SUPERVISOR TO ATTACH PROCESSING LABEL HERE

Figures

Words

STUDENT NUMBER Letter

Victorian Certificate of Education 2013

ARTWritten examination

Thursday 14 November 2013 Reading time: 9.00 am to 9.15 am (15 minutes) Writing time: 9.15 am to 10.45 am (1 hour 30 minutes)

QUESTION AND ANSWER BOOK

Structure of bookSection Number of

questionsNumber of questions

to be answeredNumber of

marks

A 4 4 25B 2 2 25C 2 2 25

Total 75

• Studentsarepermittedtobringintotheexaminationroom:pens,pencils,highlighters,erasers,sharpenersandrulers.

• StudentsareNOTpermittedtobringintotheexaminationroom:blanksheetsofpaperand/orwhiteoutliquid/tape.

• Nocalculatorisallowedinthisexamination.

Materials supplied• Questionandanswerbookof16pageswithadetachableinsertforSectionAQuestions1,2and3

andSectionBQuestions5and6inthecentrefold.• Additionalspaceisavailableattheendofthebookifyouneedextrapapertocompleteananswer.

Instructions• Detachtheinsertfromthecentreofthisbookduringreadingtime.• Writeyourstudent numberinthespaceprovidedaboveonthispage.

• AllwrittenresponsesmustbeinEnglish.

At the end of the examination• Youmaykeepthedetachedinsert.

Students are NOT permitted to bring mobile phones and/or any other unauthorised electronic devices into the examination room.

©VICTORIANCURRICULUMANDASSESSMENTAUTHORITY2013

2013ARTEXAM 2

SECTION A–continued

Question 1 (3marks)Howisshapeusedasaformalelementinthefirstartworkillustratedonpage1oftheinsert?

Question 2 (3marks)Howisspaceusedasaformalelementinthesecondartworkillustratedonpage1oftheinsert?

SECTION A

Instructions for Section AAnswerallquestionsinpeninthespacesprovided.

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SECTION A–continuedTURN OVER

Question 3 (8marks)Refertopage2oftheinsert.Comparethemeanings and messages ofthetwoartworks.

2013ARTEXAM 4

SECTION A – Question 4–continued

Question 4(11marks)Usethepersonal analytical frameworktointerprettheartworkillustratedopposite.• Howdoyouthinkthisworkmightreflecttheartist’spersonalfeelings?

• Howdoyourespondtothisworkpersonallyasaviewer?

Yourinterpretationmustincludereferencetotheartworkillustratedandtothecommentarythatdescribesit.

5 2013ARTEXAM

END OF SECTION ATURN OVER

29.5×26.5cm

JamesEnsor,My Portrait with Masks,oilonpanel,c.1936

CommentaryEnsorpaintshimselfsmiling,asifsharingaprivatejokewiththeviewer.Hisquietandreservedappearancecontrastswiththeexaggeratedexpressionsofthemasks.Theframingofthepaintingmakesitdifficulttotellwhetherheispaintingthemasksorwhethertheyarerealmasks.ThemasksaresimilartothemasksthatEnsor’sparentssoldintheirsouvenirshopwhenhewasaboy.Theyseemtobelaughingathimnow–anoldmanpaintingapictureofhimselfattheendofhiscareer.

Photograph:V

incentEverarts

2013ARTEXAM 6

SECTION B – Question 5–continued

Question 5 (15marks)Refertopage3oftheinsert.Usetheformal analytical frameworkandthecultural analytical framework todiscussthedifferentwaysinwhichthetwoartistshaverespondedtothedepictionofnature in art.Youranswermustincludereferencetotheartworksillustratedandtothecommentariesprovidedbelow.

Commentary on artwork 1: Frederick McCubbin, Lost, 1886Thethemeofthelostchildwasverypopularatthetimeofthispaintinginthelate19thcentury,sinceitreflectedthecommonwhite-AustralianfearofthedangerousnessoftheAustralianbush.Thefigureofthegirlisdwarfedbythetreesinawaythatsuggeststhatsheisoutofplaceandoutofherdepthinthiswild,naturalsetting.Abrokentwigintheforeground,however,suggestsacluethattheadultsearchpartywill usetofindandrescueherfromthenaturallandscape.

Commentary on artwork 2: r e a, PolesApart 2(a), 2009ThephotographreframesMcCubbin’spainting,Lost,fromacontemporaryIndigenousAustralianperspective.Theartist–fromtheGamilaroi/WailwanpeoplesofNewSouthWales–playstheroleof thelostchildinMcCubbin’spaintingandisdressedina19th-centurydresstraditionallywornatfunerals. Bywearingahistoricalcostume,theartistconveysherstruggletocometotermswiththehistoryof white-Australiancolonisation,itsdisplacementofIndigenouscultureanditsimpactonthenaturalenvironment.

Formal analytical framework

SECTION B

Instructions for Section BAnswerallquestionsinpeninthespacesprovided.

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SECTION B–continuedTURN OVER

Cultural analytical framework

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SECTION B – Question 6–continued

Question 6 (10marks)Refertotheworkillustratedonpage4oftheinsertandtotheideasraisedinthecommentariesbelow.

Imaginethatyou are the third member of a judging panel decidingwhetherornottobuythisworkforapublicartgallery.

Doyouthinkthisworkshouldbepurchasedforthegallery?

Givereasonsforyourpointofview.

Commentary 1Panel member 1:Thegalleryshouldcertainlybuythiswork.MurakamiisarenownedcontemporaryartistwhoisdevelopinganinnovativeformofwearableartmadeincollaborationwiththeFrenchluxurybrand,LouisVuitton.Thisworkchallengesourassumptionsaboutwhatartisanditscartoon-likedesignappealstomanypeople.Itiseasytoappreciateanditisfun,particularlyforyoungpeople,whoshouldbeencouragedtofeelmorewelcomeinpublicartgalleries.Notallarthastobeintellectualtobevalid.

Commentary 2Panel member 2:Thegalleryshouldnotbuythiswork.Greatartshouldchallengeusandmakeusthinkaboutthemajorissuesoftoday.Sure,thedesignonthejewellerycaseiscute,butitisnotaseriousworkofart.Itisadisposableconsumerproduct,madeinafactory,tobesoldtothepublic,ratherthanauniqueartworkmadeforaestheticreasonsbyanartist’sownhand.IfIwanttoseeajewellerycase,thenIwillgotoashoppingcentre,nottoapublicartgallery.

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END OF SECTION BTURN OVER

2013ARTEXAM 10

SECTION C – Question 7–continued

Question 7 (12marks)Discusshowoneartworkmadeafter1970thatyouhavestudiedthisyearcanbeinterpretedinmorethanoneway.

Usetwoanalytical frameworkstointerprettheartwork.

Artist’s name

Title of artwork and approximate date

Analytical framework 1

Analytical framework 2

SECTION C

Instructions for Section CAnswerallquestionsinpeninthespacesprovided.

11 2013ARTEXAM

SECTION C–continuedTURN OVER

2013ARTEXAM 12

SECTION C – Question 8–continued

Question 8 (13marks)‘Artcreatesdiscussionanddebate.ʼ

Respondtothisstatementwithreferencetoanartissuethatyouhaveexploredthisyear.Supportyourpointofviewbyincludingadiscussionof

• atleastoneartwork• atleasttwocommentariesonart.

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TURN OVER

END OF QUESTION AND ANSWER BOOK

2013ARTEXAM 14

Extra space for responses

Clearly number all responses in this space.

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TURN OVER

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Ascriptbookisavailablefromthesupervisorifyouneedextrapapertocompleteyouranswer.Pleaseensureyouwriteyourstudent numberinthespaceprovidedonthefrontcoverofthescriptbook.At the end of the examination, place the script book inside the front cover of this question and answer book.

1 2013 ART INSERT

Insert for Section A Questions 1, 2 and 3, and Section B Questions 5 and 6

Please remove from the centre of this book during reading time.

SECTION A – continuedTURN OVER

42.2 × 32.8 cmHenri Matisse, The Clown, colour stencil print, 1943

150 × 180 cmFra Angelico, The Annunciation, tempera on wood, 1433–1434

Artwork for Section A Question 2

SECTION AArtwork for Section A Question 1

2013 ART INSERT 2

END OF SECTION A

Artworks for Section A Question 3

37.3 × 37.2 cm Diane Arbus, The King and Queen of a Senior Citizens’ Dance [full title: Their numbers were picked out of a hat. They were chosen King and Queen of a Senior Citizens’ dance in New York City, Yetta Granaf is 72 and Charles Fahrer is 79. They have never met.], gelatin silver print, 1970

142.6 × 111.8 cmSir Edwin Landseer, Queen Victoria and Prince Albert at the Bal Costumé [fancy dress ball] of 12 May 1842, oil on canvas, 1842–1846

Due to copyright restriction,this material is not supplied.

3 2013 ART INSERT

SECTION B – continuedTURN OVER

115.8 × 73.9 cm Artwork 1: Frederick McCubbin, Lost, oil on canvas, 1886

SECTION BArtworks for Section B Question 5

100 × 92 cmArtwork 2: r e a, PolesApart 2(a), C-type photograph, 2009

Due to copyright restriction,this material is not supplied.

2013 ART INSERT 4

END OF INSERT

Artwork for Section B Question 6

18.5 × 16.3 × 7 cmTakashi Murakami for Louis Vuitton, rigid box panda jewellery case, silk-screen print on canvas with Louis Vuitton monogram, brass, leather, internal mirror, limited edition, 2003