VCE Studio Arts Units 1–4: 2017– Web viewhandbook provides curriculum and assessment...

VCE Studio Arts Units 1–4: 2017–2021 ADVICE FOR TEACHERS

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

ISBN: 978-1-925264-43-2

© Victorian Curriculum and Assessment Authority 2016

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ContentsIntroduction......................................................................................................................................1

Administration..................................................................................................................................1

Developing a course........................................................................................................................1Employability skills..........................................................................................................................4Resources......................................................................................................................................4

Assessment......................................................................................................................................4Scope of tasks................................................................................................................................6

Units 1 and 2..................................................................................................................................6Units 3 and 4..................................................................................................................................7

Authentication..................................................................................................................................8

Learning activities..........................................................................................................................10Unit 1: Studio inspiration and techniques.....................................................................................10Unit 2: Studio exploration and concepts.......................................................................................15

Unit 3: Studio practices and processes........................................................................................19Unit 4: Studio practice and art industry contexts..........................................................................24

Unit 3: School-assessed Coursework (SAC): Sample approach...............................................27

Unit 4: School-assessed Coursework (SAC): Sample approach...............................................29

Performance descriptors...............................................................................................................31

Appendix 1: Employability skills..................................................................................................33

Appendix 2: Studio Process Flow Chart......................................................................................34

Appendix 3: Exhibition spaces sample template........................................................................35

Appendix 4: Art industry contexts sample template..................................................................37

Appendix 5: Art industry contexts sample template..................................................................38

Appendix 6: Sample time allocations...........................................................................................39


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

The course developed and delivered to students must be in accordance with the VCE Studio Arts Study Design 2017–2021.

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

Teachers must refer to these publications for current advice.

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

Graded Distributions for Graded Assessment can be accessed at: www.vcaa.vic.edu.au/Pages/vce/statistics/subjectstats.aspx

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

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

For Units 1 and 2, teachers should select assessment tasks from the list provided. Tasks should provide a variety and the mix of tasks should reflect the fact that different types of tasks suit different knowledge and skills and different learning styles. Tasks do not have to be lengthy to enable a decision about student demonstration of achievement of an outcome.

In Units 3 and 4, assessment is more structured. For some outcomes, or aspects of an outcome, the assessment tasks are prescribed.

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Practical and research componentsThe practical component of the study supports the student’s art making through the application of a studio process. Students plan and discuss ideas in an exploration proposal that is used to support the development of ideas. In Units 3 and 4 students discuss and evaluate thinking and working practices throughout the studio process.

It is vital that student research informs the practical areas, as this offers depth and context to support stronger and informed studio practice.

Exploration proposalAn exploration proposal is required in Unit 2, Area of Study 1 and Unit 3, Area of Study 1. An exploration proposal is written prior to the commencement of the individual studio process.

Unit 3: Exploration proposal

The suggested word limit (not including the work plan) for the exploration proposal is 750–1000 words. The proposal must be completed in the first three to four weeks of the commencement of Unit 3. Teachers should retain a copy of the exploration proposal and work plan after submission, for assessment and authentication purposes. Students may find that they need to make minor amendments to the exploration proposal during the studio process. Any amendments must be noted on the VCAA authentication form. The exploration proposal may be required as part of the VCAA school-based assessment audit process.

AnnotationsAnnotation is the written documentation of visual work that explains the student response to:

ideas concepts brainstorming subject matter influences use and effect of art elements and art principles application of materials and techniques working processes trials experiments refinements potential directions.

Annotation in the visual diary could include the following:

Thoughts and ideas about the concept and subject matter. Discussion of the work of artists who inspire and other sources of inspiration such as

found images. Description of and discussion about experiments, with evaluation of their effectiveness.

What was successful and can be explored further and what failed and why? Sometimes failure leads to success. Each experiment has to have a clear aim that will make the experiment easier to evaluate.

Discussion of the materials and techniques that are being explored and their selection.

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Description of and discussion about the development and application of aesthetic qualities such as the use of line, colour, texture and shape to create a specific mood or feeling.

Discussion about personal reflections on the progress and refinement of work in the studio process and clearly flagging work that will continue to be refined or has the potential to be worked through in the future.

Use of failed attempts to identify and discuss how the work will be modified in the future to produce even stronger work.

Potential directionsPotential directions need to be clearly labelled and numbered, and their effectiveness needs to be thoroughly evaluated. The potential directions need to be easily identified in the design process. Each page in the visual diary needs to be dated and numbered to keep track of the progress of the work. The studio process should be chronological.

Titles should be used to make the navigation clear by indicating each area being covered, such as exploration of subject matter, refinement of subject matter, artistic influences, aesthetic qualities.

When annotating artworks and artists, students need to consider:

The name of the artist and/or the artwork. The date associated with the artist and/or artwork. The source of the inspiration. The theme of the artwork. Relationship of theme to the student’s work. Materials and techniques used in the artwork. Dominant art elements and art principles.

All work in the individual studio process should relate to the communication of the student’s ideas as outlined in the exploration proposal. Students explore any materials and techniques they intend to use in Unit 4. Students should be discouraged from using display folders, as the student’s process should be demonstrated and not confined to ‘selected aspects’ of the process. Students may present their studio process in a digital format; however, they must provide physical evidence of any practical explorations.

Art industry contexts – gallery visitsIt is essential that students be provided with experiences where they can directly engage with artworks in the context of the environment in which they are presented. Visits to art exhibitions may be used as stimulus for the studio process, inform technical practice, support study regarding professional art practices and styles, and address Unit 3, Outcome 3 and Unit 4, Outcome 3.

To achieve Unit 4, Outcome 3, students are required to visit a minimum of two different art exhibitions.

When visiting exhibitions throughout the year, students must record information regarding the preparation and presentation of artworks, in addition to researching information about the various roles, processes and methods employed in the exhibition of artworks. Students are required to use specific artworks from exhibitions visited to demonstrate their understanding of the key knowledge.

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It is important to note that appropriate virtual exhibitions should make references to the selection of artworks, digital design presentation and curatorial considerations undertaken prior to the launch of the exhibition. Appropriate virtual exhibitions for study will provide additional online information that supports the student’s ability to address the key knowledge and key skills related to Unit 4, Outcome 3. Exhibitions and gallery spaces should be selected on the basis of giving the student the best chance to achieve the outcome at the highest possible performance. Virtual gallery spaces that simply offer an inventory of the gallery’s collection without additional curatorial or presentation information are unsuitable choices to use to achieve the outcome.

A selection of exhibition spaces, galleries and museums can be sourced from the resources list at: www.vcaa.vic.edu.au/Pages/vce/studies/studioarts/studioindex.aspx

Student use of resource materialStudents should be encouraged to undertake broad research to support their study. Students should not include teacher handouts, authentication or assessment sheets and teacher feedback in their visual diary.

The appropriate annotation and acknowledgment of all original sources must be included in all annotations throughout the studio process.

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

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

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

ResourcesA list of resources is published online on the VCAA website and is updated annually.

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

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

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As part of VCE studies, assessment tasks enable:

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

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

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

VCE assessment will be valid

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

VCE assessment should be fair and reasonable

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

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

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

VCE assessment should be equitable

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

VCE assessment will be balanced

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

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VCE assessment will be efficient

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

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

Points to consider in developing an assessment task:

1. List the key knowledge and key skills.

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

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

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

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

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

the possible need to provide a practice, indicative task the likely length of time required for students to complete the task when tasks are being conducted in other studies and the workload implications for

students.

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

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

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

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

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

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

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

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

School–assessed Coursework

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

School-assessed Task

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

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

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

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

School-assessed Coursework provides teachers with the opportunity to:

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

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

Assessment tasks should be part of the teaching and learning program. For each assessment students should be provided with the:

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

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

appropriate.

Following an assessment:

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

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

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

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

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

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

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

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

Filing of copies of each student’s work at given stages in its development.

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Regular rotation of topics from year to year to ensure that students are unable to use student work from the previous year.

Where there is more than one class of a particular study in the school, the VCAA expects the school to apply internal moderation/cross-marking procedures to ensure consistency of assessment between teachers. Teachers are advised to apply the same approach to authentication and record-keeping, as cross-marking sometimes reveals possible breaches of authentication. Early liaison on topics, and sharing of draft student work between teachers, enables earlier identification of possible authentication problems and the implementation of appropriate action.

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

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

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Learning activities

Unit 1: Studio inspiration and techniquesUnit 1 Area of Study 1: Researching and recording ideas

Outcome 1: Examples of learning activities

Identify sources of inspiration and artistic influences and outline individual ideas, art forms and aesthetic qualities, and translate these into visual language.

collect visual imagery and other sources of inspirational material, e.g. digital photographs to provide stimulus for explorations; reflect on how these sources inspire art making

investigate and research artists who express movement in their artwork; use this research to explore digital photography and the movement of athletes, and the manipulation and repetition of elements using digital technology

explore a variety of processes used to develop ideas and inspire personal responses; manipulate visual imagery to communicate a range of ideas, e.g. subtract, simplify, metamorphose, animate, combine, abstract

investigate the use of recycled or renewable objects to create new artworks; research artists who have used recycled materials in their artwork; explore the use of pattern and repetition using these objects

explore and investigate the artworks of Dada artists; use these works as inspiration and create a series of humorous satirical artworks relating to current political issues

research a range of still life artists from different periods as inspiration to create new works; create a series of images using objects of different sizes; consider depth of field, colour theory, overlapping techniques, negative and positive areas, space and the relationship between objects

explore mark-making techniques by using ink and calligraphy brushes to devise an abstract etching composition; interpret the rhythm and expression of Asian and African music as stimulus; explore text formations in Japanese calligraphy or Islamic formations

explore movement within the landscape; create a kinetic sculpture to show how this movement affects our experience of the landscape

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Detailed example

Theme: Kinetic sculptureIdea: To explore movement within the landscape and to show how this affects our experience of the landscapeConceptual possibilities: Viewing multiple objects Exploring inorganic and organic shape Understanding size and its impact Movement and the juxtaposition of shapesArt form: Mixed mediaSubject matter: The environment and the impact of humans upon itMaterials: Metal, Perspex, glass, clay, textiles, paint, lego, mixed mediaTechniques: Visualisation drawing, photographs, marquettes, assemblage, laser cutting, creation of patterns, trials, filmArtistic influences: Dieter Pilger, Anthony Howe, Miro, Shirin Abedininard, Guga Torelli, Laura Woodward, Turpin and Crawford studioVisual diary: annotations should be progressively used to document the studio process.

Unit 1 Area of Study 2: Studio practice


Produce at least one finished artwork and progressively record the development of their studio practice, conveying individual ideas through the exploration of materials and techniques in the selected art form/s.

explore patterns in nature through photography, working with both digital and analogue cameras; photograph several different patterns in a variety of lighting conditions; in the darkroom, explore printing techniques, such as solarisation, toners, split filters; in the classroom, hand-colour montages of developed photographs; manipulate and use software to create a variety of visual effects

explore a range of stencil techniques to develop a series of images that reflect a commentary on youth culture, e.g. paper stencils for one-off studios, silkscreen for mass production of works on paper, fabrics or clothing, oil painting

explore the subject matter of everyday found objects through a variety of drawing techniques and materials, e.g. oil and dry pastel, charcoal and shellac, coloured pencils

explore a variety of painting sculptural techniques to develop a series of forms based on stylised organic motifs, e.g. ceramics, wire, plaster carving, lost wax casting, assemblage

explore Dada and Surrealist collage techniques; investigate a variety of overlapping graphic compositions, e.g. swirls, cascade, grid and schematic, using found and created two-dimensional images from postcards, National Geographic magazines and other materials; scan fragments into photo software and manipulate further

continue exploration of movement within the landscape through creating a kinetic sculpture; experiment and chronicle progress in a visual diary, with annotations; create maquettes and evaluate completed artworks



Detailed example

Theme: Kinetic sculptureMaterials: metal, perspex, glass, clay, textiles, paint, lego, mixed mediaTechniques: Visualisation drawing, photographs, marquettes, assemblage, laser cutting, creation of patterns, trials, filmExperiments:1. Collect images of kinetic works and organic and inorganic shapes; look at what is aesthetic about them and

how they work within a particular environment.2. Create a series of drawings based on collected imagery. Vary the size of different shapes and draw them to

interact with each other.3, Research different techniques of building and fitting various components together to create movable parts.4. Film made shapes of various materials and show how they react within a chosen landscape.5. Trial different materials and assemble in multiple shapes and sizes; use different reflective surfaces; trial

materials to create various textures.6. Mind map how various artists have created different kinetic artworks from different historical times. Compare

the different ways artists have displayed their work within various environments. Annotate how this might influence what the student does and how it might inform their own work.

7. Record work with photographs and create maquettes to demonstrate how the sculptures move within a landscape.

8. Provide detailed written evaluation of completed artworks, discussing the refinement of ideas in a visual diary.

Unit 1 Area of Study 3: Interpreting art ideas and use of materials and techniques


Discuss the artistic practice of artists from different times and cultures, their sources of inspiration, materials and techniques for at least two artworks by each artist.

compare artworks based on a common theme, e.g. the figure, the environment, portraiture, the natural world, interiors, text and words, abstraction; consider artistic influence, cultural contexts, interpretation of subject matter, media and techniques

research artists who have explored aspects of the suburbs, such as Howard Arkley, John Brack, Jenny Watson, Dale Hickey and Stephen Haley; compile initial research in a chart under the following headings: ideas presented, sources of inspiration, artistic influence, materials and techniques; in written and visual form compare the different approaches taken to the same subject matter

research the connections between the figurative sculpture of Classical Greece and the work of artists such as Michelangelo, Rodin, Henry Moore, Alberto Giacometti, Duane Hanson, Ron Mueck, Inge King, Lisa Roet, Patricia Piccinini and Ricky Swallow; investigate the artists’ sources of inspiration and their materials and techniques

research artists who incorporate and redefine popular imagery and icons in their artwork and whose work is inspired by popular culture, contemporary society and consumerism, e.g. Andy Warhol, Jeff Koons, Fiona Hall, Robert MacPherson, Andreas Gursky and Tim Johnson

compare the wood block prints of Japanese artists and the prints of the floating world – ukiyo-e – such as Katsushika Hokusai and the prints of



Albrecht Durer; consider the influences of time and culture on the way the artists represent the narrative aspects of their printmaking and the depiction of subject matter and use of aesthetic qualities

research the way artists from different times and cultures have represented architectural forms in their artworks

research the connections between German Dada, Russian Constructivism and Neo-Dada Pop Art images; consider the connections between the times and cultures and in particular how collages and photomontages reflect the photographic materials and social climate, e.g. Hannah Hoch, John Heartfield, George Grosz, Rodchenko, Robert Rauschenberg and Richard Hamilton

consider the changing Australian identity and how it has been examined in the work of artists such as Fredrick McCubbin, Albert Tucker, Julie Dowling, Gordon Bennett, Guan Wei, Brook Andrews, Vernon Ah Kee, Adam Hill, Anne Zahalka and Max Dupain

demonstrate how a selected artist has used materials and techniques to create artworks; explore the working process from start to finish; to support further research and study of the artist and their expression of ideas, sources of inspiration and studio practice, experience firsthand how the artworks are made, e.g. follow Howard Arkley’s process: preparation of canvas cut stencils use an airbrush grid up the picture plane draw out the design block in large areas of background colours fill in areas with stencils outline shapes with solid lines



Detailed example

ART IN ARCHITECTURECompile a resource folder of artists from Australia and Europe who portray architecture in their artworks, e.g. from Australia Jeffery Smart, Howard Arkley and Callum Morton, Jan Sensberg, Rick Amor; from France Camille Pissarro and from England William Turner and Rachel Whiteread.Compile a worksheet of questions and headings that can be applied to each artist to provide a focus for student discussion and comparison.Questions for students can include, for example: What type of architecture is depicted? What inspired the artist to depict architecture in their paintings or artworks? Identify any historical or contemporary influences on the artist that may have contributed to their work. What influence does the time, place and cultural background have on the style of the artwork? What materials and techniques have been used? Have the materials and methods of creating the artwork influenced the style of the painting or artwork? What is the artwork’s purpose or meaning? Look for reviews or critiques of the artist’s work to understand how others view the work. What is your

response to the artworks? Are there any aspects of the artists and artworks you have studied that could be adapted to suit your own

artwork? Do any of the techniques used by the artists inspire you to investigate and appropriate their applications in

your own explorations? Compare the artists’ different approaches to the same subject matter, and the effects of the use of different

materials and techniques to create artworks. Review the different timeframes and cultural contexts of the artist and examine the influence on the development of a particular style.



Unit 2: Studio exploration and conceptsUnit 2 Area of Study 1: Exploration of studio practice and development of artworks


Develop an individual exploration proposal to form the basis of a studio process, and from this produce and document a variety of potential directions in a visual diary for at least one artwork.

identify sources of inspiration, ideas, subject matter, concepts research artistic influences and their use of materials and techniques

relevant to an art form explore and experiment with materials and techniques that support effective

communication of ideas use a variety of starting points to:

explore the elements of pattern and repetition present in a constructed environment as inspiration for abstract acrylic or oil paintings

explore the idea of ‘time’ through digital photography, digital manipulation and animation

capture and explore everyday routines which often go unnoticed, such as brushing teeth, opening the fridge, making coffee/tea and slipping on shoes; capture these actions through photography, draw from observation, stylise imagery and develop into a series of drawings

explore and translate natural forms into semi abstract ceramic forms explore ideas associated with living in a consumer/disposable society;

photograph, scan and photocopy objects such as mobile phones, iPods, headphones, keyboards and cables; experiment with recreating items through photocopied transferrals, montage and digital collage

explore the potential of the computer and photocopier to deconstruct, enlarge, distort, repeat, crop and minimise images taken from the landscape; review the work of artist Lindy Lee for inspiration

explore intersections between art, science and technology; consider the work of artists who have explored the human body as subject matter such as Leonardo da Vinci, Gunther von Hagens, Orlan, Stelarc, Godwin Bradbeer

simulate complex close-ups of the human form by hand-colouring with water colour pencils or applying ink washes, water colours, coffee, tea, shellac, thread, glue, paperclay segments and textured papers in various combinations

explore portraiture in youth culture through an exploration of imagery from social media using painting and drawing techniques

explore textile design and digital photography and present the finished work in different contexts or environments

Detailed example

EXPLORATION OF THE FUNCTION OF PORTRAITURE IN YOUTH CULTUREConceptual possibilities Discuss the conceptual possibilities of the theme of portraiture, including traditional and contemporary styles.

Compare the representation of portraits in figurative painting and social media. Portraiture in current society can include student photographic source material, portraiture in social media and representation of youth culture in social media.



Exploration proposal The exploration proposal can be based on the discussions. To commence the exploration proposal,

complete a brainstorming map or topic headings covering: inspiration and influences, aesthetic qualities, materials and techniques and a plan of the studio process.

Studio process Explore how youth culture uses the ‘selfie’ as a form of portraiture. Print out examples and place these in the

visual diary. Compare these images with images found that represent youth in the history of art. Collage images of youth culture found on social media with art historical images of youth culture. These collages can form the subject matter for a series of oil paintings.

Research and map out in the visual diary key examples of oil paintings from the history of art that represent youth culture. Identify, through written annotations, the similarities and differences between the paintings. Furthermore, how can these paintings influence the development of experiments for subject matter, aesthetic qualities and use of materials and techniques in the development of the student’s work? The artists researched could include Colleen Ahern, Elizabeth Peyton, Alex Katz, Marlene Dumas, Gerhard Richter, Francis Picabia, Ben Quilty, Luc Tuymans and Carol Benzaken.

Create a series of drawings based upon the images collected from social media. Make numerous drawings based upon these images and complete these drawings quickly.

Research and experiment with types of oil painting materials and techniques including tonal painting, colour mixing, monochromatic painting, reduction painting and glazing. Trial mixing colours using oil paint and colour matching of the source material; the initial drawings of imagery from social media and photographic imagery.

Trial a variety of painting surfaces, including canvas, linen, paper, cardboard, wood and found materials. Prepare the ground using gesso or rabbit skin glue.

Develop and refine the artworks through documentation in the visual diary. Evaluate the refinement and resolution of ideas expressed in the exploration proposal which are reflected in the completed artwork/s..



Unit 2 Area of Study 2: Ideas and styles in artworks


Compare a range of historical and contemporary art periods, styles or movements, and analyse the ways in which artists communicate ideas, develop styles and demonstrate aesthetic qualities in artworks.

identify the art elements and art principles utilised in selected artworks; analyse the use and manipulation of these elements in a variety of artworks, with clear reference to the aesthetic qualities

through the study of historical art periods and styles, discuss the ideas and issues that may arise when artists' work is used to make new artworks, e.g. discuss the work of contemporary artist Vik Muniz who creates new photographic interpretations of Piranesi’s Imaginary Prison etchings, using pins and string to form interpretations of the fine line work in the etchings

research and develop an understanding of appropriation, copyright and moral rights law by examining a variety of artists who use other artists’ works in the making of new artworks

select two inspirational artists related to the ideas explored in Outcome 1; select two artworks by each artist; place acetate or tracing paper over the works and identify the predominant elements and principles present in each work; in a written response, analyse and discuss the artist’s creation of the aesthetic qualities

analyse the use of aesthetic qualities in a range of artworks; devise a series of questions to stimulate discussion and analysis, for example: How does the artist’s use of colour help to convey a particular mood or

feeling? Do any colours appear to stand out more than others? What are the qualities of these colours that support their depth,

recession or protrusion? Describe the line present in the work; does the line project an emotional

response? Is the quality of line the same all over the composition? What shapes are present in the composition? Which visual features distinguish the artist’s work from other artists? What are the differences in the styles and approaches that the artists

have employed?



Detailed example

Students develop an understanding of the use of other artists’ works in the making of new artworks.Selected works ‘Las Meninas’ by Diego Velazquez (1656) and ‘Las Meninas, after Velazquez’ by Pablo Picasso (1957).Other artists who have appropriated ‘Las Meninas’ include Yasumasa Morimura and Salvador Dali.Instructions to students:Based on the selection of two artworks, consider: What ideas arise when an artist copies the work of another artist? Is this work an appropriation? Do moral rights apply to these two artworks? How would copyright regulations affect these two artworks? What style has each of these artists adopted in the creation of their artworks? When were these two artworks painted and how does the cultural and the historical period influence the

artworks? What art movement do these works belong to? How has Picasso communicated his ideas about ‘Las Meninas, after Velasquez’? How do the aesthetic qualities, art elements and art principles in the artists’ work reflect a distinctive style? How are ideas communicated in these two works? Why did the artist select another artist’s work to reproduce?A Venn diagram can be used to compare: Artists and their historical and contemporary times and different times and cultures Art elements and art principles Aesthetic qualities Times and cultures Appropriation Copyright Moral rights Communication of ideas and meanings.



Unit 3: Studio practices and processesUnit 3 Area of Study 1: Exploration proposal


Prepare an exploration proposal that formulates the content and parameters of an individual studio process including a plan of how the proposal will be undertaken.

make a list of possible topics or themes develop ideas for:

subject matter sources of inspiration relevant to individual ideas aesthetic qualities art forms, materials and techniques conceptual possibilities

research artists who have explored similar ideas and/or worked in the same art form

prepare a questionnaire as a starting point for brainstorming ideas to form the basis of the exploration proposal; include questions such as: What type of music do you enjoy and why? What was the last film you saw and what aspects do you remember? Describe a memorable event in your life Where did you grow up? If you could say something to the world what would it be? What visual techniques have you explored previously, what did you

enjoy and why? Do you have a level of interest or competence in techniques previously

explored? What materials and techniques would you like to explore further and

why? What art elements and art principles do you enjoy using?

draft ideas and share them with a partner; ask three to five questions about each other’s drafts; take turns to ask partners to describe what they understand about each other’s drafts; after peer feedback, fill in the gaps and edit the draft so that it reflects a more comprehensive understanding of the ideas and directions of the exploration proposal

use a variety of sources to review contemporary artists speaking about their work, e.g. newspaper articles, video clips, film; note their identified inspiration, sources for ideas, influence of their background and culture, use and experimentation of materials and techniques and exploratory processes; examine the content to find parallels or inspiration for developing an individual exploration proposal

visit a local exhibition to seek inspiration for creating ideas or finding a focus for materials and techniques

prepare a weekly work plan that conveys the materials, techniques, aesthetic qualities and ideas to be communicated



Detailed example

Develop the exploration proposal by using questions that cover each of the following areas. Draw these as topic headings in the visual diary: Subject Matter and Focus

What will be the focus of my work? What is the most important subject to me? How will I explore the subject matter? How will I develop the subject matter?

Sources of inspiration relevant to individual ideasUse the brainstorming maps that form the ideas that the student will explore to discuss those ideas and their relevance to particular art forms. Discuss artists that can be used as inspiration by identifying the ideas, art form, studio processes that students would like to explore. Students may also consider the relationship of the inspiration to the focus, subject matter and conceptual possibilities of their studio process.

Conceptual possibilitiesWhat ideas will I explore in my work? How can these be developed into a theme? How does the theme and conceptual possibilities relate to the art form, materials and techniques used?

Aesthetic qualitiesConsider the aesthetic qualities of the inspiration to the aesthetic qualities that the students will develop in their work. Students may wish to research particular aesthetic qualities in different art forms. Writing a description of the aesthetic qualities in inspiration work or those that the student wishes to focus on can help formulate parts of the exploration proposal.

Art forms, materials and techniquesWrite a list of art forms and the materials and techniques that can be explored with each art form. How does the art form relate to the ideas and conceptual possibilities and ideas that are outlined in the exploration proposal? How does the art form relate to specific aesthetic qualities? For example, in Photography, tone, space and light could be a focus.

Colour code and draw on relationships between these topic areas to start to formulate the exploration proposal.



Unit 3 Area of Study 2: Studio process


Progressively present an individual studio process recorded in written and visual form that produces a range of potential directions, and reflects the concepts and ideas documented in the exploration proposal and work plan.

explore the ideas of the natural environment, looking closely at the beauty of fungi, including the plant’s different shapes, colours and groupings; looking closely at repetition, develop small ceramic sculptures using different clay bodies and glazes, in particular porcelain which will create transparent luminous effects; learn to create moulds for slip casting, enabling the creation of multiple pieces that can be grouped together in an installation; explore further by photographing the sculptures in a natural environment

through digital photography capture the distortion of human forms as the body is submerged in water; translate and explore the exaggeration and distortion of form through a variety of media, with a particular emphasis on expressive mark making; explore the application of layered media, e.g. ink and oil pastel, water colour and crayon, gouache and dry pastel to capture distorted forms

explore aspects of the industrial environment by using digital photography to capture elements of the physical environment, such as factories, industrial sites, physical structures and textural surfaces; explore imagery through experimental application of media such as washes, drips and splashes of oil paint, shellac, bitumen and turpentine; layer media and recreate surfaces to develop semi abstract compositions

explore the idea of isolation through photography; experiment with the placement of an object or a figure to create an atmosphere of solitude and tension; experiment with darkroom and digital techniques to convey the specific mood

Detailed example

THE INDUSTRIAL ENVIRONMENTResearch a range of industrial and city sites through photography. The student focuses on aesthetic qualities when taking the photographs such as texture, line and colour. The photographs can be used as source imagery. From the internet, newspapers and journals, collect images related to and articles on the impact of industrialisation and globalisation on society. These can also form the basis of artworks.Research artists who focus on the theme of industrialisation, urbanisation and landscape such as Mandy Martin, Jan Senbergs, Fukiyo Nakaya, Toyo Ito, Howard Arkley, Darren Wardle, Jeffrey Smart, David Moore, David Bradley, Mondrian, Maurice Vlaminck, Andre Derain and JMW Turner. Document how the artist has approached the theme and their use of materials and techniques.Complete a series of experiments and explorations based on the techniques used by researched artists and inspired by the images that have been collected. Document the use of materials, techniques and aesthetic qualities.Select three different techniques and develop a series of small works based on the photographic inspiration and imagery. Photographs can be cropped or simplified to create abstract compositions. Document the work, focusing on the use of technique and aesthetic qualities and way these relate to the ideas that the student wants to express about the theme.Specific artworks can be identified and evaluated as potential directions that can be developed and refined in Unit 4. Works may be identified in terms of subject matter, conceptual possibilities, aesthetic qualities, materials and techniques.



Unit 3 Area of Study 3: Artists and studio practices


Examine the practice of at least two artists, with reference to two artworks by each artist, referencing the different historical and cultural context of each artwork.

research two artists and view their artworks at an exhibition; use the ‘Analysis of exhibition spaces and exhibitions’ table in Appendix 5 to select two artworks from the exhibition and record what is seen, covering all aspects of the key knowledge; develop charts under the following headings: historical/cultural context, influences, subject matter, aesthetic qualities, materials, techniques, description of style and ideas, and meaning in the artwork; use the information to formulate an extended response

develop a series of structured questions or extended responses to demonstrate understanding of the key knowledge for this outcome, responding under timed conditions

compare the working practices of two artists from different historical and/or cultural contexts; present practical demonstrations of the way the selected artists worked, with reference to at least two specific artworks by each artist, e.g. compare the drawings of French Impressionist Edvard Degas to those of Australian contemporary artist Godwin Bradbeer; list the features of the selected works, for example: Degas’ ballet dancers and horse racing works included:

traditional pastel drawing techniques drawing en plein air, drawing from life preparation of paper layering of colours textural qualities blending and rubbing use of fixative

Bradbeer’s human form and dancers included: use of chinagraph pencil with pastel and charcoal drawing from life first layer of white chinagraph pencil rubbing in of charcoal using colour to highlight specific areas, focal points using a silver spoon to rub back fixative



Detailed example

THE STUDY OF TWO ARTISTSStudents visit an art exhibition where they can study and research first-hand the work of a selected artist. Seeing the artwork first-hand provides a deeper understanding of how the artist has created the work, used materials and techniques, and developed style, ideas and meaning in the artworks. Also visiting an exhibition of artworks gives students the opportunity to select individual artworks that they will remember.Students use the ‘Analysis of exhibition spaces and exhibitions’ table in Appendix 5 to select two artworks from the exhibition and record what they see, covering all aspects of the key knowledge. Once back in the classroom, students share what they have learnt about individual artworks from their experience of the exhibition itself, as well as from other research undertaken either before or after the visit.The following headers could be used to assist in developing an understanding of the key knowledge for this outcome.Subject matterDescribe the subject matter of the artwork and explain what is happening in it.Artistic influencesIdentify and discuss who or what has influenced the artist to make the artwork.Cultural and historical contextsDiscuss the ways in which artworks reflect the cultural and historical contexts in which the artwork was created.Art practices (Art forms and their materials, techniques and processes)Identify the materials and techniques used by the artist to suggest ways in which the artist created the artwork.Art elements and art principlesIdentify and describe the dominant art elements and art principles in each artwork.Aesthetic qualitiesIdentify and describe aesthetic qualities in the artwork and how these have been created through the use of art elements and art principles.Art stylesReferencing each artwork, explain how the artist’s application of materials and techniques relates to broad traditional styles or movements of art making, as well as to the personal or individual style of the artist.Interpreting ideas and meanings in artRefer to specific examples from each artwork and provide an explanation of ideas and possible meanings.



Unit 4: Studio practice and art industry contextsUnit 4 Area of Study 1: Production and presentation of artworks


Present at least two finished artworks based on selected and evaluated potential directions developed through the studio process, which demonstrate refinement and application of materials and techniques, and that realise and communicate the student’s ideas expressed in the exploration proposal.

produce a series of ripped paper collages that translate patterns found in the built environment

create a series of digital photographs that represent beauty in everyday objects

produce a series of paper sculptures derived from the stylisation of shell and organic formations

produce three artists’ books from mono prints representing architectural elements

produce four glazed oil paintings capturing the distortion of human form as it submerges into water

create a series of six ceramic vessels that reflect classical forms; decorate using a variety of glazes to convey different aspects of the Australian landscape: dry, crazed, earth colours, water, highly glossed and crackle glazed surfaces

use a combination of techniques linked by a specific idea and concept to create an installation, e.g. project photographic manipulated images onto a high textured modrock sculptural form supported by a looped soundscape

use a combination of techniques linked by a specific idea and concept to create a creative garment construction in two pieces, bodice and skirt; present the garment in an installation of hand-printed lengths of fabric

use a range of potential directions to develop and refine a series of artworks based on the ‘Human Condition’; the potential directions indicate the conceptual focus and use of a range of techniques

Detailed example

THE HUMAN CONDITIONThese are three ideas for two finished artworks.Create a series of different sized dry point etchings that reflect crowded scenes from places you have visited and print them as one artwork, exploring the placement of each etching to enhance the presentation and communication of ideas.Create three paintings using oil on plywood. Use strong evocative lighting and fine blended brushwork in each to represent the tension of relationships. Frame each artwork with a wide border and line it with mirror, reflecting the painted image back on itself and also reflecting aspects of the viewer. The idea is to draw the viewer into the artwork, reinforcing the ideas of the human condition and how we affect each other through connections and interactions.Create two paintings using oil on plywood that have been developed from a series of created photographs which depict someone looking in on themselves from an enclosed space and looking out from an enclosed space at the viewer. The painting of a glass layer reinforces the idea of a layer between people, thus communicating ideas expressed in the exploration proposal.



Unit 4 Area of Study 2: Evaluation


Provide visual and written documentation that identifies and evaluates the extent to which the artworks reflect the selected potential directions, and effectively demonstrates a cohesive relationship between the works.

reflect upon and evaluate how selected potential directions were used to produce at least two artworks; explain how techniques and aesthetic qualties have been refined and resolved in the artworks, resulting in the realisation and communication of ideas

collect visual evidence of each artwork and evaluate it in relation to the selected potential directions and other artworks

Detailed example

Evaluate a series of dry point etchings that reflect crowded scenes from places that the student has visited.Describe the subject matter of the etchings and the relationship between them through the theme of the ‘Human Condition’. Provide examples of potential directions and discuss the relationship of these to the finished artworks. Consider subject matter, conceptual possibilities, materials, techniques, processes and aesthetic qualities. The student could discuss the relationship of each potential direction to the completed artworks.Discuss key stages in making the artwork, including initial drawings, print design, plate preparation and printing, and any further development of the etchings, such as handcolouring, chincolle or embossing. Use photographs that are annotated to illustrate these changes.Discuss the presentation of the artworks as a series, looking at the relationship between the prints, refinement of technique and how the theme of ‘the human condition’ is expressed.

Unit 4 Area of Study 3: Art industry contexts


Compare the methods used by artists and considerations of curators in the preparation, presentation, conservation and promotion of specific artworks in at least two different exhibitions.

create a series of questions based on visits to galleries that must be completed under timed conditions

create an extended question about the conservation of specific artworks in an art exhibition visited during the year

create a series of questions about the role of different people working at an art exhibition visited during the year

when viewing current exhibitions, select specific artworks; research aspects of the preparation and presentation of the artworks in the exhibition with reference to: the classification of the gallery/exhibition space, e.g. public or

commercial gallery, alternative art space or online exhibition the main characteristic of the art exhibition space the approach when displaying artworks, with reference to specific

artworks



the role of the curator, conservator, graphic designer and web designer in relation to specific artworks

how the art exhibition deals with conservation issues in relation to specific artworks

how the gallery deals with promotion and marketing, exhibitions, artists, and artworks

visit a variety of exhibitions in different gallery spaces, for example: a retrospective exhibition at a public gallery a group show at a commercial gallery a solo exhibition at an alternative art space an online curated new media exhibitionlocate current exhibitions in local areas at www.art-almanac.com.au

Detailed example

VISITING ART EXHIBITIONSStudents need to visit a variety of different art spaces. Preparing them for a gallery visit is very important.Students need to: Acquire a current copy of Art Almanac or review online at www.art-almanac.com.au/index.php?c=vic. This

monthly art periodical provides detailed information about current exhibitions across Australia with contact details for each gallery.

Research online alternative gallery spaces that are not included in the Almanac. Identify a variety of galleries in close proximity to each other. Make contact with the gallery before visiting. The size of the group may affect other visitors’ accessibility to

the gallery. Plan ahead. Discuss outcomes for the visit with gallery staff to ensure you cover key knowledge and skills. Ensure that

the students are aware of the purpose of the visit and how it relates to the study design and end-of-year examination.

Design a question sheet addressing the key knowledge and key skills of Outcome 3. An example worksheet ‘Analysis of exhibition spaces and exhibitions’ can be found in Appendix 3.

Be aware of etiquette and appropriate behaviour in a gallery space. Document the visit in relation to the key knowledge and key skills required for Unit 4. This will include roles

of public and commercial galleries, the various roles and processes of those who work in galleries, art spaces and virtual galleries and how specific artworks are presented in these spaces.

Select specific artworks to use to demonstrate key knowledge for Unit 4. Student should be able to identify artworks, name the artist and exhibition, consider the layout and design of gallery and the way this might affect how artworks are viewed, and be aware of any conservation considerations.

If visiting an exhibition online, students must document the same information that is required for visiting a gallery. Many virtual exhibitions offer additional curatorial information. Some suggested virtual gallery spaces can be found in the resource list at www.vcaa.vic.edu.au/vce/studies/studioarts/studioindex


http://www.vcaa.vic.edu.au/vce/studies/studioarts/studioindex

http://www.art-almanac.com.au/index.php?c=vic

http://www.art-almanac.com.au/


Unit 3: School-assessed Coursework (SAC): Sample approach

Outcome 3Assessment task type: Structured questions.

Decide on the conditions under which the task will be conductedThis task is worth 30 marks and constitutes 5 per cent of the study score for Studio Arts. This will be developed as one task.

Students would complete the task in 100 minutes of class time. They can research the artists and background material that covers the key knowledge and skills for the task, but they would have not have access to the questions prior to the class.

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

Design the task: Consider the five key knowledge points. The students will need to be familiar with a range

of terms covered in Area of Study 3, including practice, cultural context, historical context, influences, subject matter, art forms, materials, techniques, processes, art elements and art principle, aesthetic qualities and style.

Students should be able to examine through research, analysis and discussion the practice of at least two artists and at least two artworks covering these terms.

A teacher may select the artists and works based on a common theme or practice or a teacher can allow the students to choose the artworks and artists they study. In both cases the teacher must ensure that all students have access to quality research/resources. It is important that students see the relationship between their study of artists and artworks and their own artistic practice and, how the research can inform their own art making.

A range of artists and artworks can be used to cover all the key knowledge and skills of the outcome, including historical and cultural contexts. Therefore questions can be directed to cover different aspects of the key knowledge and skills.

The use of the term ‘examine’ in this outcome can include comparison. Students should be aware that comparison requires the study of like qualities/areas. Students can transfer their research and information into a comparison grid, which lists the terms included in the key knowledge and skills.

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



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

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

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



Unit 4: School-assessed Coursework (SAC): Sample approach

Outcome 3Decide on the task type: An annotated visual report

Decide on the conditions under which the task will be conducted

This task is worth 30 marks and constitutes 5 per cent of the study score for Studio Arts. This will be developed as one task.

Students would complete the task in 100 minutes of class time. In preparing for the outcome, teachers can provide imagery, background or related references. Students are allowed to use notes based on visits to art galleries, resources or lectures. They would be provided with a rough outline of the requirements for the report prior to the task. The requirements must allow the students to address all the key knowledge and skills for the outcome; therefore, the report must be structured so students can demonstrate their knowledge of art galleries and exhibitions.

Design the task:

Plan and set a task that allows the teacher to assess student demonstration of skills and knowledge and that differentiates between the performances of students.

In this outcome, students must identify and describe the characteristics of different types of gallery spaces visited in the year of study. They must describe and compare the methods of and intentions in exhibiting artworks in public art galleries and museums, commercial and private galleries, artist run spaces, alternative art spaces, university art galleries and museums, outdoor spaces and online galleries. Students must visit at least two of these exhibition spaces.

Students should select two of the above exhibition spaces for study and then analyse and evaluate the following:

Specific artworks and their presentation to gain an understanding of the intentions of the artist and the curator.

Curatorial considerations, exhibition design and promotional methods in preparing and presenting artwork for display.

Methods and considerations involved in the conservation of specific artworks related to exhibitions visited this year.

Once the information is collated, the use of a comparison grid (with columns for each artist and artwork) can highlight the similarities and differences between the gallery and exhibition spaces. Appendixes 3, 4 and 5 will assist teachers with their planning of this task.

Marking the task

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



Marks can be allocated for each area of the report to be covered. However, they should reflect the degree of difficulty or complexity required for each area. These, in turn, would be based on the key skills for the outcome.

Authentication

Authentication issues can be minimised if the students complete the annotated report under test conditions. As stated previously, students can be aware of the areas that will be covered in the report and can bring notes and reference material into the assessment task.

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



Performance descriptorsSTUDIO ARTS

SCHOOL-ASSESSED COURSEWORKPerformance descriptors

Unit 3Outcome 3Examine the practice of at least two artists, with reference to two artworks by each artist, referencing the different historical and cultural context of each artwork.

DESCRIPTOR: typical performance in each range

Very low Low Medium High Very highVery limited identification of historical and cultural contexts in two artworks by each artist.

Some description of the historical and cultural contexts in two artworks by each artist.

Satisfactory description of the different historical and cultural contexts in two artworks by each artist.

Detailed and relevant examination of different historical and cultural contexts in two artworks by each artist.

Comprehensive and insightful examination of different historical and cultural contexts in two artworks by each artist.

Very limited explanation of the subject matter, influences and communication of ideas and meanings in two artworks by each artist.

Some explanation of the subject matter, influences and communication of ideas and meanings in two artworks by each artist.

Adequate explanation and discussion of the subject matter, influences and communication of ideas and meanings in two artworks by each artist.

Thorough explanation and discussion of the subject matter, influences and communication of ideas and meanings in two artworks by each artist.

Comprehensive explanation and discussion of the subject matter, influences and communication of ideas and meanings in two artworks by each artist.

Very limited description of the use of materials, techniques and processes with limited reference to artworks.

Some analysis of the use of materials, techniques and processes with some references to artworks.

Appropriate and clear analysis of the use of materials, techniques and processes with references to a range of artworks.

Thorough and detailed analysis of the use of materials, techniques and processes with references to a range of artworks.

Sophisticated and insightful analysis of the artist’s use of materials, techniques and processes with detailed references to a range of artworks.

Very limited description of the artist’s use of art elements and principles that demonstrate aesthetic qualities in two artworks by each artist.

Some analysis of the artist’s use of art elements and principles that demonstrate aesthetic qualities in two artworks by each artist.

Satisfactory analysis of the artist’s use of art elements and art principles that demonstrate aesthetic qualities in two artworks by each artist.

Detailed analysis of the artist’s use of art elements and art principles that demonstrate aesthetic qualities in two artworks by each artist.

Comprehensive analysis of the artist’s use of art elements and art principles that demonstrate aesthetic qualities in two artworks by each artist.

Very limited evidence of research and very limited discussion of art practice with little use of appropriate terminology and vocabulary.

Some evidence of research and limited discussion of art practice with some use of appropriate terminology.

Evidence of satisfactory research and satisfactory discussion of art practice with adequate use of appropriate terminology.

Evidence of thorough research and detailed discussion of art practice with accurate use of appropriate terminology.

Evidence of extensive research and insightful discussion of art practice with consistent and confident use of appropriate terminology.

KEY to marking scale based on the outcome contributing 30 marks

Very Low 1–6 Low 7–12 Medium 13–18 High 19–24 Very high 25–30



STUDIO ARTSSCHOOL-ASSESSED COURSEWORK

Performance Descriptors

Unit 4Outcome 3

Compare the methods used by artists and considerations of curators in the preparation, presentation, conservation and promotion of specific artworks in at least two different exhibitions.

DESCRIPTOR: typical performance in each rangeVery low Low Medium High Very high

Limited identification of the characteristics of different types of art exhibition spaces.

Some description of the characteristics of different types of art exhibition spaces.

Satisfactory description of the characteristics of different types of art exhibition spaces.

Clear and knowledgeable description of the characteristics of different types of art exhibition spaces.

Comprehensive description of the characteristics of different types of art exhibition spaces.

Limited discussion and comparison of methods and intentions of art exhibition spaces in exhibiting artworks.

Some discussion with some comparison of methods and intentions of art exhibition spacesin exhibiting artworks.

Adequate discussion and comparison of the methods and intentions of art exhibition spaces in exhibiting artworks.

Detailed discussion and comparison of the methods and intentions of art exhibition spaces in exhibiting artworks.

Comprehensive discussion and comparison of the methods and intentions of art exhibition spaces in exhibiting artworks.

Limited analysis of the methods used in presenting artworks in different art exhibition spaces. Demonstrates a very limited understanding of the artists’ and/or gallery curators’ intention.

Some analysis of the methods used in presenting artworks in different art exhibition spaces. Demonstrates some understanding of the artists’ and/or gallery curators’ intention.

Adequate analysis of the methods used in presenting artworks in different art exhibition spaces. Demonstrates satisfactory understanding of the artists’ and/or gallery curators’ intention.

Detailed analysis of the methods used in presenting artworks in different art exhibition spaces. Demonstrates a clear understanding of the artists’ and gallery curators’ intention.

Detailed and insightful analysis of the methods used in presenting artworks in different art exhibition spaces. Demonstrates a clear and insightful understanding of the artists’ and gallery curators’ intention.

Limited discussion and comparison of curatorial considerations, exhibition design and promotional methods involved in preparing and presenting specific artworks for display.

Some discussion and comparison of curatorial considerations, exhibition design and promotional methods involved in preparing and presenting specific artworks for display.

Satisfactory discussion and detailed comparison of curatorial considerations, exhibition design and promotional methods involved in preparing and presenting specific artworks for display.

Thorough discussion and detailed comparison of curatorial considerations, exhibition design and promotional methods involved in preparing and presenting specific artworks for display.

Comprehensive discussion and detailed comparison of curatorial considerations, exhibition design and promotional methods involved in preparing and presenting specific artworks for display.

Limited comparison of the methods and considerations involved in the conservation of specific artworks with limited use of appropriate terminology.

Some comparison of the methods and considerations involved in the conservation of specific artworks with some use of art terminology.

Satisfactory analysis and some evaluation of the methods and considerations involved in the conservation of specific artworks with adequate use of comparative language and art terminology.

Detailed analysis and clear evaluation of the methods and considerations involved in the conservation of specific artworks with consistent use of comparative language and art terminology.

Comprehensive analysis and insightful evaluation of the methods and considerations involved in the conservation of specific artworks with consistent and confident use of appropriate terminology.

KEY to marking scale based on the outcome contributing 30 marks

Very Low 1–6 Low 7–12 Medium 13–18 High 19–24 Very high 25–30



Appendix 1: Employability skillsAssessment task Employability skills selected facets

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

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

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

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

Presentation of an individual studio processPresentation of artworks

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

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

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


VCE Studio Arts Units 1–4: 2017–2021

Appendix 2: Studio Process Flow Chart

STUDIO PROCESS


RESOLVE

Presentation of final artworks based on ideas expressed in

exploration proposal

EXPLORATION PROPOSAL

WORK PLAN

DEVELOPEXPLORE

REFINE

POTENTIAL DIRECTIONS

EVALUATION AND PRESENTATION OF ARTWORKS


Appendix 3: Exhibition spaces sample template

Unit 4, Outcome 3

Galleries and other public art spacesStudents need to be able to describe and compare different art spaces and what their specific roles are in terms of exhibiting artworks. Spaces include museums, community environments, public galleries, private galleries, online virtual spaces and other alternative spaces.

The Art Almanac, published each month, is an excellent starting point. It lists the monthly exhibition schedules of over 500 Australian art galleries.

Each student is to visit at least two art spaces. This table is provided to teachers as an example of how students may organise their work for this outcome.

Analysis of exhibition spaces and exhibitions

Public Commercial Other

Type of gallery/exhibition space

Name of gallery/exhibition space

Location

Unique features

Title of exhibition

Name of artist/artists

Media

Material and techniques



Processes

Identified theme/s and/or subject

Art elements

Curatorial concept

Role of the curator

Other considerations in presenting

Promoting – how was the exhibition promoted?

Marketing

Conservator – role

Public perception

Reviews

Articles

Lighting

Conservation



Appendix 4: Art industry contexts sample templateUnit 4, Outcome 3Gallery visits

ExhibitionType of Gallery

ExhibitionType of Gallery

Exhibition title

Artists and artworks represented

Description of physical space/sketch a plan on the reverse of this sheet

Roles of personnel involved in the presentation of the exhibition

Curatorial detail/exhibitions design

Methods and considerations in presenting the exhibition

Artist’s intention

OH&S issues

Conservation/Preservation

Promotion and marketing

Personal response to the exhibition



Appendix 5: Art industry contexts sample templateUnit 4, Outcome 3Factors and considerations for conservation and preservation of artworks

Light

Temperature and humidity

Pest control

Storage

Materials

Handling

Travel

Solander box

Conservator



Appendix 6: Sample time allocations

Units 1–4All units in the VCE are constructed on the basis of 50 hours of class contact time with students. Consistent with this, the following time allocation is suggested for each area of study.

Unit 1 Sample time allocation

1. Researching and recording ideas 10 hours

2. Studio practice 30 hours

3. Interpreting art ideas and use of materials and techniques

10 hours


1, Exploration of studio practice and development of artworks

35 hours

2. Ideas and styles in artworks 15 hours


1. Exploration proposal 5 hours

2. Studio process 30 hours

3. Artists and studio practices 15 hours

Unit 3, Outcomes 1 and 2, form part of the School-assessed Task.


1. Production and presentation of artworks 30 hours

2. Evaluation 5 hours

3. Art industry contexts 15 hours

Unit 4, Outcomes 1 and 2, form part of the School-assessed Task.


VCE Studio Arts Units 1–4: 2017– Web viewhandbook provides curriculum and assessment...

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