SUBTITLEDAY, MONTH, YEAR

Visual Arts SyllabusSTAGE 6COURSE OVERVIEW

LIBRARY RESOURCING

ROSEMARY GORMANBOARD INSPECTOR CREATIVE ARTSMarch, 2015

CREATIVE ARTS

Key Learning Area

There are 4 learning areas within the Creative Arts KLA inSTAGE 6:

VISUAL ARTSDANCEDRAMAMUSIC

STAGE 6 VISUAL ARTSSYLLABUS STRUCTURE: course components and content

PRELIMINARY COURSE:

STAGE 6 VISUAL ARTSSYLLABUS STRUCTURE: course components and content

HSC COURSE:

SYLLABUS CONTENT: PRACTICE

PRACTICE: ArtmakingThe student’s artmaking practice: knowledge, skills and understanding of the relationships between representation, conceptual strength and meaning and resolution including how these relationships are knowledgeably held within a Body of Work as a representation or demonstration of a student’s intentions and their developing ability to hold an interpretive position.

The artmaking practice of other artists: the social structures, positions, actions, influences and sequences that operate as a network of procedures effecting what artists do and what artists choose to represent through artmaking

The Religion of Archaeology, Saane Deyer, Mosman High School, 2014

ARTMAKING PRACTICE: THE BODY OF WORK

‘Why is it that we believe that the previous life forms archaeologists have modelled are accurate?We believe them despite being unable to go back in time and check, because of our religious belief in science.We are taught since childhood that science never lies, so science is never questioned in adulthood because of this embedded belief.I feel our belief in science has become a religion in itself.’

Saane Deyer, Mosman Daily, Sydney, 26.2.15

PRACTICE: Art criticism and art history

the practice of art criticism and art history – compliments and extends the understanding of visual arts gained in artmaking. Students learn how to evaluate and explain the significance of particular artists, artworks and audience responses and representations of the world over time.

SAMPLE HSC QUESTIONS: PRACTICE

2013 HSC EXAMINATION

VISUAL ARTS: Art criticism and art history

Section II:

Practice

Question 4 ( 25 marks)

Explain how and why practice in the visual arts evolves over time.

In your answer you may refer to artists and/or art critics and /or art historians.

Question 5 ( 25 marks)

How do contemporary artists redefine the boundaries of art making practice?

SYLLABUS CONTENT: THE CONCEPTUAL FRAMEWORK

The conceptual framework provides a model for understanding the complex and intentional functional relationships that exist between the agencies in the artworld.

The 4 agencies in the conceptual framework exist in the artworld as a network of relationships :

•The artist•The artwork•The world•The audience

ARTIST:

who is an artist, what do artists do, why and how do they do itthe practice of artists in different times and places

ARTWORK:

artworks as objects (material, physical, symbolic and virtual)artworks as systems of representation, belief and imaginationcategories of artworks; art, craft, design, 2D, 3D, 4D time based and muli-modal and digital works and including categories of genre and diversity of material practiceartwork as an outcome of practice as described by contextual circumstances related to time and placechanging interpretations and explanations of artworks over time

THE CONCEPTUAL FRAMEWORK:

WORLD:how the world is understood and represented in artincludes representations of experience class, ideology, age, events, significance, theoretical positions, ideologies and philiosophiespossibilities

AUDIENCE:as a body of critical consumers inclusive of art critics and art historians, writers, teachers, students, entrepreneurs, patrons, collectors, members of the public, gallery directors, dealers etcthe changing nature of audiences over timethe spaces where audiences are present – galleries, museums, public spaces, on line

THE CONCEPTUAL FRAMEWORK:

THE CONCEPTUAL FRAMEWORK AND THE BODY OF WORK: THE WORLD

‘I wondered what it would be like to be the last human being alive, returning to a cold and lifeless world.

It’s about humanity as a whole and a look back at the way we were.

I want to make people think about the world when they see my work.’

Thomas McDonald, Blacktown Sun, Sydney, 10.2.15'

Voyager, Thomas McDonald, Wyndham College, 2014

SAMPLE HSC QUESTIONS:

2013 HSC EXAMINATION

VISUAL ARTS: Art criticism and art history

Section II:

Conceptual Framework

Question 6 (25 marks)‘Art is not what you see, but what you make others see…..’ Edgar Degas

Examine this statement with reference to a range of examples.

Question 7 ( 25 marks)

What is the role of art in public spaces?

In your answer you may refer to events, festivals, community projects, memorials, street art, cyber works, site specific artworks and/or other examples.

The frames provide an interpretive tool or lens for understanding the layering of meaning, significance, value and belief in and about the visual arts.

THE FRAMES

Each frame assist students to understand and explain practice across time and place as well as their own art making practice. The frames orient or set up an interpretive position when approaching the practice of artmaking, art criticism and art history.

The frames acknowledge and set up distinctive relationships between the concepts of artist, artwork, world and audience that allow for a range of alternative meanings, accounts and values within the artworld.

subjective frame: personal psychological experience

cultural frame: cultural and social meaning

structural frame: communication and the system of signs

postmodern frame: ideas which challenge mainstream values of histories and ideas

THE FRAMES

THE FRAMESAND THE BODY OF WORK: STRUCTURAL FRAME

‘This sculpture required me to experiment with materials and methods I had not previously used (including alginate, silicone, bitumen and modelling compounds) a process I found enjoyable and absorbing in spite of the darkness of the subject matter.’

Alice Reti-Steel, Lithgow Mercury, 28.2.15

‘Sour Light Crude’, Alice Reti-Steel, Lithgow High School, 2014

THE FRAMES AND THE BODY OF WORK: STRUCTURAL FRAME

‘The 2010 Gulf of Mexico spill continues to affect that region, hence the oil pool in my sculpture mimics the shape of the United States portion of the north American land mass.’

Alice Reti-Steel, Lithgow Mercury, 28.2.15

‘Sour Light Crude’, Alice Reti-Steel, Lithgow High School, 2014

2013 HSC Examination

VISUAL ARTS: Art criticism and art history

Section II:

Frames

Question 8 (25 marks)‘If I could say it in words, there would be no reason to paint.’ Edward Hopper

Discuss this statement with reference to how artists communicate concepts using visual language.

Question 9 ( 25 marks)

Analyse how artworks represent and document cultural histories.

SAMPLE HSC QUESTIONS: FRAMES

Art Gallery Publications:

•AGNSW http://www.artgallery.nsw.gov.au/research /gallery-publications/•MCA http://www.mca.com.au/•NGA http://nga.gov.au/Publications/•NGV http://www.ngv.vic.gov.au/explore/publications/

KEY RESOURCES:

Data Bases:

Artstor

http://www.artstor.org/index.shtml

Oxford Art Online

http://www.oxfordartonline.com/public/;jsessionid=55731E77B808EF85693CDE47C37F8BDC

KEY RESOURCES:

Data Bases:

Useful aggregating sites:

Yale University Library

http://guides.library.yale.edu/artsdatabases

AGNSW:

http://www.artgallery.nsw.gov.au/research/tools/

UWA:

http://guides.is.uwa.edu.au/history_art

KEY RESOURCES:

Magazines and Journals:

Art and Australia

Artlink

Art Monthly

Art in America

Frieze

Art International

ArtAsiaPacific

Artforum

Artist Profile

Studio International

Flash Art

KEY RESOURCES:

Textbooks:Piper Presshttp://www.piperpress.com.au/piperpress.com.au/Art_Books.html

Ariel Booksellershttp://www.arielbooks.com.au/

TASCHENhttp://www.taschen.com/?utm_source=bingads&utm_medium=cpc&utm_campaign=taschen_uk

THAMES & HUDSONhttp://thameshudson.com.au/

KEY RESOURCES:

GPO BOX 5300

CLARENCE ST

SYDNEY, 2001

EMAIL: rosemary.gorman@bostes.nsw.edu.au

PHONE NUMBER: 9367 8161

ROSEMARY GORMAN