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2015 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 2015 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:

Written examination

Section I

Question 1
Candidates showed strength in these areas:

  • identifying how, rather than what, aspects of the Modernist period are communicated through Goncharova’s choices of symbols
  • articulating an understanding of selected aspects of Modernism supported convincingly with an understanding of structural qualities in the work
  • providing descriptive interpretations of abstract representations that differ from traditional styles of painting
  • referencing appropriate 20th-century world events that had an impact on social change and new technologies.

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 descriptions of subject matter and visual qualities to demonstrate how the artist references aspects of Modernism
  • carefully interpreting the source material to derive inferences about the artist’s work.

Question 2
Candidates showed strength in these areas:

  • using the source material appropriately to demonstrate a thorough knowledge of the conceptual framework and the interactive nature of the relationships between the artist, artwork and site
  • demonstrating an understanding of how artworks can engage and prompt responses from an audience through interactivity
  • presenting an understanding of how artists’ intentions shape an audience’s interpretation of sites and artworks
  • providing perceptive explanations of specific characteristics of the artworks in relation to their sites and potential audiences.

Candidates need to improve in these areas:

  • presenting well-supported inferences that recognise that the relationship of the agencies of the art world are inextricably related
  • referencing source material and selectively linking it to the demands of the question, rather than presenting a descriptive account with unsupported interpretations
  • articulating a stated position with an understanding of the conceptual framework, supported by an appropriate use of the source material
  • presenting strong critical judgements in terms of explaining ‘how’ Denevan and Kapoor engaged their audiences with their works and chosen sites.

Question 3
Candidates showed strength in these areas:

  • analysing Swoon’s choices, actions and decisions in terms of her material and conceptual practice which provided an informed and perceptive discussion about aspects of Swoon’s contemporary practice and/or contemporary practice from the wider world of art
  • presenting strong critical arguments in terms of analysing ‘how Swoon’s choices evidence contemporary practice’, rather than simply stating what choices she made
  • demonstrating  a multi-layered understanding of material and conceptual practice explained through Swoon’s choices in terms of its creation outside conventional modes of production
  • using the source material selectively to demonstrate a thorough knowledge of contemporary practice through the inextricable relationship between the audience and artwork
  • providing well-supported inferences that articulate a sophisticated understanding of contemporary practice.

Candidates need to improve in these areas:

  • increasing knowledge of contemporary practice in terms of the inherent relationship of conceptual investigations and material practice and the role of the audience in contemporary art
  • referencing source material and selectively linking it to the demands of the question, rather than presenting a descriptive account with unsupported interpretations
  • articulating a stated position with an understanding of contemporary practice supported by an appropriate use of the agencies of art world and visual language.

Section II – Practice

Question 4
Candidates showed strength in these areas:

  • synthesising how material decisions and/or conceptual ideas have shifted from a stated position or ideological convention to innovative as a fundamental consequence of new technologies
  • exploring a range of technological developments and avant-garde approaches across different time periods and contexts
  • defining technology as the application of innovative methods and tools that are forever evolving in society and the art world and dissolving the boundaries between human experience, localities, ideas and cultural values
  • analysing how the impact of new technologies heightens experience and acts as a conduit between artworks and audiences, in particular in postmodern practice, through interactivity and the globalising power of the internet.

Candidates need to improve in these areas:

  • establishing arguments that move beyond an analysis of the influence of technology on artmaking practice to one where change has been incited as a result of the new technology employed
  • recognising the diverse ways through which artists respond to new technologies and the complexity of conceptual intentions and material actions.

Question 5
Candidates showed strength in these areas:

  • demonstrating that practice can be understood as both material and conceptual concerns and considering and explaining the relationships that can exist between them
  • articulating an understanding of the role of the audience in determining value and meaning of artworks
  •  analysing relevant examples and the practice which underpinned  works from different  historical and cultural contexts
  • describing artworks with depth and understandings of artists’ personal experiences.

Candidates need to improve in these areas:

  • explicitly addressing the focus of the question and orienting the analysis of supporting examples from the understanding of perceptions of ‘precious’
  • demonstrating a knowledge of the multiple contexts which can inform an artist’s practice
  • considering that meaning and value can change over time and understanding that value is determined by parties other than the artist, including theorists, historians and/or critics
  • presenting layered and multifaceted approaches to what is precious in art from cultural, social, political and/or financial contexts.

 Section II - Conceptual Framework

Question 6
Candidates showed strength in these areas:

  • developing succinct investigations of the significance of artworks, both aesthetically and conceptually, as a response to key global events
  • referencing and interpreting artworks effectively with a meaningful focus towards the question
  • analysing artworks to convey complex understandings of how artists formulate meaning to an event
  • using a wide range of artists and articulating their significance in terms of an aesthetic, political and social context.

Candidates need to improve in these areas:

  • addressing a specific orientation towards the question in the response, ensuring there is an effective synthesis of the candidate’s knowledge of the agencies of the art world and their understanding of the question
  • acknowledging and identifying key words in the question such as ‘significant world events’ and clearly defining in the response what constituted an understanding within the parameters of the artists and artworks that were explored
  • applying the constraints of time available for the response and managing this time.

Question 7
Candidates showed strength in these areas:

  • interpreting the quote to examine how contemporary artists challenge traditional forms of representation and display to actively engage their audience and allow for more meaningful experiences
  • identifying the interactive, multi-sensory and immersive strategies used by contemporary artists, giving consideration to how the experience of the audience determines the meaning of artworks
  • developing a multi-layered response that used a sophisticated knowledge of artists and artworks to support an argument that identified the agencies of the art world, articulating how relationships with the audience are strengthened through strategies of display.

Candidates need to improve in these areas:

  • addressing all aspects of the question, including how contemporary artists engage audiences by moving beyond more conventional forms of display by explicitly referencing the quote by Henson
  • examining the complex interrelationships that exist between the agencies in order to create more in-depth and layered responses that go beyond descriptive interpretations to examine the particular strategies used by contemporary artists to engage audiences
  • identifying the experience of the audience as significant in determining the historical and cultural meaning of artworks.

Section II – Frames

Question 8  
Candidates showed strength in these areas:

  • demonstrating a complex understanding of non-representational art investigated through knowledge of modern, conceptual and contemporary artistic practice
  • explaining the significance of examples demonstrating intentions of artists and artworks whose meaning reflects subjective aspects of the world
  • identifying artworks within the context of non-representation, acknowledging a range of artists and art movements and styles.

Candidates need to improve in these areas:

  • making explicit their understanding of non-representational and discussion of relevant examples to support this understanding
  • connecting non-representational to ideas communicated to an audience
  • identifying the practice of an artist that acknowledges the context of the artworks.

Question 9
Candidates showed strength in these areas:

  • demonstrating substantial knowledge of how artists can use satire, humour and playful ideas in artworks to comment on society
  • demonstrating knowledge of postmodern strategies to communicate ideas about society
  • providing a succinct investigation of artworks in relation to the question.

Candidates need to improve in these areas:

  • understanding the postmodern frame and contextualising within postmodern strategies of artists
  • selecting appropriate examples  that address the question and elaborating upon their point of view
  • identifying and defining satire, humour and playful ideas within artworks and what they communicate about society.

Body of Work

Ceramics

Candidates showed strength in these areas:

  • employing a range of building techniques to represent sculptural forms
  • demonstrating inventive hand-built constructions that deal with concepts of family, organic forms, environmental issues, cultural motifs and popular culture
  • demonstrating refinement in surface treatment of forms through the painterly application of under glazes, acrylic paint, slips, oxides and the subtle integration of gloss glaze
  • understanding how the textural treatment of forms links to and enhances the conceptual intentions of the work
  • successful integration and sensitive application of found objects to further ideas and the conceptual meaning.

Candidates needed to improve in these areas:

  • displaying of the body of work in a considered manner which may include diagrams or photographs
  • ensuring curatorial choices are considered within the submission of the body of work
  • investigating the material possibilities associated with ceramic construction and surface treatment.

Collection of Works

Candidates showed strength in these areas:

  • investigating and making references to the art world, agencies and artists’ practice from a range of different contexts
  • acknowledging an awareness of the role of the audience when engaging with a body of work
  • demonstrating an exploration of a variety of different expressive forms to attain cohesion in the collection
  • exploring contemporary practice to assist in the display, set up and curation of artworks in a collection of works.

Candidates need to improve in these areas:

  • including clear layout instructions and/or providing a photograph for the display of the body of work
  • understanding selectivity and moderation across material practice
  • considering the importance of curation and refinement within the body of work
  • adhering to limitations on size, duration and prohibited materials of HSC submitted works.

Designed Objects

Candidates showed strength in these areas:

  • reviving a mastery of technique and skill within traditions of jewellery
  • repurposing found and manufactured objects into inventive and well-resolved forms while synthesising meaning through the informed choice of materials
  • extending conceptual concerns by developing sculptural objects and products to accompany a range of illustrative narratives, survival kits and games.

Candidates need to improve in these areas:

  • ensuring art-world references are considered in product and architectural designs to further artistic interpretation.

Documented Forms

Candidates showed strength in these areas:

  • knowledge of the art world and key influential artists from a range of different contexts and cultural backgrounds
  • understanding contemporary practice and emergent technologies to document concepts
  • demonstrating an awareness of the role of the audience within the body of work
  • exploring a range of practices such as sculpture, installation, performance and interactive art-forms
  • showing an increasing awareness of the selection of paper stock in photographic images to support the conceptual intention of the work.

Candidates need to improve in these areas:

  • providing titles that promote an opportunity for the audience to interpret works on a number of levels
  • providing clear instructions for the display of the body of work in order to reveal a knowledge of curatorial practice
  • understanding selectivity and the importance of refinement within a body of work
  • investigating a range of different ways to approach the concept of a Documented Form that moves beyond a literal approach to installation.

Drawing

Candidates showed strength in these areas:

  • demonstrating a refined selection of and curatorial discrimination associated with a body of work
  • investigating specific ideas such as the subconscious, cultural identity, social situations as well as broader conceptual concerns related to aesthetics
  • mastering the skills, techniques and approaches associated with particular conventions, for example hyper-realistic and expressive
  • understanding of innovative and/or contemporary approaches to the practice of drawing
  • employing well-considered surfaces and drawing materials which serve to reinforce conceptual intent and compliment stylistic approaches.

 Candidates need to improve in these areas:

  • submitting a body of work that reflects sustained engagement with and investigation of representations and mark making
  • ensuring that conceptual intent and stylistic approaches are complimented by a careful selection of materials and surfaces
  • understanding how mounting drawings can affect the dimensions of the work.

Graphic Design

Candidates showed strength in these areas:

  • effective amalgamation of image and text
  • understanding  the conventions of illustration, typography and graphic design
  • disclosing effective narratives through signs, symbols and text
  • exploring graphic intensity in illustrations through stylised drawing on paper and tablet
  • acknowledgement of the rich and diverse genres of graphic design, ranging from traditional book illustrations to contemporary manga design.

Candidates need to improve in these areas:

  • investigating selection of design principles that are appropriate to the resolution of ideas and material handling
  • extending understanding of how computer programs can be used to produce sophisticated graphic imagery
  • exploring font selection and design considerations within layout of a submission.

Painting

Candidates showed strength in these areas:

  • developing complex figurative compositions demonstrating a deep engagement with the history of figuration
  • insightful investigation of artist’s practice in recontextualising style and subject matter
  • demonstrating skilful exploration of colour and surface, using traditional painting techniques and contemporary practices
  • embracing innovative practices informed by photography and digital technology
  • exploring diverse approaches to subject matter relating to personal histories, memory and cross-pollination of cultures depicted through evolving narratives.

Candidates need to improve in these areas:

  • ensuring careful placement and integration of applied objects, collaged elements and text
  • understanding how size and scale supports the concept
  • curating works carefully to ensure conceptual and material cohesion
  • considering the sequence and arrangement of multiple pieces to best represent intentions
  • applying a sealant to the back of works that use a timber ground in order to minimise warping that may occur over time.

Photomedia

Candidates showed strength in these areas:

  • an understanding of contemporary photographic practice
  • competency with camera craft, studio work and natural lighting as well as an awareness of the importance of work flow and post-production to refine images
  • discernment between paper stock which enforces the conceptual intent of the work
  • understanding and utilisation of photographic genres.

Candidates need to improve in these areas:

  • ensuring that effective and purposeful lighting and focus is applied
  • discrimination within the total submissions to include only best practice
  • using post-production to carefully edit and refine imagery
  • identifying photographic conventions which can align or challenge interpretations of the work.

Printmaking

Candidates showed strength in these areas:

  • demonstrating technical proficiency through inventive mark making, particularly in lino relief printing and dry-point etching
  • investigating concepts that synthesise with the selected material practices and processes
  • extending material investigations through inclusions such as weaving, colour roll blends, chine-collé and found objects
  • demonstrating innovation by combining diverse processes and techniques within the one image, or exploring unconventional scales and formats
  • manipulating and transforming graphic codes and conventions to enhance and inform the conceptual direction
  • providing titles that aid in the unpacking and reading of the conceptual intent.

Candidates need to improve in these areas:

  • developing clear narratives or coherent conceptual threads across the submission
  • considering the cutting or etching of the negative space as an integral component of the image when constructing a block or plate.

Sculpture

Candidates showed strength in these areas:

  • appreciating, understanding and manipulating spatial possibilities of the sculpture
  • applying appropriate choice of scale within the sculpture to engage an audience from a variety of viewpoints
  • exploring relationships between materials and form that are complementary, creating cohesion in the submission
  • considering the ways in which plinths and stands may extend material and conceptual considerations.

Candidates needed to improve in these areas:

  • calculating the volume of three-dimensional works, including negative space, to meet the course requirements
  • providing clear instructions for the display of the body of work
  • understanding how specific materials and forms can be refined to create and enhance conceptual meaning.

Textiles and Fibre

Candidates showed strength in these areas:

  • acknowledging and applying innovation and current trends in contemporary art and textile practices
  • developing visually engaging and dynamic surfaces as a result of layering fabrics, collaged materials and fibre embellishments
  • synthesising conceptual concerns through a variety of stitching techniques and their applications
  • challenging the conventions of stitching on a two-dimensional surface by developing threads and fibres into sculptural forms through a complex system of binding, twisting, overlaying and weaving.

Candidates need to improve in these areas:

  • demonstrating a high level of competence in the embellishment of surfaces through printmaking techniques and alternative methods of photographic transfer such as cyanotypes
  • providing clear instructions and/or photographs for set up of complex works with multiple and layered pieces, particularly wearable objects.

Time-based Forms

Candidates showed strength in these areas:

  • demonstrating effective synchronicity of sound, vision and continuity in the body of work
  • developing pre-production plans and scripts to optimise conceptual and technical approach of the submission
  • applying effective postproduction techniques in the montage of images and construction of soundscape
  • engaging in social media and current technology to create critical narratives.

Candidates need to improve in these areas:

  • employing greater focus towards the continuity of sound and image in relationship to the intended narrative and/or genre
  • understanding light exposure, focus and aperture when using the manual function of the digital SLR
  • exploring a greater array of filmmakers and videographers and identifying their approaches and techniques to inform art-making practice.
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