2013 Notes from the Marking Centre – Visual Arts
Introduction
This document has been produced for the teachers and candidates of the Stage 6 Visual Arts course. It contains comments on candidate responses to the 2013 Higher School Certificate examination, highlighting their strengths in particular parts of the examination and indicating where candidates need to improve.
This document should be read along with:
- the Visual Arts Stage 6 Syllabus
- the 2013 Higher School Certificate Visual Arts examination
- the marking guidelines
- Assessment and reporting in Visual Arts
- Visual Arts – frequently asked questions
- Advice for HSC students about examinations
- other support documents developed by the Board of Studies, Teaching and Educational Standards NSW to assist in the teaching and learning of Visual Arts in Stage 6.
Written examination
Section I
Question 1
Candidates showed strength in these areas:
- using the structural frame in their discussion, well supported by the subjective frame, while others used the cultural frame
- examining Hiroshige’s ability to communicate dramatic action supported by the integration of symbolism and visual and emotional qualities
- analysing audiences’ responses in terms of their experiences and emotive interactions with the artwork
- providing descriptive interpretations of emotive narratives, referencing themes of contrasting lines and movement, power in nature and the compression of perspective, all alluding to visual tension and dramatic action.
Candidates need to improve in these areas:
- developing responses that are interpretive and supported by evidence, rather than listing obvious features of the source material
- moving beyond describing subject matter and visual qualities to address the demand of ‘how’ a dramatic sense was achieved
- interpreting citations to explain how material choices and processes are linked to the creation of dramatic action.
Question 2
Candidates showed strength in these areas:
- identifying aspects of artist practice significant to the material choice of the painter, Euan Macleod, and photographer, Ilse Bing
- demonstrating informed knowledge about techniques, processes and expressive properties of each artist’s chosen medium
- analysing the conceptual and symbolic representation of the artists’ identity and perception of self through the ‘Self-portraits’, using interpretations that were supported with reference to the plates
- using source material to establish the context of the artworks.
Candidates need to improve in these areas:
- identifying the demands of the question in demonstrating an understanding of the interrelationship of both the material and conceptual nature of practice
- using the plates and citations to establish significant points of discussion
- synthesising historical facts that may have influenced or informed the practice of the artist.
Question 3
Candidates showed strength in these areas:
- using the source material to demonstrate a thorough knowledge of the conceptual framework and the interactive nature of the relationships between the artist, artwork, world and audience, in an explanation of Calatrava’s practice
- making substantiated and well-reasoned inferences about the nature of Calatrava’s artwork
- making interpretations that were imaginative and insightful evidencing connections between the agencies of the art world
- understanding the interrelationships of the audience, artwork and world, inferring convincingly that the audience engaged with their personal and wider worlds recalling past experiences and emotions when visiting the museum
- explaining the artwork in terms of materials, aesthetic qualities, sculptural architecture and functional form.
Candidates need to improve in these areas:
- referencing the source material selectively to link to the demands of the question to elaborate how connections between the agencies of the art world are evident, rather than presenting a descriptive account with unsupported interpretations
- increasing knowledge of the conceptual framework as an expanded field of investigation
- using relevant and appropriate visual language to support their response.
Section II – Practice
Question 4
Candidates showed strength in these areas:
- presenting multi-layered arguments informed by themes developed from case studies and supported by close analysis of artworks and art critical writing
- having a clear awareness of the agencies of the art world as a means to elaborate on the nature of practice
- demonstrating an enriched understanding of the practice of artists, art critics and/or art historians
- successfully explaining practice as an artist’s intention, influence and material choices
- making sophisticated relational links between the notions of change in art practice as being contextual to time as well as influenced by past and contemporary theories on art, stylistic conventions, sociocultural ideals and issues, and technological innovations.
Candidates need to improve in these areas:
- building an interpretive argument that moves beyond more generalised descriptions of artworks and identifies the relationship between the cause (why) and effect (how) as a means to generate insightful and layered commentary on art practice
- developing an understanding of practice which is considered as more than a progression of actions or stylistic trends as a result of time passing. Consideration of practice can also extend beyond a linear narrative of Western art history to include other cultural accounts of practice
- identifying the key terms and demands of the question.
Question 5
Candidates showed strength in these areas:
- defining practice in terms of artists’ conceptual intentions, material manipulations and the context which informed their artmaking
- referencing the art world, the audience and particularly the postmodern and cultural frames
- using examples to support how artmaking practices have been redefined in art history. Reference was made to current contemporary practitioners who challenged conventional forms of representation, and sociocultural ideas and issues were also considered
- presenting discussions about contemporary practice that were multifaceted in constructing comprehensive arguments about how artists redefine the boundaries of practice.
Candidates need to improve in these areas:
- discussing contemporary artists who challenge traditional forms of representation, moving beyond a description of material practice
- giving consideration to how conceptual practices, as well as social and cultural issues, redefine the boundaries of artistic practice
- providing evidence to support an argument that moves beyond descriptions of an artist’s work to the construction of analytical interpretations that redefine the boundaries of practice.
- addressing the question in terms of how boundaries have been redefined, supporting with a discussion that uses appropriate examples to interpret changes in artmaking practice.
Section II – Conceptual Framework
Question 6
Candidates showed strength in these areas:
- interpreting the quote to link analysis of artworks and artists’ material and conceptual practice, well supported by explicit reference to specific periods, styles and/or themes
- identifying and differentiating between the agencies of the art world, articulating relationships established with the audience in terms of different perspectives and viewpoints such as context, ideologies, events and issues
- developing multi-layered responses that identified relationships between artists and audiences through an appropriate selection of artworks.
Candidates need to improve in these areas:
- linking analysis to specific agencies of the conceptual framework, through a detailed examination of a range of artists, specific works and art movements
- demonstrating a broader knowledge of artists’ practices and intentions by elaborating on audiences’ viewpoints and perspectives
- undertaking detailed and specific analysis of artworks so as to be less generalised and descriptive.
Question 7
Candidates showed strength in these areas:
- presenting arguments that demonstrated a depth of knowledge and a detailed understanding of relevant examples to explain and support the viewpoint presented
- addressing the interrelationship of the agencies of the art world in complex and insightful ways while drawing on other content areas where appropriate to the argument
- utilising relevant prompts as supplied with the question to select artists whose practice, intentions and methods of artmaking could be analysed and interpreted in relation to their use of public places to connect with audiences or transform a site.
Candidates need to improve in these areas
- considering all aspects of the conceptual framework and its interrelationships to create more complex and layered responses to demonstrate how artists shape audience reactions to their work
- exploring more fully the intention of artists in an analysis of the roles the artworks they create play in public spaces
- discussing how a public space may be defined or classified and the way space is used by contemporary artists to aesthetically and conceptually establish a discourse with an audience.
Section II – Frames
Question 8
Candidates showed strength in these areas:
- positioning the quote by Hopper within a discussion so as to clearly identify the characteristics of visual language
- discussing selected artworks in a knowledgeable manner through the structural frame with acknowledgment of the audience as vital recipients of this communication
- discussing how artists communicate within broad contexts: historical, cultural and/or personal.
Candidates need to improve in these areas:
- developing the analysis of artworks beyond descriptive interpretations
- considering all aspects of the question, including how artists communicate concepts and by explicitly referencing the statement
- examining and contextualising specific signs and symbols that facilitate communication.
Question 9
Candidates showed strength in these areas:
- establishing a point of view in relation to the ways artworks document cultural narratives
- analysing artworks and locating them within historical and/or contemporary culture
- appreciating and understanding that artworks and their meanings are subject to influences and beliefs from the time and place they were produced.
Candidates need to improve in these areas:
- differentiating between each component of the question – 'represent' and 'document' were at times treated as interchangeable terms
- embedding the analysis of artworks within understandings of specific cultural contexts
- using frames as an analytical device for communicating insights about artists and their works.
Visual Arts Practical
Ceramics
Candidates showed strength in these areas:
- understanding sculptural forms
- applying knowledge of traditional and contemporary forms
- understanding varied surface treatments
- applying wide ranging concepts such as the impact of popular culture to explorations of the human condition
- applying glaze, oxides, slips, stains, paint, etc.
Candidates need to improve in these areas:
- using diagrams or photographs to assist in the display or curation of the body of work
- showing moderation when using acrylic paint on surfaces
- ensuring accurate firing temperatures, particularly for glaze and underglaze as well as bisque.
Collection of Works
Candidates showed strength in these areas:
- understanding the importance of refinement and curation within the body of work
- submitting fewer works, but of a higher standard
- understanding and making references to artists’ practice and the art world generally
- incorporating digital technology
- applying the practices of painting and drawing within the body of work.
Candidates need to improve in these areas:
- calculating volume of three-dimensional artworks, including space, to meet course requirements
- ensuring measurements of size and volume for the body of work are accurate prior to submission along with the duration of time-based components
- showing clear instructions for the display of the body of work (if required)
- understanding selectivity and moderation across material practice.
Designed Objects
Candidates showed strength in these areas:
- transforming found and manufactured materials
- using creative machine stitching
- employing digital technology
- demonstrating an awareness of contemporary design practices
- exploring diverse concepts and narratives such as journeys, pertinent social issues, costume and fashion, gender, the environment, advertising and consumerism.
Candidates need to improve in these areas:
- calculating volume of three-dimensional artworks, including space, to meet course requirements.
Documented Forms
Candidates showed strength in these areas:
- understanding contemporary practice and emergent technologies
- demonstrating an awareness of the role of the audience within the body of work
- using practices such as installation, performance and documentation
- demonstrating mastery of technique in constructing a book
- demonstrating an understanding of time-based forms within a body of work.
Candidates need to improve in these areas:
- giving titles to works that provide an opportunity for the audience to interpret works on numerous levels
- providing clear instructions for the display of the body of work (if required) in order to reveal a knowledge of curatorial practice.
Drawing
Candidates showed strength in these areas:
- understanding the relevance of popular culture, contemporary illustration and street art
- having knowledge of the portrait as well as figurative imagery
- making curatorial judgements in the selection of imagery for submission
- expressive mark making across a diverse range of drawing materials
- exploring the concepts of relationships, intimate worlds, emotions and psychology.
Candidates need to improve in these areas:
- understanding the importance of a layout of a photograph of the body of work if an arrangement is required for viewing
- ensuring size limitations are met for submissions
- ensuring the selection of drawing materials and surfaces are sympathetic to ideas being conveyed within the body of work
- understanding that the overt use of photographs as source material should always be carefully considered.
Graphic Design
Candidates showed strength in these areas:
- understanding the use and potential of photomedia
- demonstrating knowledge of historic and contemporary graphic styles along with periods of art
- understanding the role and influence of typography
- integrating Eastern and Western graphic conventions
- demonstrating knowledge of traditional drawing techniques.
Candidates need to improve in these areas:
- understanding the correct and relevant choice of paper stock and corresponding surface finishes
- understanding file sizing for all digital images in relation to printed output and workflow.
Painting
Candidates showed strength in these areas:
- understanding and using oil paint
- understanding and referencing European art historical canons with the reconfiguring of specific artworks in a contemporary context
- demonstrating an understanding of and interest in portraiture, figuration, still life and Vanitas traditions
- providing a representation that showed an awareness of global political concerns, refugees, migration and multicultural perspectives
- experimenting with surface to articulate personal viewpoints across abstract works.
Candidates need to improve in these areas:
- ensuring that size limitations for the body of work are met
- ensuring the attachment of the ‘pink card’ in an upright position prior to submission
- providing clear instructions for the display of the body of work (if required)
- understanding the importance of selectivity and curation within the body of work
- understanding the importance of refining brushwork in order to improve technical proficiency.
Photomedia
Candidates showed strength in these areas:
- demonstrating an understanding of traditional analogue photographic practice including pinhole, photogram, polaroid and 35 mm film
- demonstrating an understanding of the influence of social media aesthetics and the use of iphonography, instagram, smart phone applications and post-production filters such as tilt shift
- having an awareness of low light photography
- understanding post production and workflow in programs such as Lightroom & Photoshop
- understanding DSLR camera craft.
Candidates need to improve in these areas:
- understanding and considering paper stock along with printing
- understanding the potential of post-production and picture editing
- integrating book components that extend ideas rather than repeating imagery and ideas.
Printmaking
Candidates showed strength in these areas:
- being aware of monoprinting and digital printmaking processes
- understanding lino relief printing and dry point etching techniques
- applying multiple plates across an edition of prints
- understanding and handling varied formats in printing works: panoramic, intimate, small and large scale.
Candidates need to improve in these areas:
- making discerning curatorial decisions in determining work for inclusion in the submission
- investigating conceptual and material practice that can assist both technical proficiency and innovation.
Sculpture
Candidates showed strength in these areas:
- understanding how the innovative use and integration of audio and video components extend ideas
- demonstrating practices including freestanding, frontal and relief works, assemblages, hanging works, installations and cabinets for display
- understanding the importance of refinement and curation within the body of work
- submitting single works
- understanding and using diverse recycled objects/materials including plastics, computer components, salvaged timbers, musical instruments, foam, cardboard, paper and books.
Candidates need to improve in these areas:
- calculating volume of three-dimensional artworks, including space, to meet course requirements
- ensuring measurements of size and volume for the body of work are accurate prior to submission
- showing clear instructions for the display of the body of work (if required)
- increasing knowledge of traditions and innovations throughout sculptural practices
- understanding how the synergy between the materials, subject matter and form, when successfully combined, create meaning.
Textiles and Fibre
Candidates showed strength in these areas:
- using material textile practices that were informed by a sound understanding of contemporary practice
- understanding traditional techniques such as stitching, appliqué, knitting, crocheting, quilting, beading and embroidery
- printing digitally on textile surfaces
- demonstrating an awareness of the possibilities of surface technique and manipulation.
Candidates need to improve in these areas:
- considering the relationship between the choice of mark making and the selection of fibres and materials.
Time-based Forms
Candidates showed strength in these areas:
- demonstrating an understanding of DSLR camera craft and considering the audio component
- displaying discernment towards camera angles, continuity and emotive viewpoints to convey key ideas
- demonstrating knowledge of film conventions
- using editing software that provided seamless, fluid transitions of scenes that fitted the intent and pace
- demonstrating mastery of technique in production and post-production values as well as ensuring that concepts were clearly and subtly conveyed.
Candidates need to improve in these areas:
- understanding and applying animation programs and stop motion
- increasing awareness of the layering and application of sound to unify the film
- understanding the critical importance of the script and storyboard in order to establish a clear narrative or artistic intention in the submission
- using the tripod in a considered way
- understanding the importance of titles and credits in their submissions, especially for the recognition of sources of sounds and images.
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