annotate

and

designs

go

address

take

art-making

challenge

inclusion

you

to

camera,

journal.

original

for

at

your

solution,

as

evidence

a

printing

each

or

your

photographed

of

through

the

to

again

visual

problem

from

sufcient

habit

done

art-making

access

and

the

your

evaluate

own

have

have

points

a

sculpturally.

your

lesson

have

with

and

of

will

into

you

idea

you

get

attention

presented

If

the

go,

thoughtfully

particular

be

that

start

same

process

criterion

describing

were

the

ensure

of

the

you

useful as other students

resolved,

resulted

These

pages

portfolio.

identify what they like and don’t

in

like about a work , and pose

can

You

questions like:

do

“Have you thought of …” or not

need

to

include

demonstrates

your

misconstrued

as

images

of

you

involvement

the

work

of

working

in

a

on

complex

someone

else

your

work,

project

and

not

that

your

unless

may

this

really

otherwise

“Are you familiar with the work

be

of …”

own.

Dierent perspectives can

Reecting on your work and your development as an ar tist help you determine how well

At

the

lowest

level

of

achievement

for

this

aspect

of

criterion

D,

your work is progressing and

reection

is

supercial

and

descriptive

or

completely

unrealistic;

how close you are getting to

described

outcomes

are

not

reected

in

the

evidence.

At

the

highest

level

realizing your intent.

of

achievement,

the

including

realistic

and

It

is

a

skills,

considered

mistake

to

think

considers

ideas,

aspects

techniques

evaluation

that

all

of

reection

is

and

of

their

processes,

successes

part

of

and

the

art-making

and

makes

L TA

practice

student

failures.

art-making

practice

Social skills

that

Par ticipating in a group critique can

only

be

done

at

the

end

of

the

process

when

the

artwork

is

nished.

can be quite uncomfor table. You

should

be

reecting

on

your

processes

and

your

own

development

as

Giving and receiving an

artist

throughout

your

course,

so

make

a

habit

of

doing

this

regularly

in

constructive criticism requires your

visual

arts

journal.

You

can

always

add

to

these

with

additional

text

a reasonable level of emotional boxes

when

you

select

the

nal

evidence

for

your

process

portfolio.

intelligence. It is impor tant that

Reection

does

higher-order

is

to

about

not

thinking

thinking).

include

acquired

come

To

skills

meet

meaningful

and

your

easily

and

to

everyone.

known

the

as

development

levels

reection

as

ts

into

metacognition

highest

assured

It

an

of

a

(or

criterion

upon

the

range

of

thinking

D,

skills

you

you

the group establishes some

that

need

have

artist.

ground rules that help to make

everyone feel more comfor table

and at ease. Bookending

negative feedback with two

positive armations can be a The

following

questions

can

be

used

to

help

promote

your

reective

good way to do this. thinking:

●

What

●

How

●

What

are

●

What

strengths

do

●

What

problems

have

●

What

are

●

How

●

Who/what

●

What

are

you

well

did

you

your

your

have

has

trying

you

has

been

to

achieve

achieve

strengths

you

see

an

in

as

to

inuenced

your

work?

artist?

your

work?

faced?

limitations

attempted

your

it?

as

you

in

an

artist?

overcome

you

greatest

and

area

perceived

weaknesses?

why?

of

growth

as

an

artist?

Section 4

87

T H E

P R O C E S S

P O R T F O L I O

Understanding criterion E: presentation and subjectTip

specic language Most students are familiar with Criterion

E

carries

the

smallest

weighting

of

all

of

the

assessment

criteria

an assor tment of adjectives with

a

maximum

mark

of

4.

This

shows

that

the

content

of

your

process

that might be appropriate when portfolio,

that

is,

the

content

that

is

assessed

against

criteria

A

to

D,

is

used in informal conversation of

more

signicance

than

how

you

present

your

work

and

the

language

with peers, but should cer tainly that

you

use

to

do

it.

But

as

a

visual

course,

presentation

is

important

not be used in submitted enough

to

give

a

mark

value

to,

and

as

one

of

the

learner

prole

works or examinations. When attributes

is

to

be

communicators,

value

is

also

placed

on

the

subject-

reecting upon and evaluating specic

language

we

use

to

describe

visual

arts.

your own work , you can add

to that list of adjectives words

While

like “nice” and “good”. When

consideration

you evaluate the success of an

is

aspect of your work , or justify

time

a choice you have made, use

communicated

full sentences that ar ticulate

likely

the

likely

in

value

to

be

this

your

it

criterion

process

evident

getting

to

of

in

on

is

smaller,

portfolio.

every

screen

right

will

ensure

clearly

and

effectively

positively

impact

your

It

you

that

it

is

nonetheless

one

include

your

in

is

the

an

ideas

and

and

engaging

assessment

against

an

criterion

important

that

investing

processes

manner,

the

other

are

which

is

criteria.

the eect or impact of what you

Presentation: what constitutes a “screen”? have done to the work .

The

term

“screen”

is

used

in

both

the

comparative

study

and

process

For example: “I decided to keep portfolio

task

outlines.

The

Visual

arts

guide

does

not

specify

the

the sculpture white, rather than orientation

of

a

screen

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89

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91

T H E

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under

affecting

Criterion

is

step

to

to

screen

information

option

web

page

exposure

–

three

at

least

columns)

screens

medium (2–3

Experimentation

Evidence

of

with

screens

per

work)

(2–3

screens

per

work)

media

considered

and

purposeful

A manipulation

of

Evaluation

the

media

for

of

the

Justication

Critical

styles,

media

to

the

and

of

the

outcome

media

investigations

artworks

intentions

appropriateness

intended

of

suit

of

used

other

2–4

artists,

screens

(1–2

Annotated

Critical

copies

to

Art-making

imagery,

artist

or

their

Section 4

or

copies

artworks

gallery

using

technique

of

works

written

between

own

Comparisons

of

and

experiments

artist;

connections

92

artists’

of

visits

the

a

particular

style

particular

work

museum

style

Producing

and

other

analysis

Responses

B

of

an

“after”

a

reections

on

investigated

the

artist

work

of

artists

own

that

total

3–5

screens

total

artifacts

art-making

have

been

with

the

investigated

screens

per

work)

(1–2

screens

per

work)

S E C T I O N

Concept

maps

Annotated

visual

arts

of

ideas

and

brainstorming

2–4

themes

pages

screens

(1–2

from

total

screens

per

3–5

work)

4

screens

(1–2

total

screens

per

work)

journal

Statement

of

artistic

intent;

planning

of

C imagery

how

the

with

annotations

meaning

might

be

considering

conveyed

through

work

Preliminary

drawing,

thumbnails,

Various

sketching,

designs

trials

of

arrangements

2–4

compositional

with

screens

(1–2

Reworking

imagery

techniques

or

Mediating

3–5

screens

total

employing

screens

per

work)

(1–2

screens

screens

Maximum

per

work)

different

media

original

alternative

total

annotations

outcomes

choices

in

forms,

through

media

and

materials

D

Reections

and

evaluations

throughout

the

resulting

changes

or

in

technique

Examples

levels

of

of

progress

and

artworks

on

own

made

a

work,

direction,

reasons

resolution

Reection

in

of

given

with

imagery

for

this

developing

evident

development

as

an

artist

Maximum

of

18

of

25

screens

L TA

Thinking skills: Higher order thinking

There are an enormous range of models and routines that can be used to critically analyse a work of art. Among these, Edmund

Burke Feldman’s critical analysis model from Varieties of Visual Experience (1987) has been successfully used by high school

students for over 30 years. The following routine of questions adapts Feldman’s model to suit the purposes of the process portfolio:

Describe What is the form? (painting, sculpture, mural, advertisement).

What is the format? (scroll, easel painting, magazine image).

What is the medium? (charcoal, acrylic, oils, etching).

What is the subject matter? (Non-objective or gurative, ie: landscape, portrait, nude, still life etc.)

Is there a narrative? Does the image tell a story?

What culture? (European, ancient, modernist, postmodernist, tribal, Chinese).

Analyse How have the elements of design (line, colour, tonal value, texture, shape etc) been used ?

How have the principles of design (rhythm, balance, focal point, emphasis etc) been used?

What techniques and methods (conventional or non-conventional, direct or indirect) have been used?

What is the style of representation (impressionistic, expressionistic, abstract, simplied, stylized etc)?

Interpret Does the work evoke a mood or emotion? What is the mood or emotion and how is it created?

Identify and interpret any signs, symbols or codes that are used in the work to convey meaning?

If the work has a narrative, explain how the story is conveyed. Does it have an allegorical signicance?

Relevance What relevance or what connections can you make to your own work?

Section 4

93

The exhibition

5

What is the exhibition?

It’s

time

now

culmination

well

So,

as

is

an

artwork

art

areas

and

art

for

will

to

through

considered

arts,

you

explain

a

will

how

an

to

own

In

of

and

works

work

your

in

event

that

that

it

is

exhibition

created

all

arts

is

is

the

a

practical

celebration

traditionally

is

a

during

three

you

and

and

arts

have

purpose,

the

and

(visual

a

collection

the

course

as

space

of

and

arts

in

the

you

for

context).

and

With

how

best

you

in

should

your

also

have

creating

your

artworks

will

also

communicating

works

core

communicating

considered

for

You

visual

exhibitions

selecting

As

resolved

connected.

the

and

intentions

evaluation,

“exhibition”.

present

to

ideas

will

of

methods

responses

artworks

are

event

terms,

Your

have

visual

reection

of

an

general

art.

you

methods,

nature

select

course,

formulate

meaning

the

audience.

reect

you

arts

the

art

context,

your

process

the

to

example,

enable

visual

of the paint in the tube or tub is often

not the best (or most appropriate)

For

will

the

to

exhibition.

encounters

in

communicates

variation in paint. The original colour

colour, and paint–mixing will enable

arts

arts

the

exhibition?

from

exhibited

attention

visual

display

displaying

regard

Tessa is experimenting with tonal

art

selected

arts).

visited

your

your

statement:

an

(visual

visual

turn

audience

assembled

The

of

visual

what

where

to

have

visual

exhibition

be

and

discussing

you to nd a colour that is more how

artistic

judgments

impact

the

overall

presentation.

At

HL

you

relevant to your intentions. also

be

These three exhibition views demonstrate some of

the approaches taken by dierent students, with

examples of work displayed on walls and panels,

easels and tables.

94

Section 5

explaining

the

impact

of

your

art

on

different

audiences.

will

S E C T I O N

5

Assessment

Unlike

most

art

components

assessed

and

internal

sample

exhibitions,

the

DP

component.

exhibition

arts

of

of

provided

your

and

arts

means

this

assessment

students

by

This

submit

yours

visual

mark

will

that

(out

moderators

may

teacher

not

assessed

The

your

of

to

the

review

the

match

as

one

exhibition

teacher

30)

will

moderate

does

be

course.

mark

the

will

IB.

the

if

of

visual

submitted

feel

of

three

internally

your

team

les

quality

the

the

mark

A

they

of

is

the

that

for

the

work

a

mark

itself.

Starting points

To

begin

good

with

starting

exhibition

we

will

point

artwork

journal

is

an

journal

are

consider

would

will

essential

illustrated

be

evolve:

part

of

some

to

exhibition

consider

the

your

the

visual

arts

creative

starting

place

points,

where

journal.

process,

ideas

The

and

and

for

visual

some

one

your

arts

uses

of

the

here.

Coralie has made a straight forward

visual study of her trainers.

Tessa’s approach to the idea of

self-portrait

involves looking at a collection of objects that have particular relevance to the student.

Section 5

95

T H E

E X H I B I T I O N

The impor tance of process and the journal Key terms

Throughout

Resolved: generally “resolved”

means that an artwork is

everything

be

the

will

course

be

documented

in

you

will

plan

successful

or

the

arts

visual

and

create

resolved,

but

different

much

of

artworks.

this

Not

process

will

journal.

complete and/or nished. Some

parts

of

this

process

will

be

submitted

at

the

end

of

the

course

in

However, it is not a simple idea. the

process

portfolio

while

other

parts

will

lead

to

outcomes

that

will

be

Sometimes an artist will say that selected

for

inclusion

in

your

exhibition.

You

will

explore

a

number

of

their artwork is complete when techniques

as

not

show

you

develop

ideas

and

artworks,

but

your

exhibition

does

it still looks unnished to an have

to

more

than

one

technique

(although

it

can

if

you

wish).

audience. Ultimately the question Bear

in

mind

that

any

images

of

resolved

artwork

submitted

for

your

of how resolved your work is exhibition

should

not

also

appear

in

the

process

portfolio.

could come down to a discussion

with your teacher and peers.

The

starting

throughout

to

TOK

lead

point

that

to

of

points

the

resolved

a

great

come

to

for

two

the

years

nal

artworks

of

pieces.

exhibition

you,

the

using

But

show

and

almost

artwork,

your

you

course,

so

visual

any

you

arts

may

may

occur

not

idea

should

journal

can

jot

to

at

any

initially

be

the

down

record

time

seem

likely

starting

any

ideas

ideas.

Questions related to TOK that

a visual ar ts student might

consider include the following.

It

important

because

of •

is

the

some

to

of

resolved

refer

your

to

stage

as

an

explorations

of

process

artwork

this

that

represents

art-making

the

will

nal

starting

lead

stage

to

of

point,

the

the

creation

creative

To what extent is ar tistic process.

knowledge something which

•

cannot be expressed in any

Processes

other way?

assigned

Are ways of knowing

employed in radically

will

by

important

directions

be

explored

your

that

to

teacher,

you

in

different

others

discuss

your

in

contexts,

response

ideas

with

to

for

example,

your

your

own

teacher

some

ideas.

and

It

is

identify

follow.

dierent ways in the ar ts It’s

also

important

that

you

understand

the

link

between

process

and

than in other areas of nal

outcomes

(resolved

work).

Process

by

its

nature

tends

to

be

knowledge? exploratory

•

To what extent does

linked

to

and

the

experimental,

success

(or

but

the

otherwise)

of

learning

the

that

resolved

occurs

is

closely

work.

imagination play a special It

is

also

important

that

you

review

your

output

throughout

the

course,

role in the visual ar ts? and

•

identify

ways

to

improve

your

collection

of

work.

You

need

to

What moral responsibilities evaluate

and

critique

your

explorations

and

the

outcomes.

do ar tists have?

How can the subjective

viewpoint of an individual

L TA

•

Self-management skills

contribute to knowledge in Ar t may be the most time-intensive of all courses, so time management will the ar ts? be one of the most impor tant skills you develop.

•

What are the standards by Time is needed for you to acquire the knowledge, skills and understanding to which we judge ar tworks? make the works. Also allow time to review and monitor progress.

•

Why might we be more

If you decide to create a large-scale or complex piece of ar t, make sure you concerned with process

allow yourself enough time! rather than product in the

search for knowledge?

•

Do the ar ts have a social

function?

•

To what extent is truth

dierent in the ar ts,

mathematics and ethics?

From Visual ar ts guide, page 8

96

Section 5

S E C T I O N

5

These two

journal pages

show Charlotte

star ting to plan

a self-por trait.

Her two pages

combine

some relevant

drawings

with a written

explanation/

comment.

Section 5

97

T H E

E X H I B I T I O N

Visiting exhibitions and ar t galleries

In

the

and

art

section

on

museums

exhibitions

You

will

course,

course

be

so

to

the

to

as

part

putting

you

see

comparative

study

work

of

on

should

a

your

of

study

other

we

of

your

advantage

how

other

looked

artists.

preparation

display

take

examples

of

It

for

is

your

artwork

of

any

at

also

visiting

vital

own

towards

art

is

you

visit

exhibition.

the

opportunities

people’s

galleries

that

end

of

during

the

the

displayed.

Exhibitions: layout and display

As

we

your

have

journal

and

a

already

experiences

to

to

record

the

greater

at

seen,

your

gallery

your

journal

exhibitions

you

responses

experience

understanding

of

to

itself.

the

is

have

the

All

issues

the

art

of

ideal

visited.

place

You

encountered

this

when

will

you

to

in

enable

put

document

should

on

use

the

you

your

the

gallery

to

have

own

exhibition.

The

images

London

here

It’s vital that you as a student visit as many examples of

dierent art exhibitions as possible. This is partly because

you

will be assembling and presenting an exhibition of your

own work, and the more experience you have of dierent

approaches to layout, lighting, the impact of size and scale,

considerations of media (including 3-D and digital/lens-based

art) when art is displayed etc., the better. It’s also important

that you see

real

art, rather than (for

images on a monitor screen.

98

Section 5

show

galleries.

example) just seeing

views

of

how

artworks

are

arranged

in

two

S E C T I O N

Of

course,

most

schools

do

not

have

the

wall

space

and

lighting

of

5

major

Key terms metropolitan

school,

it

galleries,

can

still

be

but

whatever

extremely

the

valuable

space

to

and

visit

light

available

exhibitions

and

in

your

evaluate Curatorial documentation:

these

aspects

as

well

as

the

artworks

on

display.

text explaining how and why

Similarly,

available

impact.

Are

the

has

layout

an

Look

some

at

and

impact,

how

layouts

arrangement

and

rearranging

artworks

better

of

than

are

artworks

the

displayed

others?

within

display

when

the

might

you

change

visit

the works were selected and

space

displayed in the gallery or

this

exhibitions.

Why?

exhibition space.

Curatorial rationale: at SL this

explains the intentions of the Think

about

“clusters”

of

artworks

–

it

can

make

sense

to

group

pieces

student and how they have with

a

similar

style

or

theme

together.

considered the presentation

What

about

any

sculptural

pieces

that

you

encounter?

Can

they

be

of work using curatorial

viewed

in

the

round?

If

you

are

looking

at

a

three-dimensional

artwork,

methodologies. At HL this

examine

the

way

space

is

used.

Is

there

a

particular

viewpoint

that

shows consideration of the

allows

the

viewer

to

best

appreciate

size

and

scale

the

sculptural

qualities?

potential relationship between

Think

no

about

the

restrictions

and

art

on

presentation

obviously

make

it

has

difcult

this

work?

Are

there

size

of

in

the

work

impact

to

your

work

but

to

of

the

artworks

exhibition.

can

help

there

this

Consider

convey

may

scale.

encountered.

be

But

its

how

message.

practical

could

the

There

scale,

media

show

a

lm

that

clip

Refer to relevant sections of the

guide for fur ther detail.

Large-scale

considerations

you

the ar tworks and the viewer.

are

Exhibition tex ts: students are

of

required to include exhibition

text for each piece submitted

for assessment. This outlines digital

works

being

shown?

What

technology

is

used

and

what

the title, medium, size and technology

is

available

to

you?

intention of each piece. Where

All

of

these

experiences

with

and

questions

about

art

exhibited

in

real

students are deliberately

galleries

will

provide

you

with

ideas

for

your

own

exhibition

planning.

appropriating another ar tist’s

image, the exhibition text must

Exhibition documents acknowledge the source of Also

review

any

available

exhibition

documentation,

including

artists’

the original image. The text statements

and

the

text

boxes

that

frequently

accompany

artworks

on

should contain reference to any gallery

walls.

There

may

also

be

curatorial

documentation

sources which have inuenced

Note:

A

curatorial

required

them

in

elements

more

rationale

when

detail

a

you

little

and

put

later

a

on

in

series

your

this

of

exhibition

nal

show,

and

texts

we

the individual piece.

are

will

look

at

chapter.

Ideas TOK

In

addition

the

to

artworks

the

that

gallery

you

“experience”,

encounter

at

the

consider

gallery.

the

ideas

Consider

contained

the

in

•

Where do ideas come from?

•

Where do your ideas come

following

questions.

from? ●

What

●

Why

is

the

artist

saying

with

his/her

art?

One answer might be are

these

things

important?

“everywhere”, and your

●

Are

●

What

there

things

that

you

want

to

say

with

your

art?

exhibition does not have to be

“about” anything in par ticular, inspires

you?

It

may

be

something

unexpected,

for

example,

although in assessment surface

texture.

terms it should be coherent,

competent and contain

conceptual qualities.

Section 5

99

T H E

E X H I B I T I O N

Developing ideas and intentions Tip

“Showing

your

art

in

an

exhibition

is

a

little

like

taking

your

clothes

off

in

Audience/viewer experience public!”

You are part of the audience You

may

or

that

your

may

not

agree

with

this

quote,

but

the

idea

underlying

it

is

when you visit an art show and art

tells

your

audience

something

about

you.

It

may

reveal

or

will therefore have an audience express

aspects

of

your

identity,

your

personality,

your

passions

or

your

or viewer experience. When you fears.

Whether

you

like

it

or

not,

your

audience

will

form

some

opinions

put on your show, others will be based

on

what

they

see.

your audience and an important

part of planning your show is to

consider your audience. While

in the gallery, reect on what

works and what does not work.

Of

course,

that

you

envisage

with

you

can

show,

exactly

your

and

but

will

inuence

responses

what

the

to

art

their

are

audience

opinions

subjective,

will

take

through

so

away

it

is

from

the

art

impossible

their

to

encounters

artwork.

Ask others to describe their

response to the ar twork and

the experience, and review their

comments.

Let your ideas evolve

It

would

be

exhibition

However,

a

little

from

you

restrictive

the

start.

should

to

You

always

have

need

have

a

to

xed

be

your

and

open

nal

to

idea

ideas

exhibition

in

about

and

your

inuences.

mind

as

you

go

This type of experience can

through

the

learning

and

art-making

activities

and

exercises

suggested

or

give you ideas about the

provided

by

your

teacher.

arrangement and layout of your

show (although of course it is

unlikely that you will have use

of a large public gallery).

Schools

arts,

and

and

single

be

teachers

to

the

art

creating

a

end

of

the

in

your

throughout

others

towards

adopt

great

course

range

you

of

will

and

course.

end

of

towards

approaches

success

to

there

teaching

is

visual

certainly

no

exhibition.

show,

the

the

a

students

displayed

generated

on,

art

guiding

route

Towards

will

in

be

these

Some

the

rst

selecting

artworks

may

year,

have

and

the

artworks

will

have

been

still

created

others

that

been

in

early

the

second

year.

Ideally

your

you

mind

during

the

represent

some

you

course.

not

need

at

this

more

understand

elements.

that

to

have

closely

your

contain

a

range

be

want

that

you

a

a

not

ideas,

that

in

theme

can

work

or

on

back

because

or

of

media)

they

there

may

be

in.

your

a

it’s

exhibition.

important

diversity

repetition,

themes

the

and

exhibition,

but

contain

at

techniques

you

for

section,

mean

exhibition

your

interested

later

exhibition

of

say

are

your

(ideas,

ideas

to

specic

in

does

about

process

may

you

Coherence

ideas

explore

There

techniques

do

look

can

have

something

particular

You

will

while

and

of

your

We

will

to

ideas

and

exhibition

concepts.

Intentions

The

that

The

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Section 5

take

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100

guide

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Ideas and Intentions: the extravagant hat by

Allegra (opposite) and the ‘raindrops’ painting

by Coralie are both examples of nal pieces

that ended up being very dierent from

their starting points. Letting ideas evolve

frequently allows time for creative diversions

and experiments that ultimately lead to a far

stronger resolution that sticking to the ‘rst

idea’.

Section 5

101

T H E

E X H I B I T I O N

These photographs provide a glimpse of the variety of ideas and processes that students might explore in their creative visual arts

journey. Although all these are resolved, the route each student took to reach this ‘destination’ was frequently long involving many

experiments, some creative accidents and sustained exploration.

102

Section 5

S E C T I O N

5

Tip

When planning your exhibition, think about how you will communicate the meaning and purpose of your ar tworks.

•

How do other ar tists communicate meaning and purpose?

•

Can ar t have no meaning?

•

Can ar t have no purpose?

•

What is the meaning and purpose of your ar t?

•

Is this understood by your audience?

The way ar t communicates is complex, and is fur ther complicated by the fact that your audience consists of

individuals who may each take away something dierent when they see your ar t.

There may be a gap between your ar tistic intentions and what the audience perceives. This is not necessarily a

bad thing: in some ways it is inevitable, and it may be that your ar t is complex and mysterious. In any case, it is not

unusual for ar tists and their work to be sometimes misunderstood by their audience.

There is a case to be made for ar t that is subtle and might take time to decipher, with communication that is subtle

and even subliminal, or even ar t that is impenetrable and open to dierent interpretations. At the other ex treme,

some ar tworks are obvious and predictable: their meaning is immediate and over t. In eect they “shout”.

You need to consider not just the meaning and purpose of your ar t but also ways it might be interpreted. However,

this does not mean that you can ignore your audience!

The journey

The

be

idea

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arts

journey.

The City is Transparent

consists of transparent

acrylic sheets and was the result of numerous

attempts to capture the experience of walking

through a city, looking up towards the sky and

being surrounded by buildings. In the exhibition

text the student wrote

I created a 3-D sculpture

that took into account the original geometric

elements that combine together to make up a

building and convey the idea of transparency and

density within an architectural landscape. The

hanging sculpture allowed me to explore space.

By shining a light at it, dierent perspectives were

created and further enhanced the idea of people

interacting within a city.

Section 5

103

T H E

E X H I B I T I O N

Developing skills and considering art-making

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S E C T I O N

5

Collective pieces Key terms You

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panels that are normally hinged

Diptych: a work consisting of

number

of

two panels, painted or carved,

purposes.

Will

and hinged together.

together.

the

important

maximum

three panels usually painted

four or more painted (or carved)

make

triptych.

work

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11

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‘The Windmill’ is a photographic ‘joiner ’ to

ensure

that

if

the

work

is

submitted,

accurate

and

fair

assessments

can

inspired by the photography of David be

made.

Hockey. Ana was interested in the

potential of assembling and arranging

Working with lm

many photographs that showed Film

is

an

exciting

and

still

relatively

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creative

medium,

and

is

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the same scene, and created seven increasingly

popular

choice

as

part

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submitted

assessment

materials.

or eight preparatory joiners before

If

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lm

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make

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succeeds

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lms

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set of photographs of her windmill.

assessed.

Ana writes, ‘The joiners represent

the movement our eyes make when The

Visual

arts

guide

states:

exploring a new environment. The

“Please

must

note

have

clothing

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jewelry

the viewer much more than a single cannot

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realized

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photograph could. Joiners also explore themselves.

The

same

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use

of

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elements

time.’ used

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music

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copyright

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the

with

though

student

uses

appropriate

student”.

Programme

Visual

arts

guide,

page

11

Section 5

105

T H E

E X H I B I T I O N

Themes, ideas and concepts

Are

In

there

this

particular

section

explored

exhibition.

of

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of

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of

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The artworks shown here are

appropriations (sometimes referred

considered

to as homage or transcriptions).

result

in

it

own

is

106

Section 5

A

and

imagery”

will

affected

be

by

and

“complex

communication

of

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artists

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in

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centuries

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of

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artworks,

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the

your

your

work

work

of

S E C T I O N

5

Themes, ideas and concepts: appropriation and homage.

In the two artworks shown here, you can see a student

starting to use art icons as part of her own artistic

development, with some expressive reinterpretations of

well-known paintings by Botticelli and Vermeer.

Key terms

Appropriation: when an image

or an idea is taken from its

original context to be recycled

by an ar tist in order to create

new meanings, or to subver t its

conventional meaning.

You

could

contexts

consider

this

frequently

different

art,

is

using

artistic

conceptual

“Postmodernism

the

notion

that

everything

and

is

for

earlier

and

art

was

best

way

championed

of

of

of

our

and

layers

of

and

and

experience

simplicity;

and

art

is

and

an

ideas:

ironic

media.

or

a

suspicion

more

to

postmodernism

combining

of

or

that

concrete

responding

postmodern

It

abstract

While

embraces

of

challenged

that

individual

than

work

installation

lm.

reason.

truths

reality.

the

include

involving

certainties

advocates

in

approach,

These

particularly

objective

Postmodern

as

conventions

styles

scepticism

understanding

clarity

contradictory

styles

universal

everybody.

postmodern

multimedia,

born

are

new

characterized

popular

and

there

interpretation

the

relatively

sometimes

will

explain

experience

principles

the

complex

and

modernists

and

often

meaning.”

Source:

Tate

website

http://www.tate.org.uk/learn/onlineresources/glossary/p/postmodernism

What

most

the

artworks

work

of

at

through

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of

process

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about

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exhibition.

Section 5

107

T H E

E X H I B I T I O N

Build

on

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of

another

processes,

these

artist

artist

useful

media

made

artist.

be

the

work

helpful

may

and

be

far

in

in

terms

questions

of

more

of

assimilating

techniques,

intentions

may

lie

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materials

and

the

may

element

the

would

and

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artist.

useful

than

how.

Genres

The

but

idea

of

these

majority

artistic

basic

of

genres

themes

student

art

is

in

some

continue

to

ways

a

feature

rather

in

one

old-fashioned

way

or

one,

another

in

the

exhibitions.

These ar tworks contain multiple depictions of the human form, with some realistic depictions as well as more creative

interpretations.

The human form

The

human

cultures

form

over

the

student

exhibitions.

form

art,

for

in

and

experiments

straightforward

work

108

Section 5

has

that

is

obviously

centuries,

if

There

you

with

are

are

process,

creative

played

forms

a

huge

this

a

focus

conceptual

role

in

important

ways

in

exploring

with

or

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an

limitless

interested

observation

more

and

to

it

in

in

many

in

many

interpret

could

variety

on

art

part

of

human

a

great

responses,

technical

nature.

the

provide

area

from

competence,

to

S E C T I O N

5

Exploring the human form: in

these four drawings (in felt tip

pens or graphite pencil), Allison

combines experiments in line

and tone with detailed portrait

drawings, working elements

of pattern and abstraction into

each image.

A

great

starting

through

the

be

class

that

some

Please

for

is

point

external

strong

working

creation

In

an

of

cultures

further

to

nal

the

the

be

enough

directly

other

refer

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provider.

to

be

from

may

be

selected

the

model

class,

that

as

the

an

leads

either

work

in

exhibition

to

the

school

or

completed

piece,

during

or

development

it

may

and

artworks.

human

section

discussion

life-drawing

It

of

form,

on

this

particularly

“Sensitive

the

nude,

is

issues/provocative

unacceptable.

art”

(page

117)

theme.

Section 5

109

T H E

E X H I B I T I O N

Working from the nude: students frequently refer to the human form in their work. Sometimes this involves working from the

model. This form of observational drawing is valuable and important, and although it may not be possible to do this in some

cultures, you are encouraged to work from a real human model, clothed or unclothed, wherever possible.

110

Section 5

S E C T I O N

5

Por traits and self-por traits

Both

but

portraits

are

also

traditional,

and

part

of

self-portraits

a

creative,

metaphorical

or

long

or

can

artistic

reective,

link

to

tradition.

and

the

The

might

theme

of

your

treatment

include

can

elements

identity

be

that

are

symbolic.

Section 5

111

T H E

112

E X H I B I T I O N

Section 5

S E C T I O N

5

Landscape/cityscape

Landscape

is

a

traditional

and

fairly

popular

theme

and

often

ties

in

to

The painting ‘Windsor Castle’ was based concepts

of

identity.

are

and/or

You

may

want

to

record

and

document

where

you

on initial studies and sketches. The now,

where

you

have

been

previously

(or

even

where

you

two cityscapes used photographs as would

like

to

go).

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can

of

course

be

achieved

in

virtually

any

art

a starting point and when working on

medium

more

and

can

traditional

include

lm/photography

art-making

forms.

(lens-based

media)

as

well

as

the artwork combined some of the

architectural ideas of Mies van der Rohe.

Section 5

113

T H E

E X H I B I T I O N

Still-life

Still-life

has

medium.

objects

114

Section 5

It

a

is

long

also

history

not

themselves

just

can

in

art

about

have

and

a

can

be

expressed

collection

meaning

and

of

in

objects

signicance.

virtually

because

any

the

S E C T I O N

5

Narrative and story-telling

Narrative

story

or

evidence

much

were

less

tell

art

as

of

a

of

is

western

based

that

human

in

common

a

art

sequence

story?

tells

of

art

art

before

the

myth,

modern

Your

story,

suggests

religion,

in

a

events

art

either

that

twentieth

it

and

still

a

moment

over

people

history

but

as

unfolding

time.

told

stories

century

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an

do

the

earliest

pictures

stories

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you

ongoing

of

with

depicted

literature.

exists.

in

Some

and

that

narrative

want

your

art

is

to

This painting refers to contemporary

story?

issues and reects a student’s

sociopolitical concerns.

Sociopolitical ideas

Sociopolitical

issues

involve

both

social

and

political

factors

and

can

Tip include

issues

feminism

and

such

the

as

environmental

women’s

conservation

movement,

identity

and

sustainability,

politics,

gender

issues,

It is good practice to

the

rights

of

indigenous

are

inuenced

people

and

the

impact

of

global

conicts.

All

photograph all your work as

by

both

social

attitudes

and

by

political

policies,

all

can

you go along and keep the

provoke

passionate

debate,

and

all

can

and

do

inspire

artists.

Indeed,

photographs in digital folders.

artists

have

responded

to

issues

for

centuries.

There are a number of reasons

The

image

on

development

series

of

this

of

page

this

drawings

relates

painting

and

ideas

to

the

theme

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about

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in

of

the

conict.

visual

impact

of

arts

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planning

journal,

conict.

with

and

a

for this but one is simply as a

precaution: if your ar tworks

get lost or damaged you will

still have a record that could be

submitted if necessary.

Section 5

115

T H E

E X H I B I T I O N

You

of

may

your

issue.

feel

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importance

visual

by

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be

does

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and

art”

you

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statement

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impact

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perceived

displaces

forget

to

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refer

to

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assessed.

contain

about

concerns.

an

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drought.

and

obvious

message.

environmental

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or

enough,

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refer

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images

to

issues

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work,

ideas

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could

predictable.

your

intentions

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you

aim

in

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assessment

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ideas

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as

always

and

to

also

for

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obvious.

so

(page

not

that

should

the

the

that

Sociopolitical

negative,

mean

be

ooding

and

and

if

concerned

assessment

complexity

but

exhibitions

teacher

not

restating

cause

issue

strongly

exhibitions

sustainability,

the

here

exhibited,

those

is

sociopolitical

feel

message

will

are

clichéd

a

you

danger

other)

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reect

the

if

in

may

mind.

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put

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valid

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on

a

and

passionate

successful

or

about

even

exhibition.

Conceptually

merely

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work

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keep

interesting

subtlety

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make

artwork

(or

familiar,

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issue

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your

artworks

admirable,

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to

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perhaps

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example,

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with

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reactions,

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on

symbols

justiably

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to

sophistication,

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important

review

degree

images

may

criteria

familiar

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some

use

your

“Sensitive

both

ideas

positive

with

and

your

issues/provocative

117).

Culture and identity

Addressing impor tant, contemporary

issues can create moving and

“ ‘Culture’

products

is

and

dened

all

as

learned

patterns

of

and

shared

behaviour

beliefs,

created

by

values,

society.

interests,

This

view

attitudes,

of

culture

provocative ar t. includes

an

organized

system

production

Culture

global

as

is

and

Culture

which

that

symbols,

humans

dynamic

and

different

subject

can

be

humans

to

seen

as

learn

framework

‘cultural

taught

to

culture.

the

These

organize

to

their

context’,

and

conditions

technological

Section 5

operating

within

include

the

on

in

society.

and

their

many

regional

a

that

overall

their

material

daily

levels

and

in

local,

Culture

which

is

lives.

the

as

well

seen

as

historical,

of

and

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are

within

appears

visual

political,

and

this

in

arts

inuenced

geographical,

within

emotions

and

specically

tasks

inuence

framework

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both

course,

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social

and

factors.”

Diploma

116

manipulate

national,

groups

providing

to

relation

syllabus

and

beliefs

change.

in

refers

create

explanations,

organic,

social

behaviours

the

ideas,

context—international,

among

uid

of

Programme

Visual

arts

guide,

page

9

S E C T I O N

As

you

are

images

the

sense

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some

following

related

of

ideas

and

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journey.

in

because

When

hard

arts

strike

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international

form

part

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ideas

part

students

art-making

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expressing

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process

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art

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and

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than

this.

creating

artworks

between

exhibitions

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education

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exhibition.

journal

balance

interpretations:

artworks

often

references

and

a

culture

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nal

planned

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visual

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international

own

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unintentional,

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your

identity

appear

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to

5

obvious

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regularly

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culture

recognizable

include

predictable

a

and

and

number

do

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more

of

sometimes

creative

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receive

high

marks.

Sensitive issues/provocative art

Art

has

power.

questions.

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art:

is

beliefs

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to

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no

these

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single

issues

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power

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and

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open

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encounter

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cultures

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and

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to

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subject

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to

manner.

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extent)

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include

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person’s

countries

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acceptable

make

your

only

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assessment

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that

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tackle

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acceptable

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exhibitions

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it

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journey.

questions,

codes

of

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but

IB

at

and

all

be

times

you

sensitive

to

audience.

Section 5

117

T H E

E X H I B I T I O N

Academic honesty and the artworks you present

There

are

some

key

principles

to

bear

in

mind

with

regards

to

academic

honesty.

●

Any

image

creating

your

exhibition

●

For

in

each

the

taken

artwork

artwork

exhibition

known)

the

●

you

exhibition

explicit

In

of

All

the

work.

its

was

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text

title,

used

appropriately

as

inspiration

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when

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to

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or

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to

your

medium

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source

(where

bibliographic

must

of

include

inspiration,

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information

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to

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viewed.

deliberately

should

curatorial

work

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must

you

your

seem

that

included

someone

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to

appropriating

acknowledge

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appropriation.

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sources

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original

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included

authenticated

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exhibition

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dresses

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Section 5

be

refers

clear

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things

118

must

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work

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design

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student

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submitted

things

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piece

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would

itself

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S E C T I O N

Similarly

with

new

technology,

for

example

3-D

printing,

it

is

vital

5

that

TOK the

intentions

options.

and

process

Remember

that

are

the

clearly

explained

examiner

will

not

in

the

have

available

access

to

text

the

pages

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of

your

journal

or

the

screens

showing

the

development

of

your

ideas

in

judges your work against

the

process

portfolio.

published assessment criteria.

Many

artists

having

been

include

“found

“constructed”

acknowledged

and

objects”

by

explained

the

in

in

their

student

the

art.

and

relevant

is

This

is

considered

acceptable

exhibition

but

as

must

be

However, other examining

boards use dierent criteria and

there is a lot of debate about

text.

how we judge ar t. For example, If

your

artworks

reect

the

inuence

of

other

artists

and

artworks,

is the idea behind the ar t as or

if

the

ideas

or

images

of

anyone

else

have

inuenced

your

work,

impor tant as the techniques the

source

must

be

included

as

a

bibliography

reference

within

the

used to express the idea? exhibition

text,

following

the

protocol

of

your

school.

The most central question in

There

is

sometimes

a

ne

line

between

being

informed

and

inuenced,

this context is, “ What are the

and

copying,

and

sometimes

inuences

are

subliminal

rather

than

standards by which we judge

obvious,

but

if

you

are

unsure

about

whether

your

art

and

ideas

have

ar tworks?”

been

inuenced

then

you

should

discuss

this

with

your

teacher.

If

in

Of par ticular relevance in doubt,

it

is

always

safest

to

acknowledge

an

inuence.

the context of your process

por tfolio and the exhibition

is the relationship between

process and product. So

another consideration related

to TOK is the impor tance of

process versus product in the

search for knowledge.

The illustration below on the left shows a collage of views of a dress designed and

made by the student, Nicole. There are no academic honesty issues here because of

the authenticity of the process of her planning and creating the dress. Similarly the

dress in the exhibition view was also made by the student.

Section 5

119

T H E

E X H I B I T I O N

The impact of your school, your culture,

and your teacher

The

visual

context

students,

course

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course

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the

one;

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be

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as

to

exploring

decide

some

other

avenue

exhibition

as

natural

in

are

other.

familiar

raised

process

you

make

students

each

is

are

creative

might

well

and

and

you

case

from

that

issues

the

how

this

world

and

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as

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culture

through

in

and

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and

assignment

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more

course.

class

suitable

asked

over

be

keep

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if

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assignments

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it

some

open-ended

are

can

you

should

end

is

conditions

inspired

as

make

what

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and

the

as

been

arts.

cultural

same

that

has

international

course

teacher’s

same

according

core

of

the

school.

theme.

more

far

for

need

particularly

everyone

enough

is

may

studied

the

outside

yourself

you

specic

is

your

terms

is

visual

and

the

remember

similar

the

and

the

so

each

what

various

the

in

in

students

or

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an

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of

effectively.

more

way,

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made

120

it

same

Teachers

to

be

you

results

if

however

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in

to

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if

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in

teaching

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art-making

class,

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location

teacher,

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creatively

school.

artists

and

art

ways

interpretation

success

exhibition

art

will

the

peers,

a

studying.

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artworks

may

You

freedom

course

respond

you

to

your

is

investigated

be

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course.

that

example,

degree

of

to

syllabus

and

the

the

identities

variations

one

your

have

the

school

approached

of

will

of

and

different

large

No

the

school

processes.

would

the

your

However,

are

ideas.

art

according

are

It

means

made

the

is

one

theoretical,

students

in

routes

art

will

of

learning

of

make

This

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it

strengths

in

have

around

background

are

context

consider

and

be

processes.

the

to

structured

made.

explore

context

techniques

will

all

art-making,

express

been

the

wherever

implemented,

there

different

exploration

However,

course

and

probably

to

be

and

interpreting

and

choose

to

cultural

implemented

the

has

discretion.

through

is

of

will

circumstances

at

and

many

way,

the

experience

designed

interpretation,

taught

tends

school,

interpretation

other

in

arts

of

give

select

other

art.

S E C T I O N

5

Assessment criteria for the exhibition

It’s

important

exhibition

the

as

curatorial

exhibition

It

is

but

to

a

that

is

rationale,

not

that

3:

you

necessary

assessment

Part

that

referring

the

your

to

all

teacher

the

submitted

will

be

evidence

artworks,

evaluating

available,

exhibition

your

including

text

and

photographs.

important

it

remember

whole,

of

are

for

the

familiar

you

to

exhibition

Exhibition

Coherent

SL

body

with

the

constantly

is

holistic,

marks

exhibition

refer

so

SL

is

to

assessment

them.

the

In

course

total

HL

the

criteria,

same

way

itself.

marks

HL

total

of

A

9

9

works

B

Technical

competence

9

9 30

C

Conceptual

D

Curatorial

qualities

practice

9

9

3

3

Diploma

You

will

need

exhibition

of

the

to

course,

but

you

may

adjust

you

may

decide

exhibition

There

are

Criterion

the

This

you

should

artworks

to

criteria

nal

create

and

a

Programme

when

selection

keep

ideas

piece

it

in

as

that

the

will

time

is

a

arts

comes

occur

mind

your

Visual

guide,

to

towards

throughout

journey

specic

page

select

the

the

your

end

course:

progresses

expression

56

or

of

your

idea.

four

specically

criterion

study

artworks.

30

B:

to

assessment

the

work

technical

D:

criteria

itself

the

(criterion

competence;

curatorial

for

practice

and

relates

A:

exhibition.

coherent

criterion

to

the

C:

Three

body

of

relate

works;

conceptual

curatorial

qualities).

rationale.

Criterion A : coherent body of works

Coherence is not about repetition or

even similarities between artworks. Criterion

A

asks

the

question:

“To

what

extent

does

the

submitted

work

Coherence can be about thematic or communicate

a

coherent

collection

of

works

which

full

stated

artistic

stylistic links between artworks. In intentions

and

communicate

clear

thematic

or

stylistic

relationships

this sense, artworks might be said to across

individual

pieces?”

‘talk’ to each other.

Section 5

121

T H E

E X H I B I T I O N

In

general

together

terms,

well.

understand

Coherence

you

must

and

a

The rst photograph shows a view

of Ella’s nal exhibition. In her

rationale, Ella starts to explain the

thematic relationships occurring in

her collection: artwork to do with the

human body, the familiar and the

unfamiliar, and the use of dierent

media and contexts. Ella’s curatorial

rationale states ‘I think that as an

artist the human body presents an

artistic challenge; to capture and

explore something we all hold familiar.

During the process I have aimed to

investigate the human form through

dierent mediums and contexts;

namely the sexualized and objectied

presentation of the body in the media

versus the grotesque, tactile and

intimate experience of the body as

a surface…The other portion of my

exhibition is about the relationship

between family and skin. The Skin I

focused on was the un-photoshopped

skin that is rarely exposed. My textile

piece “Friends and Family” involves

rst hand photographs of my friends'

and family’s skin that is seldom

visible, for example bruises, stretch

marks and scars. The raw colour

palette and detailed images may

evoke the response of disgust, but

the involvement in the idea of “family”

aims to counterbalance this repulsion.

My Paintings “Skinny” and “Fat” are

an attempt to trigger the response of

disgust and fascination in the viewer.’

122

Section 5

does

have

does

visual

not

and

not

arts

want

to

when

could

not

a

something

also

logical

hindrance.

theme

of

It

mean

This

a

repetition

A

single

criterion

that

assessment.

see

series

has

to

that

does

your

works

(of

or

a

not

is

or

style

Nor

could

mention

not

all

of

its

parts

easy

t

to

artworks).

exhibition

that

all

well-organized,

similarity.

theme

Coherence

of

coherence,

be

arrangement

theme.

mean

appear

be

the

it

fact

“theme”,

will

formulaic

look

does

in

mean

be

and

having

successful

and

same!

that

restrictive

in

examiners

a

terms

do

S E C T I O N

5

Themes and styles Tip

The

rst

part

coherent

stylistic

of

body

the

of

top

work

relationships

level

of

criterion

through

across

A

effective

individual

states:

“The

work

communication

of

forms

a

thematic

or

Ask yourself these questions

when considering the coherence

pieces”.

of your exhibition. Coherence

or

be

a

in

the

collection

diversity

between

exhibition

that

is

within

artworks

just

is

not

visually

coherence:

rather

achieved

similar

there

than

through

and/or

should

simply

be

similar

visual

conformity,

repetitive.

evidence

of

There

• How do ar tists incorporate

can

themes and styles in their

relationships

work?

artworks.

• The

relationships

could

be

dynamic

and

surprising,

and

could

How do the styles of dierent

involve

ar tists compare? ideas

about

but

theme

styles

of

art-making,

or

there

could

be

thematic

relationships

• a

is

not

required

or

How do ar tists interpret

necessary.

themes, for example, conict

Theme or love, in dierent times and

It

is

to

true

your

that

a

theme

exhibition.

compulsion

in

together

by

in

the

much

the

one

can

But

as

visual

way

has

arts

common

same

provide

been

or

an

cohesion

said

course

idea

that

some

earlier

for

your

theme.

artwork

An

in

and/or

the

body

idea

needs

to

of

consistency

book,

work

often

there

to

needs

be

to

is

cultures?

no

•

linked

themes or styles in the

develop

work I am creating and have

develop.

created?

• Just

“having

a

theme”

exhibitions

are

exhibitions

reect

example,

contain

terms

So

you

a

not

that

visual

concepts

and

need

a

and

threads,

by

the

are

the

good

some

do

one

not

thematic

approach.

key

show

How are my ideas evolving?

Sometimes

exploratory,

around

and

idea.

theme:

than

centred

responses

theme.

and

conceptual

of

rather

a

idea

For

sometimes

enough

creativity

in

exploration.

interpretations,

“hindered”

necessarily

because

narrow,

exhibitions

do

not

restricted

repetitive

of

is

What are the identiable

focus

on

so

If

you

how

that

do

have

well

your

you

one,

be

explore

exhibition

open

to

creative

will

not

be

ideas

and

processes

repetitive

and

theme.

Relationships

Also

consider

covers

may

a

be

because

The

the

number

no

the

works

in

of

relationships

ideas

traditional

coherence

approach,

idea

of

but

“theme”

reect

the

decisions

one

the

but

relating

there

ideas,

exhibition

to

between

effective

the

comes

media

artworks.

relationship

can

be

vision

from

and/or

a

strong

and

the

is

the

“Relationships”

stylistic:

sense

hand

student’s

techniques,

of

of

there

identity

the

artist.

conceptual

or

size

and

This image shows a student’s nal

exhibition. Can you identify themes,

scale.

or links and relationships between the

dierent pieces? Focus

not

on

creating

simply

a

set

relationships

What

The

are

thematic

There

and

in

an

stylistic

between

The

the

relationships

collection

of

across

works

the

artworks,

should

involve

pieces.

relationships?

exhibition

and

together:

or

pieces.

media,

the

might

but

be

diverse

present

coherence

in

this

a

and

series

body

of

of

explore

themes

work

is

a

different

that

tie

result

of

the

the

relationships.

are

thematic

the

across

techniques

collection

similar

thematic

artworks

styles,

thematic

of

many

link

student’s

possible

that

interpretations

frequently

sense

of

appears

in

of

thematic

student

relationships.

exhibitions

One

comes

from

identity.

Section 5

123

T H E

E X H I B I T I O N

What

You

are

could

different

stylistic

present

ideas,

constitutes

stylistic

show

a

Style

or

is

a

already

work

used

is

a

yours

any

composition,

any

artistic

It

is

be

the

will

when

to

have

approach

the

the

It

to

way

have

are

you

artistic

may

the

but

your

individual

or

styles

a

number

approach.

of

the

a

limited

of

This

creative

relationships

could

colour

the

style.

use

–

in

can

work

as

your

of

when

Style

you

way

in

to

results

learn

more

style

may

course.

relationships

Frequently

very

the

approach

“early”

recognizable.

is

be

may

identify

make.

the

styles.

examples

your

evolve

of

could

signature.

you

You

can

space/balance

fact

stylistic

artworks

others

It

of

your

end

and

pieces

art-making.

that

example,

recognizable

discuss

to

exhibitions.

his

of

be

your

colour

For

at

and

use

decisions

thematic

makes

and

across

work

styles

it

or

use

that

because

approach

and

using.

your

work.

“know”

you

express

Similarly,

handwriting

the

similarly

identify

relationships

way

galleries

that

the

they

like

you

different

artists

is

and

art

exhibition

considered

style,

that

through

pieces.

photographs,

encountered

style

of

as

acknowledge

visited

or

number

exercise

or

processes

you

Other

take

approach

to

the

recognizable

because

or

process.

different

You

a

paint

important

about

or

recognizable

draw,

your

such

artworks

linked

successful

between

throughout

distinctive

have

different

stylistically

coherence,

line

that

very

are

potentially

you

from

11

but

relationships

formal

palette

relationships?

it

is

in

art

the

Picasso

artist’s

explored

recognizable.

It

might

thematic

visiting

be

and

art

a

useful

stylistic

exhibitions.

Exploring media, processes, materials and techniques

The

second

intentions

and

use

of

What

the

top

of

media,

you

say

in

your

your

intentions?

stated

and

whole.

of

not

and

informed

the

deny

the

may

apply

not

scale.)

to

and

your

and

not

that

viewer.

and

and

and

A

continues:

fullled

“Stated

through

techniques

and

the

the

selection

considered

should

invent

be

use

or

each

ideas

able

of

of

referred

and

scale

of

processes

practical

–

your

views

you

support

to

selection

Consideration

media,

be

have

application

size

rationale

audience

Why

will

directly

the

an

“stated

your

selected

work.

and

What

applied

are

certain

imagery?

considered

Although

to

criterion

processes

relationship

try

them

Selection

how

rationale

their

Do

front

affects

media

written

works

have

of

effectively

curatorial

–

in

and

intentions

intentions”

Your

level

imagery.”

techniques,

Section 5

of

consistently

application

Stated

124

part

are

and

here:

to

explain

other

see

or

the

to

your

the

examiner

whether

selection

collection

has

your

as

visual

of

a

evidence

intentions

really

processes/imagery.

of

media,

processes

and

techniques

imagery

to

in

of

art

this

and

relevant

the

on

assessment

display

impact

could

techniques.

for

you

to

criteria,

often

affect

(Of

has

the

course,

consider

it

an

way

in

is

difcult

impact

you

some

working

in

on

select

cases

a

it

large

S E C T I O N

This

phrase

also

implies

some

overlaps

with

criterion

B

insofar

5

as

Tip “application

evidence

of

of

media”

occurs

coherence

and

in

both

criteria:

competence

you

when

need

to

provide

considering

how

you

Ask yourself these

apply

media.

questions when

The

“considered

and

ideally

to

be

way

a

a

level

that

use

of

degree

of

imagery”

of

sophistication

sophistication

ideas

are

implies

conveyed

in

to

the

an

approach

within

choice

achieve

in

that

and

the

of

thoughtfulness

approach.

use

of

There

imagery

highest

needs

and

in

the

considering the technical

competence of your

exhibition.

level.

• How do ar tworks show

technical competence?

Criterion B: technical competence •

Criterion

work

and

B

asks

the

demonstrate

materials

and

question:

effective

effective

“To

what

application

application

extent

and

and

does

the

submitted

manipulation

manipulation

of

of

media

the

What are the signs

within an ar tist’s

ar tworks that might tell

formal

you that an ar tist has

qualities?”

skill?

•

How do dierent

Addressing technical competence and formal qualities kinds of technical

Technical

competence competence in the

The

top

level

effective

an

descriptor

application

assured

effective

level

of

for

and

this

manipulation

technical

application

criterion

and

states:

of

media

competence

manipulation

“The

in

of

the

the

and

work

materials

chosen

formal

demonstrates

forms

to

contex t of dierent ar t-

reach

and

making processes and

the

forms compare?

qualities.”

•

Is technical

competence identiable Technical

competence

is

often

acquired

through

sustained

practice.

in all ar t forms? There

for

is

no

your

levels

need

for

exhibition.

are

diluted

exhibition

is

you

In

to

fact,

because

your

include

chance

this

you

to

work

may

have

in

hinder

worked

develop

and

a

lot

of

different

your

success

in

many

so

rene

skills

if

art

in

media

your

skill

forms.

one

•

Can some ar t forms or

ar tworks be successful

The

even if there is no

medium.

obvious evidence of If

your

work

shows

evidence

of

skill,

this

can

enhance

other

elements,

technical competence? for

example,

the

conceptual

basis.

Conversely,

artwork

that

shows

lack

• of

competence

may

weaken

the

overall

impact

of

a

piece

of

Where is the

art.

evidence of technical

The

degree

technical

requires

include

of

renement

competence.

an

“assured

evidence

understanding

of

and

and

The

level

resolution

top

of

of

is

an

important

descriptor

technical

sensitivity,

use

level

for

this

competence”

sophistication,

part

which

control,

of

competence in the work

criterion

and

is

you are creating and

likely

an

to

have created?

excellent

•

How are your skills

media/materials.

evolving?

As

already

the

indicate

above.

is

working

very

not

work.

on

demanding

to

criteria,

condence

This

successful

of

mentioned,

assessment

art

a

the

but

and

to

say

The

form,

the

is

shows

artwork.

“stand-out”

reference

assured

that

scale,

no

working

in

or

can

of

be

A

of

a

working

large

in

on

of

and

your

to

large

true.

evidence

piece

a

level

working

opposite

large

impressive

become

there

the

size

scale

of

can

competence

large

But

scale

taking

intensively

your

artworks

referred

inevitably

on

in

the

any

commitment

successful

•

in

artwork

do you apply and

to

leads

to

challenge

creative

and

can

could

What are formal

qualities and how

sometimes

and

manipulate formal

qualities in your own

ar t-making?

lead

well

exhibition!

Section 5

125

T H E

E X H I B I T I O N

Students working in acrylic on canvas. Note the scale of these and other pieces. None of the assessment criteria refer to the size of

artworks in the exhibition, working on a large scale can present specic creative and compositional challenges, and can also lead

to work that has impact in the context of the exhibition.

Examples of views of exhibitions and

artwork.

126

Section 5

S E C T I O N

Technical

competence

refers

to

evidence

of

skill

in

the

media

and

5

materials

Tip you

it

–

choose

is

the

to

work

easiest

with.

thing

to

In

some

cases

recognize

technical

when

looking

competence

at

art.

–

or

lack

of

For

example,

if

expressive)

depiction

of

When considering how well you

want

to

include

a

realistic

(rather

than,

say,

a

your work addresses this person

using

paint

or

pencil,

then

mistakes

may

be

easy

to

identify.

criterion, ask yourself the

It

is

to

vital

that

technical

you

make

skills.

For

appropriate

example,

if

medium

as

choices

you

nd

of

it

medium

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ideas

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in

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you

develop

skills

in

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visual

arts

incorporate and/or journal,

perhaps

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nal

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Perhaps

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eectively

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art:

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communicate their

ability

learning

techniques

intentions?

•

What ar tworks

that

demonstrate the

were

probably

documented

in

your

visual

arts

journal.

subtle use of “complex

Formal

imagery, signs and

qualities

symbols”? See

the

section

of

this

book

dedicated

to

the

formal

elements

of

art.

•

To

achieve

a

high

level

for

this

criterion,

you

need

to

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What does “eective

evidence

realization” mean?

that

you

understand

formal

qualities.

•

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of

qualities

these

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“technical

exactly

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any

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interpretations,

pattern,

to

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qualities”

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elements

line.

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that demonstrate the

understanding

often

•

artwork.

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contributing elements

in an ar twork that

Criterion C: conceptual qualities

result in the eective

communication of Criterion

effective

meaning

C

asks:

“To

resolution

and

what

of

purpose

extent

imagery,

of

the

does

signs

the

and

artworks,

as

submitted

symbols

to

work

realize

appropriate

to

demonstrate

the

stated

ideas?

function,

intentions?”

•

How eectively are

your ideas being

communicated through

your ar tworks?

Section 5

127

T H E

E X H I B I T I O N

Conceptual qualities refer to the way students creatively consider and use imagery, signs and symbols to achieve their

intentions. Conceptual ideas can often be seen in groups of artworks, for example the series of works by Tess that explore

natural forms that might be found in the ocean and on the coast or shoreline. These artworks have titles which further explain

the theme:

‘Ocean’s Sphere’

‘Looking into the rock pool’

‘Coastal Collection’, (Porcelain clay)

‘Nestled’

The central image at the top of the page is a view of the nal exhibition.

128

Section 5

S E C T I O N

“Conceptual

ideas,

and

qualities”

include

well

in

well

developed.

and

this

how

criterion,

you

intentions

the

as

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relate

ideas

and

criterion

communicate

stated

to

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important

in

concepts

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this

these

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sophistication

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of

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criterion

intentions.

curatorial

of

your

thoughts

“elaboration”.

be

explored

links

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rationale

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to

your

the

and

achieve

in

depth

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intentions

carefully

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5

at

your

quality

of

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communication.

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motifs

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colour,

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symbolism,

choice

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of

use

reference

to

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imagery

of

a

or

to

“imagery,

knowledge,

might

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symbolism

particular

signs

or

symbols”

understanding

symbolic

specic

to

use

a

and

of,

in

use

for

particular

this

of

example,

culture,

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format.

Conceptual qualities, subtlety and complexity

“Conceptual

“Conceptual

important

and

the

qualities”

art

than

term

is

art

the

for

does

which

nished

usually

not

refers

art

to

the

mean

idea

object.

art

(or

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made

conceptual

concept)

emerged

from

the

as

art.

behind

an

art

the

work

is

movement

mid-1960s

to

the

more

in

the

1960s

mid-1970s”.

Source:

Tate

website

http://www.tate.org.uk/learn/online-resources/glossary/c/conceptual-art

Rather,

“conceptual

concepts

degree

that

of

There

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or

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in

of

depth

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evidence

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place

ideas

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ideas

particular,

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together

criterion,

use

of

signs

or

colour,

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to

level

in

with

and

can

to

and

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also

involve

renement

concepts

symbols”

the

culture,

art,

and

should

be

choice

or

in

this

of

imagery

considered

criterion.

use

of

a

familiar

when

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and

art

by

can

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approach,

with

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ideas

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be

of

a

successful

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familiar

postmodern

implicit

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artwork

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you

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identifying

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to

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qualities.

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by

exactly

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reect

a

depth.

Section 5

129

T H E

E X H I B I T I O N

Of

course,

beyond

successful

and

the

When

a

the

there

may

is

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a

nd

subjective

paintings

Roy

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some

may

be

ideas

with

as

a

the

all

it

but

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vacuous

between

could

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arts

or

contain

context,

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to

little

be

competence

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be

a

good

idea

to

discuss

friends.

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idea

strive

employ

Art

be

visual

your

of

images

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piece.

with

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students

of

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creations

of

you

nd

behind

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be

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to

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ideas

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seen.

Davide, a student in a school in Rome, has used the “tondo” form (a Renaissance term for a circular work of art) in his painting of

three portraits. This form has conceptual, artistic and historical relevance to his location.

130

Section 5

S E C T I O N

5

Conceptual qualities and visual literacy Key terms Visual

literacy

meaning

been

and

that

from

said

that

you

have

visual

visual

signs

and

a

huge

already

of

of

to

presented

is

in

referred

images

and

links

at

and

the

in

the

thousand

always

during

turn

form

of

words,

that

the

can

interpret

an

you

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learning

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will

a

make

image.

but

simple.

course

give

and

Visual literacy: the ability to

understand, interpret and make

read

artworks

have

more

has

to

increased

sophisticated

meaning from information

presented in the form of an

image.

qualities.

to

to

your

in

the

symbols

work

symbols

a

not

made

this

conceptual

also

understand,

worth

and

and

looked

signs,

is

picture

studied

symbols”

have

imagery,

the

literacy

range

ability

picture

literacy,

understanding

Your

the

information

a

understand

your

is

to

of

understanding

criterion.

and

artists

convey

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during

and

of

the

course,

the

narrative,

art

course

considered

ideas,

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incorporates

you

their

values

will

use

and

of

beliefs.

Conceptual qualities may not be immediately obvious. Understanding of these three artworks can be enhanced by the

exhibition text accompanying the image.

1.

The rst is in oil on canvas and is explained by the student: ‘My original intention was to augment the colours of a stone.

By layering colours and experimenting with techniques I was able to add depth to the painting.’

2.

The second artwork is an architectural model and refers to the architect Frank Lloyd Wright: ‘When considering how the

leaf structure would t into an environment, I decided to create a 2nd model, through which I explored the link between

exterior and interior, as seen in modernism. I showed this by including a tree branch, which emerged from the inside of

the structure and placing mirrors in the base. These mirrors are around and inside the structure, an idea inspired by Frank

Lloyd Right's Waterfall.’

3.

The third piece, a dry point print, related to a previous journey – ‘When I visited the Ring of Brodgar in Orkney, the

uncertainty and mystery of their origin and purpose intrigued me. This print visualizes a joining of the physical and

metaphysical worlds, inspired by how I imagined the stones may once have been viewed. My intention in this piece was

to capture a more fantastical aspect of the stones.’

Section 5

131

T H E

E X H I B I T I O N

The rst photograph (‘Squashed Face’) is inspired by Michael Wolf ’s ‘Tokyo Compression’, and was taken with Wolf ’s images

in mind, exploring texture, cropping and contrast. Next to it, the totem pole relates to the student’s origins in British Columbia

(Canada) and explores relevant symbols. Beneath both is ‘A Breakdown of a Building’. This is a fairly large (151 cm × 50 cm) piece

consisting of marbled paper, acrylic paint, textured paper, tissue paper and acrylic sheets on canvas, and refers to the geometric

outlines of buildings. The student said ‘I wanted to explore textures of the buildings compared to the realistic aspects’.

132

Section 5

S E C T I O N

5

Criterion D: curatorial practice

We

will

detail

be

reviewing

later

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in

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these

●

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will

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ways

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in

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exhibition

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display”

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works

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connected?

body

of

works?

technique/process)

or

media?

have

a

“chronological

survey”

approach

or

a

thematic

approach?

Selecting the artworks for your exhibition

When do I choose my nal ar tworks?

The

go

IB

does

into

portfolio.

work

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to

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audience,

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also

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form

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and

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ideas

decision-making

cohesive

rationale.

Tip

If you have enough ideas or star ting points you could discuss with your

teacher having a mini-exhibition at the end of the rst year. You may only have

a few pieces (four or ve) but still this would give you a chance to identify and

resolve any problems.

Ideally you would have this show in the same location as your nal exhibition,

and an audience would visit your show. You could also write a curatorial rationale

and exhibition texts so that you experience the things that you will do for real later.

If possible talk to members of this audience to get feedback on their

reactions. This could inform decisions that you make when preparing for and

assembling your nal exhibition.

Section 5

133

T H E

E X H I B I T I O N

Mid-course review

Depending

rst

of

year

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what

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content

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exhibition.

Review, plan and curate vir tual exhibitions

It

can

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a

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idea

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Write

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artworks

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cultures.

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technical

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Keep

You

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case:

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You

at

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HL).

your

134

Section 5

If

have

so,

more

you

teacher.

artworks

will

need

to

than

select

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the

maximum

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allowed

Discuss

your

(7

at

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11

with

S E C T I O N

5

The exhibition Tip

Using your visual ar ts journal to plan the show

The

curatorial

intentions,

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can

main

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for

you

exhibition

Criterion D assesses your

to

texts

explain

for

your

curatorial practice. It asks

the questions: “ To what

this.

extent does the curatorial The

curatorial

practice

is

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required

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exhibition

rationale justify the component,

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curatorial

rationale

informs

your

teacher

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the

coherence

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your

exhibition.

of ar tworks within a

You

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plan

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It is wor th looking at the

exhibition,

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plans

to

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display

certain

artworks

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the

audience

might

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through

command term “justify”:

the

show.

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These

ideas

curatorial

could

also

be

the

basis

for

material

submitted

for

evidence to suppor t an

the

answer or conclusion”.

rationale.

Writing about your exhibition

Towards

in

which

the

end

you

of

will

the

explain

exhibition.

However,

before

write

you

course

you

about

the

you

selection

should

your

will

not

be

writing

and

wait

a

curatorial

presentation

until

the

end

of

of

rationale

work

the

in

your

course

art!

Section 5

135

T H E

E X H I B I T I O N

Intentions

Your

artistic

success

what

view

or

of

intentions

your

your

your

intentions

work,

external

are

exhibition

of

are.

The

including

gallery

space,

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hangs

importance:

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audience

well

as

the

a

large

relationship

intentions

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as

on

will

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who

part

read

by

all

encounter

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of

between

who

it

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the

art

those

in

your

view

it

and

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on

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screen.

The audience

Artists

of

the

make

audience

As

art

viewer,

as

well

audiences

should

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out

are

look

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the

from

so

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is

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exhibition

your

point

differently

kinds

works

private

what

seen,

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consider

exhibition

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galleries,

Work

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and

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art

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to

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and

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successful

the

step

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into

view

the

of

shoes

the

artist.

kinds

on

display

online

also

point

as

different

and

different

galleries

that

from

of

these

exhibition,

encounters.

contexts:

state

art

you

For

museums

galleries.

exhibition,

and

what

does

a

weak

like?

reasons

for

success

or

failure?

Of

course

in

our

context

the

Tip DP

When thinking about

arranging your exhibition,

consider the following

visual

should

art

to

arts

be

seen.

assessment

informed

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when

you

by

criteria

reections

reections

start

to

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should

write

your

on

a

vital

part

audiences

appear

own

in

but

and

your

curatorial

your

their

journal

own

ideas

responses

and

be

to

referred

rationale.

questions. Although

•

•

How will you arrange,

marks

display and present

other

resolved works for your

taking

exhibition?

a

the

out

of

curatorial

30,

what

assessment

this

number

criteria,

component

of

practice

you

drafts

say

you

are

only

contribute

particularly

seriously

until

criterion

will

and,

criteria

for

achieves

to

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your

and

example,

satised

with

the

a

maximum

assessment

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it’s

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nal

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against

worth

and

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version.

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What is the dierence between SL and HL? will you have to make Criterion

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is

different

for

HL

in

that

it

has

an

additional

requirement.

between your ideal As

well

explaining

“the

selection,

presentation

and

arrangement

of

a

ar t show and what is group

of

artworks

within

a

designated

space”,

there

is

also

a

requirement

realistic in the space for

the

curatorial

rationale

to

show

“reection

on

how

the

exhibition

the

artworks

available? conveys

•

an

understanding

of

the

relationship

between

and

How have the the

viewer”.

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not

required

reection

element

and

consideration

of

the

viewer

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exhibitions that you in

the

SL

criterion.

have seen inuenced

You

should

“justify”

the

selection

by

explaining

your

reasons

for

your ideas? What have

choosing

the

artworks

(this

will

relate

to

your

intentions)

and

then

you learned about

analyse

and

explain

how

the

artworks

are

arranged

and

presented.

Even

exhibiting ar twork?

if

•

they

are

just

displayed

in

a

row

you

should

still

explain

the

reasoning:

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it

chronological?

Or

ordered

by

theme?

Or

are

you

arranging

in

that present par ticular accordance

to

art

form

or

size?

challenges in terms of

presenting them to an

audience? For example,

will you need to set up

a monitor to show a

video or a plinth to show

sculptural pieces?

Refer

when

a

Section 5

the

period

study

your

audience

articulating

large

on

are

136

to

or

or

the

"stand-out"

viewer?

of

the

time?

a

Is

that

a

there

sculptural

ideas

piece

there

Are

(the

that

lm

that

want

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and

to

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between

you

that

small

piece

you

viewer)

relationship

and

the

think

will

will

engage

detailed

viewer

viewer

to

artworks

them.

For

make

the

take

the

viewer

pieces

should

themselves

example,

that

walk

from

most

for

is

impact

a

require

certain

close

around?

your

there

What

artworks?

S E C T I O N

The

statement

students,

it

is

be

will

not

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rationale

example,

research

you

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say.

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helpful

●

the

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range

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perceived

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of

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into

to

students

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400

parts

words;

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through

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(explanations)

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statement

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you

who

are

on)

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have

were

used

(this

especially

was

be

in

appropriate.

against

describe

text

about

do

instrumental

process.

written

that

arrangement

could

exhibition

writing

are

highly

that

you

thought

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score

selection,

work

should

you

so

work.

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write

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cannot

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exhibition,

artwork.

my

artistic

particular

your

each

your

your

statement

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decisions

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informative

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movements

audience

but

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assessment.

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to

you

premise

include

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be

and

limit.

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overall

word

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a

words.

considered

and

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your

has

700

5

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a

short

own

assessment

the

the

way

that

and

you

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draw

an

accompany

persuasive

and

that

to

have

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personal

frank

work

you

depth

statement

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artwork

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500-character

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text

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also

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be

to

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found

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text

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artwork.

work

the

series,

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and

piece.

or

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objects.

completed,

exhibition

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the

or

be

and

(including

concise

use

outline

appropriation

should

medium

maximum

opportunity

include

submit

title,

are

students

to

six

help

these

your

examples

and

photography,

referring

paint

texts

of

to

and

can

audience

be

exhibition

work

in

printed

appreciate

a

text,

written

variety

scraperboard).

out

All

and

your

of

are

included

work

by

forms

more

in

your

fully.

different

(ceramics,

within

500

video,

characters.

Section 5

137

T H E

E X H I B I T I O N

Distorted Nightmares: 3 ceramic faces, Clay (red and glazed). Sizes: 20 × 15 × 8 cm, 18 × 12 × 8 cm, and 22 × 16 × 9 cm

These three masks were inspired by the portraits by Francis Bacon. I wanted to capture the owing movement created in

his paintings through clay as well as the disturbing nature of distortion and use of colour. Through these three masks I have

experimented with dierent levels of distortion and colour schemes to create this disturbing eect. Additionally, I further

embraced his style by creating 3 similar yet dierent faces in homage to his famous triptychs.

Forever Young, video, 2 minutes

A series of images of my grandfather, spliced with images of my parents and their children (me and my sisters).

This ties in with the CHANGE focus in ar tworks 3, 4 and 5. I took all photos and video. The speed of the video is

deliberately slowed and speeded up. It’s mostly black-and-white but colours and some distor tion and grain are

added to emphasize focus at specic points. There is no soundtrack .

3 Nepalese Foothills, 59.4 × 84.1 cm. (30 5 cm × 6 cm photographs) Digital Photography.

This photographic joiner has photographs organized in a grid and has an obvious thematic and stylistic relationship

with ar twork 1. This also depicts multiple views of a single scene taken when I visited Nepal as par t of a CAS trip.

Again, this style and technique are inspired by the work of David Hockney and his joiners. With this work I designed

restructured multiple views of a owing scene of countryside and village into thir ty 6 × 5 cm photographs.

Maze, Acrylic on Canvas, 80 × 120 cm

Inspired by the symmetry of the columns at the University of Glasgow, I’m looking at geometrical symmetry and

shadow eects. A young girl leads a shadowy gure through a maze of columns. The only trace of the girl is a slight

gure in the back of the painting and a red handkerchief in the foreground. The shadows falling from the columns add

another dimension of mystery to the scene.

A Night in Zurich, Acrylic on Canvas, 60 × 100 cm

Based on a photograph that I took on vacation, this painting depicts the Limmat River in the centre of Zurich. I

experimented with paint texture in this painting, having a diering technique for the skyline, water reections and

sky. The water reections are uid, similar to an Impressionist painting, while the skyline has a crackled black paint.

The night scene gives the city a tranquil and serene appearance, capturing the moment in between day and night.

A Universal Fear, Scraperboard, 35 × 28 cm

Inspired by “An Experiment on a Bird in the Air Pump” by Joseph Wright of Derby seen in London’s National Gallery, I

incorporated the central gure of the scientist, but added a gas mask to hide his face, echoing the theme of the fear

of modern science, which Wright used in the original work . The ‘toxic’ symbol and the pollution inside the glass tank

t with current fears of science.

http://www.nationalgallery.org.uk/paintings/joseph-wright-of-derby-an-experiment-on-a-bird-in-the-air-pump

Tip

The exhibition is the physical culmination of two years’ hard work . Celebrate it.

You could have a reception to celebrate your achievement!

138

Section 5

S E C T I O N

5

Practical considerations

It

is

the

important

to

exhibition

work.

space

You

is

will

not

available

Schools

are

display

will

simultaneous

If

lack

of

exhibit

with

local

shows.

few

Once

space

space

and

and

your

but

take

for

a

teacher.

needs

to

it

also

school

of

down

been

is

a

The

art

into

do

way

and

of

where

your

because

of

the

socio-economic

spaces

or

not

on

campus;

classrooms/art

have

enough

other

rooms

space

for

to

a

full

of

a

series

put

group

should

will

be

space

account

possible

for

of

of

their

you

in

to

place

consecutive

work

students

up

can

for

put

a

up

on.

you

that

be

be

arrangements

could

another

so

may

have

could

students

that

and

it

schools

there

four

division

take

gallery

problem,

Some

decided

of

space

students.

so

days,

kind

any

geographic

schools

gallery.

few

has

the

of

gymnasiums

all

three

in

(the

assessment

resources.

Some

of

space

the

in.

Alternatively,

example,

displays

disadvantage

range

halls,

your

external

then

the

work.

at

a

exhibition

inuence

semi-professional

school

galleries.

For

days

their

the

an

at

your

not

exhibit

a

exhibition

space

in

that

will

physical

have

student

to

with

and

use

put

you

diverse

schools

schools

be

for

circumstances,

Some

remember

presented)

review

displayed

should

such

be

things

as

the

with

more

the

possibilities

other

or

size

of

students

less

equitable,

and

scope

of

Eight views of exhibitions can be

individual

student

work,

the

need

for

wall

versus

the

need

for

oor

(or

seen on pages 139–141.

plinth)

space

or

access

to

power

outlets.

Some show a somewhat crowded

exhibition area, with very little space Exhibition

spaces

need

not

be

self-contained.

“Satellite”

exhibitions

available and artworks taking up might

include

site-specic

work,

such

as

a

mural,

installation

or

almost all of the wall space. Other sculptural

pieces

elsewhere

on

the

school

campus.

Sometimes

site-

photos show a more spacious specic

works

or

exhibitions

purposely

exhibited

in

unconventional

exhibition environment with clean

spaces

can

be

effective

in

relation

to

the

overall

intentions,

as

long

as

the

neutral walls. Of course the quality

work

can

be

properly

documented

for

digital

submission.

and amount of exhibition space

available varies from school to Once

you

know

where

your

space

is

you

should

consider

how

you

will

school, but remember that the arrange

and

display

your

work

to

best

effect

within

that

space.

examiner will not judge the quality

Clean,

the

neutral

detriment

walls

of

the

are

preferable.

artwork

Do

not

try

to

decorate

the

space

to

of the space. The examiner ’s focus

will always be on the student’s

itself.

intentions and quality of the work You

may

be

considering

including

interactive

pieces.

If

so,

this

should

be

with reference to the assessment

linked

with

the

mention

of

the

viewer

in

the

curatorial

rationale.

criteria.

Section 5

139

T H E

E X H I B I T I O N

Digital submission of the exhibition Tip

Your

Consider these practical

ideas for displaying work .

Hanging space: if there

exhibition

photograph

of

the

not

is

your

exhibition

be

directly

assessed

digitally.

artworks

as

a

and

whole

You

upload

will

also

and/or

digital

be

your

les

to

uploaded,

teacher

the

IB.

although

will

Photographs

these

will

assessed.

are insucient walls in Examiners

will

view

the

digital

les

to

moderate,

uphold

or

adjust

marks

the exhibition space, awarded

by

your

teacher

(who

will

award

you

a

mark

initially

as

your

additional hanging space exhibition

is

internally

assessed).

Remember

that

your

teacher’s

mark

could be created. can

be

adjusted

For

the

after

moderation

has

taken

place.

Display panels: these can exhibition

submission,

still

or

moving

images

can

be

uploaded.

be hired, or inexpensive Your

artwork

should

be

captured

in

whatever

electronic

means

is

most

display panels can be appropriate

for

the

selected

art-making

form.

made. Panels can be

joined with steel mending

plates in lines or at right

angles with an appropriate

right-angled bracket.

A

two-dimensional

through

best

a

still

captured

screen-based

le

artwork,

photograph,

through

artwork

a

for

short

such

example,

while

as

a

lm

might

be

best

three-dimensional

recording.

animation,

captured

artwork

Lens-based,

however,

might

electronic

might

call

for

be

or

other

types.

Hanging hardware:

gallery-style hanging

All

work

submitted

tracks and hook systems

As

are useful and versatile;

resolution

picture hooks are equally

computer

images

will

are

be

must

be

viewed

not

monitor

on

needed,

at

72

clear

and

present

monitors,

large

but

the

image

pixels

per

inch.

your

image

should

be

work

les

big

appropriately.

at

a

high

enough

to

ll

a

eective. Where

Plinths: simple wooden

process

boxes, painted in a

get

at neutral colour, or

sure

clean tables are ideal

and

for displaying three-

dimensional work .

140

Section 5

it

possible,

you

yourself.

right,

the

so

work

uploaded

make

is

in

are

This

encouraged

can

sure

a

you

captured

the

be

follow

exactly

order

to

take

demanding

that

as

you

the

you

ownership

process

relevant

want,

want.

and

of

it

the

is

upload

presented

upload

vital

that

guidance,

as

you

you

make

want,

S E C T I O N

5

The two exhibition photographs Tip In

addition

photos

size

to

of

and

see

to

the

the

exhibition

scale,

the

context

and

work.

of

photos

the

of

as

individual

a

whole.

demonstrates

These

and

This

the

photographs

exhibition

the

artworks,

is

way

great

that

show

scope

a

you

your

of

you

the

should

way

to

want

include

get

the

a

two

sense

of

understanding

of

Images should be saved and

submitted with a minimum

audience

width of 1,000 pixels and

the

a maximum width of 1,500

works.

pixels. This will provide an ●

The

photographs

should

only

show

the

artworks

that

you

are

image that comfor tably ts submitting

for

assessment.

a standard computer screen

●

The

photograph

artworks

made

should

by

you

not

show

that

are

the

not

work

of

any

other

students,

or

submitting.

while holding enough detail

for an examiner to be able to

enlarge it, and will help to keep ●

The

photographs

should

not

show

any

people

(so

you

should

not

the nal le sizes smaller. be

posing

audience

in

the

photo

admiring

with

your

your

favourite

artwork,

or

showing

the

Remember that the le formats

art).

and le sizes that are deemed ●

The

views

should

be

clear

and

unobstructed.

acceptable may change from

session to session. You need

Film

to check with your teacher for Sometimes

one

example,

you

view

is

not

enough

to

accurately

show

everything.

For

the most up-to-date upload if

are

submitting

a

sculpture

and

a

single

image

does

not

information before you upload do

the

work

justice,

you

could

make

a

lm

of

the

work

or

submit

a

your work . series

have

of

images

worked

of

with

the

work

lm

or

in

a

lm

format.

Alternatively,

you

may

animation.

Section 5

141

T H E

E X H I B I T I O N

Photographing your exhibition ar tworks

Your

exhibition

Some

artworks

exhibitions

students

are

may

consist

exploring

of

include

only

other

a

wide

range

two-dimensional

alternatives,

for

of

ideas

art,

but

example,

and

formats.

increasingly

lm

and

installation.

Think

be

a

about

more

Some

of

What

about

these

Files

your

you

can

best

artworks

of

Check

for

the

documenting

may

include

include

types

way

your

exhibition

–

would

lm

format?

performance

could

artworks.

le

the

successful

still

a

or

with

require

art?

Films

lm

clip

moving

your

careful

you

of

consideration

have

the

made?

work

photographic

teacher

if

you

are

and

in

this

a

still

art?

For

image.

documentation

unsure

context.

Installation

about

of

acceptable

upload.

Advice on capturing three-dimensional ar twork

Three-dimensional

successfully

●

Video

This

les

can

space,

the

as

should

slowly

●

Film

●

When

to

at

move

the

footage

work

the

Section 5

be

still

that

for

a

still

give

length

installation

tend

as

the

not

to

the

results.

distance

work

short

sculpture

such

around

better

and

a

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the

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of

technique.

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wood

make which

make

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relief

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grain

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used

dried.

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intense

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to

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the

medium

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composition.

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marks.

requires

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binder

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refers

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paint

layers

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applied

technique

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the

of and

surface.

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media

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creating

form

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for

that

to of

artist

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effect.

technique

concerned

of

painting.

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an

quantity

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create

artist’s

so

is

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to

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refers

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on.

of

this

body

a

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and

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it

opaque

properties

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increase

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together. It

drawing

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to

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paint.

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occur

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or

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qualities

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of

other

words,

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someone

pleasure

touch.

from

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Tint:

created

by

adding

white

to

for

example,

pink

is

a

the

intensity

of

and

dark.

Shading

is

makes

into

way

tone

to

a

made

arabic

from

as

a

of binder

applying

paints

(a

natural

drawing. course,

water!

to

grain

create

a

of

relief

Wood

resin)

is

then

inked

engravings

and

are

us

lives.

gum

into

which

characterized

details.

and

cut

printed.

people’s

light

a

is

surface,

often

pigment

150

artist

onlookers

Watercolours: the

print

end

others.

red.

Tone:

relief

hard

gets

on

tint private

of

who

spying

a unseen

colour,

The

of

wood surfaces,

a

form. technique.

the

German

empty

opposite

Wood engraving: substance

Tex ture:

the

and

plus,

of

by

very

ne

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blind

Abstracted

Face

academic

honesty

acrylics

Adam

24,

and

Adobe

73

Eve

ambiguous

analysis

88,

of

brain

35,

bronze

49,

80,

81,

22,

35–6

Henri

Cartier

sculpture

buildings,

84

in

lms

annotation

Calder’s

61

42,

44,

46–7,

mobiles

call–outs

52

work

crochet

80

questioning

box

54

4

analysis

criticism

16

21

130

25

critical

93

Anime

49

complementary

creativity

64

115

10

cotton

24

127–32

20

“contrived”

corsets

of

function

convention,

27

26

contrasts

impact

contrast,

107

qualities

contextual

contour

24

appropriation

brushwork

21

47,

conict,

questions

dumping/brainstorming

Bresson,

33

colours

art

(colour)

conceptual

73–4

28

thinking

Botticelli

92

55

53

land

analogous

blue

68

drawings

printing

Bloom’s

beauty

American

block

118–19

138

products

aesthetic

contour

87,

model

93

91

(coral

reef)

54

®

Apple

Keynote

appliqué

canvas

88

23,

106–107,

32,

49,

carvings

armature

art

78,

47,

visiting

80,

81,

93

19

45,

48,

49,

Leicester

interpretation

art

museums

99,

of

clay

116

photographing

presentation

provocative

84,

assessment

weighting

art

5,

39,

55,

121

iv

57,

103,

136

Francis

Banyan

Beuys,

69,

sculptures

Joseph

bibliography

referencing

black

(colour)

20

119

art

118,

11,

13,

137

30,

40–1,

42,

55

Edward

depth,

illusion

of

35

18,

19

colours

21

eld

of

27

105

panels

“Distortion

of

140

the

Human

Form”

37

contrast

documentary

21

ideas

communicating

meaning

making

domain

83–5

103

61–2,

technical

63

Dragon

and

webs

conceptual

art

conceptual

framework

Robe

drawings,

point

43,

84

53

(URL)

38

57

blind

contour

designed

73–4

118

28

Duchamp,

16–17

art

names

dresses,

104,

dry

conceptual

7,

Degas,

display

105

22

maps

99 ,

99

136

17

diptych

communicating

concept

135,

137

statement

de–saturated

49

28

comparisons,

53

58

darkness

depth

121–5

105

11,

pieces

composition

24

151

103

125–7

138

54

bibliography

art

10,

competence,

Bacon,

The’

87

89,

133,

rationale

135–6,

decorative

77,

art

documentation

Salvador

37,

89

20–1,

colour

26

criteria

Dali,

19

113

collograph

117

7,

of

116–17

33

138

collective

136

assessment

for

75,

critique

colour

assemblage

painting

of

35,

practice

curatorial

curatorial

18

Transparent,

collage

125

audience

is

17,

visions

collaborative

130

142

sculptures

133,

coherence

53–5

obvious/literal

size

Brothers’

34,

35

47

curatorial

class

80

32,

21

cityscape

72

hegemony

signicance

curation

37

17

86

cultural

culture

26

27

cultural

Cézanne

Chinese

41

on

58,

curatorial

‘City

table

41,

23

citation

inuence

24,

function

40,

79

forms

art–making,

6,

37,

38,

23

sculpture

childhood,

80

32

voice”

art–making

artwork

33,

37,

19,

ceramics

30,

13

107

Nouveau

“artistic

cast

chiaroscuro

icons

art

30,

16,

hatching

Cubism

Mali

Chapman

98–9

Gallery,

art

Art

49,

viewpoints

galleries,

Art

from

35,

eastern

cross

27

60

64

26

analysis

art,

18,

Henri

24

Makonde

118

architecture

cropping

25

Cartier–Bresson,

23

appropriation

art

surface

Marcel

duplication

of

26

work

75

129

practice

60

70

editions

emboss

26,

27

23

Index

153

embroidery

emotion

engravings

etching

Gage,

23

and

meaning

27,

Gaudi

of

work

72,

experimentation

gaze

88

and

skills

process

exhibition

and

27,

with

A

mean

Gormley

criterion

C

127–32

Gramsci

criterion

D

133,

digital

135,

grey

136

140–2

exhibition

documents

exhibition

photographs

selecting

exhibitions

31,

visiting

Pump”

99,

hands

9,

94–5,

head

137–8

a

49,

experiments

to

7,

lazuli

in

the

Air

evidence

76–7

10

hue

model

lino

112

102,

Mali

107,

human

form

10,

distortion

16–17

McFee,

of

53,

102,

108–10

24–5,

interesting

feedback,

negative

77,

icons

82

53,

ideas,

87

56,

June

King

metacognition

Mexican

107

developing

26,

51

60

70

87

15,

88,

90

18

revolutionary

mezzotint

100

47,

6

metaphor

failures,

63

20

metalanguage

30

38,

23

medium/media

55

37,

19

Matisse

122

30,

60

woodcarvings

materials

51

body

21

sculpture

58,

carving

mass

118

90

condition

86

28

mark–making

138

human

35,

28

colour

Maori

human

74

d’Avignon

20

printing

41,

140

33

images

24

17–18

Makonde

107,

91

132

89

David

64

13

lithography

17

23,

20,

45

work

media

Demoiselles

line

59,

scarves

horse

98–9

Bird

138

experimentation

life

40,

hardware

homage

48,

on

46

20

33,

own

blue

Les

105

12,

Hockney,

135

139

45,

“Experiment

led

work

hatching

139

texts

“satellite”

eye

group

hanging

86

64

lapis

light

handwriting

artworks

31,

32,

113

1

35

30,

on

lens–based

16

Andy

(colour)

Milà

landscapes

local

133–4

space

107

99

141

18,

Pedrera’

labels

Earring,

sculptures

grotesque

submission

Daniel–Henry

33

16,

Casa

‘La

Pearl

Goldsworthy,

121–5

kimonos

La

143–50

golden

86

125–7

exhibition

78,

64

a

B

exhibition

49,

57

criterion

exhibition,

48,

108–17

glossary

92–3

rening

criterion

exhibition,

45,

appropriation

77

portfolio

reviewing

to

kinetic

32,

genres

Girl

76–7

photographic

Kahnweiler,

22

visits

98–9

28

28

evidence

John

galleries,

15

artists

28

®

feet

identity,

81

Feldman,

lm,

working

lming

ne

Edmund

owers

17,

to

‘In

intent

aspect)

irony

18

15,

49,

qualities

formal

requirements,

15,

52,

in

objects”

“fountain”

24

48

119

my

Father’

28

100–1,

13,

50,

SL

maps

127

and

HL

Jain

statue

joiners

124,

77,

136

82

Ming

Dynasty

59

modern

art,

80

monotype

movement

56

mural

art,

juxtapositioning

61

133

54

35

27

27

33

16,

18,

31,

45

35,

36,

55

33,

37,

40,

61

of

to

art

45,

48,

49,

119

136

88

66

visits

debate

135,

vase

Edvard

museums

3

77,

84

beginnings

monoprint

Munch,

105

“justify”

43,

107

monuments

art

54

format

42,

modernists

14

of

mind

Murakami

judging

71

of

PowerPoint

mini–exhibition

51

journal

“found

129

failures

art

59

141

interpretation

19

formal

Index

90,

Microsoft

117

processes

interiors

89

analysis

forms

125,

size

interesting

use

of

mortality

House

114

formal

fresco

the

intaglio

71

154

images,

142

42

foreshortening

(3–D

and

imagery

105

141,

27

fonts

form

illness

93

27

charts

focus

with

sculptures

art

ow

Burke

sense

narrative

negative

netsuke

art

53,

space

24

115

16

78

41

66

I N D E X

note

taking

nudes

14,

attitudes

86,

to

observational

oceanic

oil

skills

opaque

22,

110

104

128

Sphere’

paint

109,

117

forms

‘Oceans

criteria

46

73,

76–8,

criterion

B

78–82,

criterion

C

82–5,

93

self–portraits

93

Self–Portrait

D

85–7,

criterion

E

88–90

puppet

24

orientalism

Pye,

paint

22,

painting

24,

patina

paying

PDF

for

les

art

88,

7,

art

of

Art

40,

96

media

photographic

records

photographing

own

142

work

77,

of

photographs,

photography

9,

plane

27,

35,

18,

40,

ritual

Jean

research

positive

72,

86,

138

124

John

107,

109,

24,

89,

84,

65,

25,

8,

71,

119

76–82,

Art,

assessment

48

38

6

26

26

The

artists

123,

34

17,

23

124

relationships

124

language

15 ,

90

17,

114

25

129,

132

62

technical

88–9

18,

in

progress’

22,

26,

Brothers’

141,

54,

68,

wire

30,

37

text,

142

73,

74

104,

125–7

51

89

25,

texture

22–3

33,

57

relationships

103,

thought

47,

24

textiles

‘Three

56

70

24–5,

adding

themes

91

material

competence

techniques

thematic

142

46

marble

and

practice

28

‘work

feedback

technical

72

99

Gormley

with

32

tempera

lming

Jain

90–3

portfolio,

forms

documenting

70–1,

Boiled

42,

114

sculpture

teacher

75,

12,

displays

72

51,

portfolio

29,

Chapman

119

27–8,

with

40–1,

23

sculpture

tattoos

72

88–9

115–16

Museum

synthesizing

91–2

screenprinting

sculpture

130

46–7

19

12,

Art

symbolism

139

21

77

16

107

18,

sunowers

45

screenshots,

111

38,

reliability

16,

of

44,

16

scanners

schematic

47,

3-D

printmaking

20,

ideas

30,

paint

Story

42,

140

spray

88,

24

117

73

subject–specic

16

69,

122

Ian

space

stylistic

59

exhibitions

saturation

scale

space

sources,

street

134

thirds

Ruskin,

41

50

66

Construction

style

Donald

“satellite”

24

97,

presentation

process

of

40,

35–8

85–6,

screens

art

mural

“Soft

stone

79

96

screen–based

postmodernism

printing,

rule

of

39,

15,

55,

annotated

18,

still–life

styles

33,

socle

steel

53

35

Points’

30,

81,

support

17

106,

59,

Stedlijk

56

19

105

86,

predictable

artworks

28

referencing

researching

Rodney,

140

62,

self

process

religious

reviews

110–12

process

icons

33

130

portraits

of

religious

141

78

Jackson

polyptych

Art

26,

6,

Ernest

18,

children

exhibition

Pablo

Pollock,

Pop

printmaking

resolved

115

plagiarism

between

representation,

2

artworks

plinth

relief

Renoir,

74

photographing

photographs

art

Beans”

87

123

Museum

photographic

Pignon,

85,

relationships

of

41

picture

85–6

reecting

aspects

26

86

128

sociopolitical

17

Palette

25

skin

23

rening

21

in

in

111

117

Formal

Siqueiros

48

readymade

55

91–2

Philadelphia

Picasso,

silk

83

97,

with

theme

shock

31

art

55

75

issues

Sklarsky,

19

philosophy

shell

19

raking

phenomenological

colour

‘Seven

53

47

William

quilting

26

perspective

sensitive

sketches,

Chinese

23,

of

self–plagiarism

92

25

24–5

painting,

art

theatre

purposes

34

92

criterion

provenance

25

25

self–expression

A

propaganda

128

24,

sealants

75–90

criterion

123

123

boxes

Figures

31

at

Crucixion’

the

Base

of

a

69

three–dimensional

forms

72

Index

155

time

and

motion

timelines

tonal

tone

17,

Victoria

21

18

translucent

trees,

19,

130

transcriptions

23,

107,

phrases

triptych

106,

118

video

les

urinal

prints

visual

forms

Van

void

52

156

Index

33

galleries

‘Windmill,

136

exhibitions

45,

48,

49,

78,

text

balance

literacy

Duarte

89

Vincent

61

17,

35,

39,

55

Andy

watercolours

weaving

The’

cuts

engraving

wood

as

also

27,

138

105

Castle’

wood

see

129,

20

113

28

28

sculpture

26

carvings

25

‘work

in

progress’

screenshots

131

81

Xi,

Guo

22

18

memorials

Warhol,

58,

wood

wool

16,

15,

(colour)

yellow

17

20,

Museum

142

19–20,

48

Gogh,

vases

141,

museums,

and

visual

72

war

value

Albert

white

107

‘Windsor

viewpoints

Vitória,

Ukiyo–e

websites

61

98–9

68

105

two–dimensional

and

138

and

9

60,

appropriation

video

visiting

24

photography

trigger

diagrams

Vermeer

contrast

tondo

Venn

23

42

23

33

130

24

22

Yoshitora,

Utagawa

52

77

VISUAL

ARTS

Written by leading workshop leaders and IB educators, this course book fully

Authors

unpacks and explains the assessment components and requirements through a

Jayson Paterson

highly visual approach. Guiding learners through each assessment task, a wealth of

Simon Poppy

case studies contextualises the assessment criteria, building assessment potential.

Andrew Vaughan

Tips and key terms throughout the book support students’ understanding of the

expectations and terminology of art, building student confidence.

Oxford course books are the only DP resources developed with the IB.

This means that they are:

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The most comprehensive and accurate match to IB specifications

➜

Written by expert and experienced workshop leaders and teachers

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Packed with accurate assessment support, directly from the IB

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FOR FIRST ASSESSMENT

IN 2016

A highly visual approach that includes

numerous examples of students’ work

Case studies and tips throughout the book to

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