2014 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 2014 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 2014 Higher School Certificate Visual Arts examination
- the marking guidelines
- 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:
- demonstrating an understanding of Chihuly’s material and conceptual practice
- analysing the source material
- referencing links between 2D and 3D forms
- providing descriptive interpretations of how materials work as a system of signs, symbols and codes
- interpreting ideas from the works, such as volcanic eruptions, natural disasters, lava, evolution, galaxies, planetary systems and natural life cycles, including the fragility and unpredictability of nature.
Candidates need to improve in these areas:
- moving beyond descriptions of subject matter and visual qualities to address the demand of how ideas inform the artist’s practice
- interpreting carefully the source material to derive inferences about Chihuly’s practice.
Question 2
Candidates showed strength in these areas:
- using the cultural frame to investigate different stylistic characteristics of the artworks in relation to cultural trends and meanings of artworks across time and place
- making connections between the artists’ use of changing technologies, differing styles and media relative to time and place
- understanding the tradition of still life as an enduring genre
- referencing the source material to help establish the context of the artworks through a thorough investigation of time and place.
Candidates need to improve in these areas:
- understanding that artworks change over time due to cultural shifts and technological developments
- applying interpretive skills that are supported by relevant and selected source material
- using appropriate visual language to support judgements
- developing a comprehensive understanding of the cultural frame.
Question 3
Candidates showed strength in these areas:
- using the source material selectively to demonstrate knowledge of the conceptual framework and the interactive nature of the relationships between the artist, artwork and world in explanations and analyses of Mombassa’s artworks
- recognising that the agencies of the artworld are inextricably related
- articulating the distinction and interdependence of Mombassa’s interpretative and representational accounts of his world, through links/connections between the agencies of the artworld
- analysing how Mombassa engaged in interpreting and representing his world rather than simply stating what he investigated and what he used
- providing conclusions that are convincing culminations of judgements.
Candidates need to improve in these areas:
- demonstrating knowledge of the conceptual framework as an expanded field of investigation
- understanding the relationship and mutual significance of the agencies of the artworld
- articulating a stated position with an understanding of the conceptual framework, supported by an appropriate use of visual language
- referencing source material and selectively linking it to the demands of the question, rather than presenting a descriptive account with unsupported interpretations.
Section II – Practice
Question 4
Candidates showed strength in these areas:
- positioning material practice as significant and fundamental to communicating ideas in artmaking
- discussing stylistic traditions and ideologies of conceptual art within a postmodern context
- challenging the notion of the artist as master and sole creator
- acknowledging that artworks can be materially realised through a collaborative approach, such as outsourcing, or by employing technology
- analysing the role of audience as contributing to artists’ practice and the extension of a concept.
Candidates need to improve in these areas:
- establishing arguments that focus on significance, as stated in the question, as integral to the discussion of conceptual and subsequently material practice
- developing a holistic and comprehensive understanding of what practice entails
- moving beyond descriptive accounts of the artists’ backgrounds and/or experiences.
Question 5
Candidates showed strength in these areas:
- defining practice in terms of both the conceptual and the material while referencing the historical context of examples within the artworld and justifying why they are multi-sensory
- addressing the interrelationship of artists’ conceptual intentions and material explorations in the creation of a multi-sensory experience to have an impact on an audience and transform audience perceptions
- demonstrating an extensive knowledge of contemporary practices
- analysing relevant examples to construct and support an informed argument
- examining and deconstructing a range of artworks from the history of art through a postmodern critique.
Candidates need to improve in these areas:
- moving beyond the description of material practice in the analysis of artworks and examining the conceptual intentions of practice that shape the audience’s experience of the artwork
- giving greater consideration to an artist’s conceptual practice to illustrate how artists provide and shape multi-sensory experiences for an audience
- distinguishing between the impact of an artist’s sensory experience in their practice and the use of practice to create a multi-sensory experience to engage an audience
- discussing ways that artists use technologies to create multi-sensory aspects in their work that aesthetically and conceptually challenge an audience.
Section II – Conceptual Framework
Question 6
Candidates showed strength in these areas:
- examining the significance of the artists and/or artworks as a persuasive agent of change and provocation
- articulating an understanding of how artworks operate as vehicles of expression to communicate social concepts in reference to global events and issues
- effectively referencing the quote and using both contemporary artists and historical references to provide an examination of artists as social, aesthetic and political observers
- linking the embedded analysis of the artworks to demonstrate an understanding of how art critiques social circumstances and events.
Candidates need to improve in these areas:
- identifying and addressing all parts of the question
- acknowledging the demands of the question, in this case an examination
- recognising that what can be achieved in the timeframe is important, as some responses were not complete.
Question 7
Candidates showed strength in these areas:
- supporting the viewpoint presented with relevant examples
- addressing the nature of the relationships that exist between artworks and audiences while drawing on other agencies within the artworld to substantiate an argument
- considering the quote when selecting artists whose artworks allow audiences to analyse and/or interpret meaning other than that which the artist intended.
Candidates need to improve in these areas:
- considering the complex interrelationships that exist between the agencies to demonstrate how audiences can determine meanings and conceptual ideas from artworks
- exploring the different roles that audiences, including critics, public opinion and historians, can play
- acknowledging that meaning is fluid and is open to a variety of interpretations due to the historical and cultural context of particular audiences.
Section II – Frames
Question 8
Candidates showed strength in these areas:
- presenting a multi-layered analysis of the statement, making reference to historical, traditional and contemporary approaches to artmaking
- identifying artworks within their context, acknowledging artists who have used approaches other than realism
- discussing the practice of artists who explore abstraction.
Candidates need to improve in these areas:
- identifying realism as a style rather than a subjective approach of artists conveying feelings and emotions of their own reality
- drawing out implications of the statement by acknowledging other approaches artists can make within their response
- discussing an artist’s material and conceptual practice from the viewpoint that art does not need to imitate life.
Question 9
Candidates showed strength in these areas:
- using a range of historical and postmodern examples to demonstrate knowledge of how artists and/or artworks challenge conventional methods of display
- analysing artists and/or artworks in terms of new materials, concepts and technologies
- understanding how the interpretation of artworks can change according to their context or location.
Candidates need to improve in these areas:
- examining the deliberate curatorial strategies used by artists to engage an audience
- understanding the postmodern frame and contextualising the postmodern strategies of artists
- demonstrating the significance and changing relationships of the artist, artwork and audience through the frames.
Body of Work
Ceramics
Candidates showed strength in these areas:
- exploring a comprehensive range of approaches in representing sculptural forms
- applying their knowledge of traditional and contemporary ceramic practices
- understanding diverse approaches for surface treatments and decoration
- acknowledging wide-ranging concepts such as the impact of technology, environmental concerns and references to the artworld
- applying oxides, slips, stains and acrylic paint to convey a graphic and contemporary quality.
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 metallic and gloss glaze techniques
- ensuring accurate firing temperatures, particularly for glaze, underglaze and bisque.
Collection of Works
Candidates showed strength in these areas:
- synthesising a variety of forms to attain a cohesive level of standards
- integrating photomedia to both document and manipulate multiple pieces
- using and altering found objects
- demonstrating understanding of contemporary practice to assist in the curation of artworks.
Candidates need to improve in these areas:
- providing a photograph for display intentions which clearly identifies the layout instructions
- meeting the size limitations, particularly for audiovisual components
- understanding the importance of refinement and curation within the body of work.
Designed Objects
Candidates showed strength in these areas:
- developing works that demonstrated innovative multidisciplinary approaches to design, such as architectural plans, models and product designs
- transforming found and manufactured materials into an array of wearable objects and jewellery
- exploring contemporary and innovative approaches for unique and distinctive craft practices, such as armour design and corsetry.
Candidates need to improve in these areas:
- understanding that the inclusion of a mannequin, as a method to display wearable objects, is in breach of subject rules.
Documented Forms
Candidates showed strength in these areas:
- demonstrating an increasing awareness of the selection of paper stock in relation to photographic images
- integrating an understanding of emergent technologies within contemporary practice
- applying titles to works that acknowledge an audience and create a connection to the submission
- pushing boundaries beyond a literal, conventional approach to installation.
Candidates need to improve in these areas:
- providing a readable photograph of the set-up with clear display instructions
- ensuring that the duration of a film component adheres to the course requirements when submitted as part of a documented form.
Drawing
Candidates showed strength in these areas:
- exploring the concepts of fantasy, the subconscious, personal and cultural identity, and the built environment
- demonstrating knowledge of mark-making and the use of traditional and non-traditional drawing materials and surfaces to create representations
- carefully selecting images to reflect curatorial intentions
- demonstrating mastery of drawing techniques which are informed by a particular style or approach
- understanding the importance of selection, moderation, experimentation and innovation within drawing practice.
Candidates need to improve in these areas:
- ensuring that layout and display are clearly communicated and carefully considered
- understanding how titles may enable further interpretation and insight
- ensuring that materials selected are sympathetic to the ideas and approach explored within the submission.
Graphic Design
Candidates showed strength in these areas:
- demonstrating awareness of graphic design conventions such as illustration, poster design, typography, logos and cartooning
- applying a selective use of photographic and graphics programs
- acknowledging wide-ranging contemporary graphic design practices
- showing clarity when conveying and communicating concepts in a particular stylistic approach.
Candidates need to improve in these areas:
- understanding how to combine images and text in order to convey information and ideas
- demonstrating knowledge of paper stock, surface finish and image scale.
Painting
Candidates showed strength in these areas:
- exploring the power of colour for impact
- exploring the physicality of paint, from subtle wash layers to thickly impastoed surfaces and gestural techniques
- engaging with painting as a vehicle for social commentary
- investigating the conventions of historical genres with an increased use of oil-based painting techniques
- using non-traditional grounds, such as hessian, velvet and acrylic perspex.
Candidates need to improve in these areas:
- ensuring that submissions stay within the size limitations set for individual works and whole submissions
- providing clear instructions for display and the attachment of ‘pink cards’ in an upright position or orientation
- understanding that when multiple art forms are submitted, they should be carefully curated.
Photomedia
Candidates showed strength in these areas:
- using digital post-production such as Photoshop, Lightroom and HDR filters to ensure that image quality was optimised
- showing an awareness of file management in terms of size and file type
- acknowledging contextual references to traditional and contemporary photographic practice
- understanding the camera craft of studio and natural lighting techniques, as well as electronic flash.
Candidates need to improve in these areas:
- understanding digital image quality when printing the submission, with particular consideration of the image resolution size, type of file, quality of paper stock and printer
- ensuring effectively edited and refined imagery through careful post-production
- demonstrating knowledge of paper stock and qualities of surface finish
- understanding the importance of image focus, clarity and exposure to ensure consistency.
Printmaking
Candidates showed strength in these areas:
- demonstrating a mastery of techniques, particularly lino relief printing
- investigating representations through unconventional techniques, including embossing and Riso printing
- extending material practices and conceptual intent through sculptural extensions that include lighting, collage and paper weaving, and stop-motion animation
- developing compositions from drawn and/or photographic sources prior to the construction of the plate or block.
Candidates need to improve in these areas:
- providing clear set-up instructions for multi-panelled works
- exploring the ways in which the selected material practice is in synthesis with conceptual decisions.
Sculpture
Candidates showed strength in these areas:
- using audio, video, lighting and projection components innovatively to extend ideas
- demonstrating practices including freestanding works, frontal works, relief works, assemblages, hanging works and installations and the inclusion of plinths, bases and cabinets of display
- submitting multiple and singular forms to best represent the intentions of a body of work
- demonstrating an awareness of natural or engineered surface qualities
- applying wide-ranging concepts such as the impact of consumer culture, environmental concerns, globalisation and celebrations of the animal world
- exploring the uses of a range of recycled objects/materials, including plastics, computer components, salvaged timbers, musical instruments, polystyrene, cardboard, paper and books.
Candidates need to improve in these areas:
- calculating the volume of three-dimensional artworks, including space, to meet course requirements
- understanding how to make references to traditional and contemporary sculptural practices where appropriate
- showing clear instructions for the display of the body of work, when required
- understanding how the synergy between the materials, subject matter and form, when these are successfully combined, creates meaning.
Textiles and Fibre
Candidates showed strength in these areas:
- mastering a range of traditional textile practices, including stitching, crocheting, knitting, embroidery, quilting, beading, knotting, ruching and weaving to create visually engaging surfaces
- creating dynamic works using threads and fibres that replicate effects in other expressive forms, such as painting and drawing
- employing traditional fabric treatments, such as stamping, relief and screen printing, and hand painting, in combination with digital technologies, to embellish surfaces and communicate concepts.
Candidates need to improve in these areas:
- integrating contemporary artworld practices that include or reference textiles and fibre.
Time-based Forms
Candidates showed strength in these areas:
- demonstrating an understanding of DSLR camera craft and post-production techniques
- exploring the crafting of film through camera angles, point of view, lighting and sound
- acknowledging the appropriate application of editing techniques, such as parallel editing, jump cuts, subtle transitions and multiple viewpoints
- demonstrating the acknowledgement of film genres and cinematic conventions
- using post-production software and techniques to ensure that concepts were articulated.
Candidates need to improve in these areas:
- understanding the importance of storyboarding and scripting to construct a succinct and refined film that unifies content and conveys the conceptual intention
- demonstrating the crafting of film or animation through refinement in production to achieve believability of performance, editing, duration and intended genre
- understanding the importance of titles and credits, in particular for the recognition of sources of sound and images.
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