Internal assessment resource reference number VisArts/1/1 – C4
PAGE FOR TEACHER USE
2006
Internal Assessment Resource
Subject Reference: Visual Arts 1.1
Internal assessment resource reference number:
VisArts/1/1 – C4
Images and Contexts in the Artworks of
Shane Cotton
Supports internal assessment for:
Achievement Standard: 90018 version 2
Research art and artworks from Māori and European traditions and
their contexts
Credits: 3
Date version published:
July 2006
Ministry of Education
quality assurance status
For use in internal assessment
from 2006
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Internal assessment resource reference number VisArts/1/1 – C4
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Teacher Guidelines:
The following guidelines are supplied to enable teachers to carry out valid and
consistent assessment using this internal assessment resource.
Context/setting
In this activity students will study the work of a Māori artist working in a contemporary
context whose work reflects both Māori and European traditions. The focus of the
study will be the contemporary work of Shane Cotton, as it reflects traditional Māori
and European influences and subject matter.
Conditions
Students will develop their research in response to the task instructions provided by
the teacher. Students should use the resource materials made available to them in
class and at school, along with the suggested references the teacher provides to help
with further research, e.g. Internet sites, books, slides, art magazines and/or museum
resources.
Students will complete their research activity in class time and for homework.
Resource requirements
A workbook (A3 spiral bound)
Scissors, glue stick, drawing and writing materials, e.g. pencil, pen, computer
Class handouts on Shane Cotton and his work, examples of European/Colonial
and early Māori art and artefacts, other examples of New Zealand and
international fine art and popular art images
Access to further sources such as books, art magazines, catalogues, museum,
art gallery or public library (visual and written) about early New Zealand European
and Māori art and artworks.
Additional information of further teacher notes and guidance:
Suggested texts for research
Shane Cotton Foreword by Les Williams, introduction Jonathan Mane-Wheoki,
contributors Dr. Deidre Brown, William McAloon, edited by Linda Tyler, published by
the Hocken Library, 1998.
Painted Histories - Early Māori Figurative Painting by Roger Neich, published by
Auckland University Press, 1993
Māori Folk Art by Alan Taylor, published by Century Hutchinson, 1988
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Visual Arts 1.1
Achievement Standard: 90018 Version 3
Research art and artworks from Maori and European
Traditions and their contexts
Credits: 3
Contemporary New Zealand Art
Student Instructions Sheet
Purpose
In this activity you will study the work of a Māori artist working in a contemporary context whose
work reflects both Māori and European traditions. The focus of the study will be the
contemporary work of Shane Cotton, as it reflects traditional Māori and European influences
and subject matter.
Conditions
This activity involves you researching “Images and Contexts in the Artworks of Shane Cotton”
which require you to read, write and make comment about the art and artworks studied. You
will complete written research, use photocopies of relevant artworks, and drawings of your own,
to illustrate aspects of the artworks and contexts you are making comments about.
You will use resource materials made available to you in class, and other references your teacher
provides you with to help with further research, e.g. Internet sites, books, slides, art magazines
and/or museum resources.
You should use your own words – do not copy directly from other writers’ texts. If you quote
someone else, you should use quotation marks and say what book or author the quote came
from.
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Resources
You should have access to the following resources to help you complete this
research activity:
your workbook (A3 or A4 spiral bound)
scissors, glue stick, drawing and writing materials, e.g. pencil, pen, computer
class handouts on Shane Cotton and his work; information and examples of
European/Colonial and early Māori art and artefacts; other examples of New
Zealand and international fine art and popular art images
Other books, magazines, a museum, art gallery or library as a resource for
further information (visual and written) about early New Zealand European and
Māori art and artworks.
Artists and topics for research as a context for Shane Cotton’s work
Artists
Kura Te Waru Rewiri
Ralph Hotere
Colin McCahon
Gordon Walters
Jacqueline Fraser
Rita Angus
Bill Hammond
Peggy Carew
Charles Heaphy
Sir William Fox
Alfred Sharpe
Topics/images/objects
Early topographical painting
Images from Rongopai Marae
(East Coast)
Plant life/climbing plants
Classical urns and pots
Tukutuku
Text and numbers
Comics
Grid formats
Variety of Māori artefacts, e.g.
tiki, waka
Gordon Walters
NOTE:
You should use relevant and appropriate terminology in all your descriptions and
responses.
Some art terminology related to Shane Cotton’s work that you could use in your
descriptions and responses are:
Format, structure, motif, the grid, text, appropriation,
symbolic image, rafter painting (kowhaiwhai), topographical
painting, silhouette, cartoon, landscape tradition, positive
and negative space, pattern making, repetition, emblem.
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TASKS:
1.
Select and paste photocopies of two examples of Shane Cotton’s paintings on a piece of A3
paper. Use a separate A3 page for each photocopy.
2.
Name and date each artwork and make notes next to each work to describe:
a) the subject matter (symbols and objects) in each painting
b) the composition (layout or format) of each painting
c) the colour and media used in each painting.
(use some of the terminology listed above to help you do this)
3.
Shane Cotton uses imagery and symbols that he has “found” from other cultures, artworks
and times. This is called appropriation and involves taking or borrowing a symbol or image
and transferring it from one context to another. For example, Shane Cotton borrows
kowhaiwhai patterns and places these in his contemporary paintings. Kowhaiwhai is a
traditional Māori art form and it is usually found inside a wharenui (meeting house), which is
its original context.
a)
Find and clearly indicate with arrows on the image, at least TWO examples from Māori
and TWO examples from European origin of “found” images/symbols or subject
matter. Explain other places where you may find these. Refer to the list of suggested
topics earlier to help you. You should have at least two examples of appropriation from
Māori Art and two from European art when you have completed this task.
b) Near each of these areas that you have indicated, make photocopies or drawings of the
original sources of these images and symbols that you have identified. Name and
identify the source as accurately as possible. For example you may find an example of
kowhaiwhai in Cotton’s work and your research should result in finding examples of
kowhaiwhai panels in a meeting house. You would then photocopy or draw these and
identify the type of pattern and original location of the panel.
c) Choose one of your selected examples of appropriation of Māori art. Explain two key
reasons why Shane Cotton would ‘appropriate’ images or symbols from another context.
What effect does this have on the meanings and ideas expressed in his art works?
Repeat this with one of your selected examples of appropriated European symbols. You
will need to research information about Shane Cotton’s ideas to help you complete this
task.
4.
a) Explain in your own words what you think the term appropriation means.
b) Select another New Zealand artist from the list provided. Make a photocopy of one of
their artworks that shows the use of appropriation. Make a written comment about
how and why this artist has borrowed imagery from another culture, or artwork or
time. You will need to research information about this artist and their work to help you
write your comments.
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Pakeha Artists
Gordon Walters
Rita Angus
Colin McCahon
Theo Schoon
Dick Frizzell
Bill Hammond
Nigel Brown
Brent Wong
Nicky Forman
Ian Scott
Colin McCahon
You should also include the following ideas:
a) Appropriation. This is where images and symbols are borrowed from one context
and used in another. This may include the use of Pakeha flags and letters by
Shane Cotton, or the use of the Koru motif by Gordon Walters.
b) Bicultural. This is where two cultures exist in equilibrium. This may be seen in the
way an artist such as Michael Parekowhai uses text in his work „Indefinite article‟
which is read as „I Am He‟ meaning in English „I am a male‟ or in Māori „I am a or
some‟ translated meaning „I am an individual or I am a part of a group‟.
c) Colour. Most cultures have strong symbolic associations for particular colours
such as white representing purity in European contexts. What colour associations
were present in the art works you investigated?
d) Media. How has contemporary Māori art been influenced by the introduction of
European materials such as paint and canvas? What modern materials (digital,
metallic) and processes have influenced contemporary artists in New
Zealand/Aotearoa?
e) Form. Traditional Māori forms are highly stylised while traditional European art
often uses naturalistic techniques such as perspective and tonal modelling. How do
contemporary Māori and European artists treat form?
f) Meaning. What are the fundamental concerns of the artists you have researched?
How do these reflect the bicultural composition and/or multicultural composition of
New Zealand society?
Dick Frizzell
© Crown 2006
Bill Hammond
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Internal assessment resource reference number VisArts/1/1_D5
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Assessment schedule: VisArts/1/1 – C4: The artworks of Shane Cotton
Evidence
Tasks 1,2,3,4
Notes, written
comment and
associated visual
information about
two artworks of
Shane Cotton are
documented.
Visual & written
information
about another NZ
artist
Judgements for achievement
Judgements for merit
Judgements for excellence
Two Shane Cotton paintings are
identified and relevant visual and
written information has been
researched.
Two Shane Cotton paintings are
identified and relevant visual and
written information has been
researched and analysed.
Relevant visual and written
information about Shane Cotton‟s
paintings has been researched in
depth.
Symbols/images appropriated
from both Māori & European
contexts in Cotton‟s work are
identified & commented on using
art terminology.
Symbols/images appropriated from
both Māori & European contexts in
Cotton‟s work are identified, and
contexts explained using art
terminology to inform the analysis.
Symbols/images appropriated from
both Māori & European contexts in
Cotton‟s work are researched in
depth and contexts analysed and
explained with a depth of
understanding.
Art terminology is used with a depth
of understanding to inform the
analysis
Written comment has been made to
show a depth of understanding
about appropriation in another NZ
artist‟s work.
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Background and Influences
Media and technique
(Paste picture here)
Artist:
Title:
Date:
Formal Elements
Line
Tone
Texture
Shape/Form
Composition
Colour
Enlarge to A3 before use
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Pakeha Features
Māori Features
Meaning / Symbolism
Viewers Response
Enlarge to A3 before use
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Achievement Standard 90018 (1.1) Investigate Māori and European Art Works from Established Practice
Background / Influences
Media / Technique
1. Where and when did the artist live?
2. What is the theme? (still life, landscape,
portrait, war, love, politics)
3. Did social, political, or technological events
affect the work?
4. What is the name of this style (realism,
impressions, cubism, abstraction, pop-art,
post modernist)?
5. What other artists worked in this style?
6. Which other artists did this artist admire?
7. Has the artist borrowed any images or
objects from other artists or cultures? (this is
called “appropriation”)
8. Who did this artist influence?
9. Was the artist alone or working with a group?
1. What media is used?
2. Is the media used conventionally or has the
artist invented new techniques?
3. What tools has the artist used to apply the
media? (brushes, palette knife, rag)
4. What „approach‟ has the artist taken?
(careful, calculated, methodical, aggressive,
spontaneous, emotional)
5. Are the techniques conventional or
revolutionary? How?
6. How does the media chosen relate to the
theme and/or intention of the artist?
7. Are decorative effects created?
8. How skilful is the application of media?
9. Have new technologies influenced the use of
media (acrylic paint, digital, plastics)
(Paste picture here)
Artist:
Title:
Date:
Line
Formal Elements
Tone/Texture
Space/Depth
1. Are the lines mainly horizontal and vertical?
(this creates a calm still effect)
2. Are the lines curved or diagonal? (this
creates a moving dynamic effect)
3. Do the lines lead the eye to one point? (this
creates a central focus)
4. Do the lines go in every direction? (this
creates energy and confusion)
1. Are the tones mainly dark or light?
2. Are there strong contrasting tones?
3. What effect does the tone have on the
atmosphere and/or impact of the picture?
4. Is the physical texture smooth or rough?
(impasto)
5. Has the artists used different techniques to
create different textures?
1. Is space created by using perspective?
(linear, single point, atmospheric)
2. Is tone used to create space? (dark areas in
the background with light areas in the
foreground)
3. Are overlapping objects used to create
space?
4. Is the space deep or shallow?
Shape/Form
Composition
Colour
1. Are the forms clearly defined?
2. Is a 3D effect created by using tonal
modelling with a single light source?
3. Are objects drawn accurately, or are they
simplified and/or distorted?
4. Are the forms delicate/fragile or heavy/solid?
5. Are the shapes geometric or organic?
1. Where is the main focus/object placed?
(centre, top, bottom, left, right)
2. Is the work complicated or simple?
3. Are there objects on either side of the picture
that balance each other?
4. Is the composition symmetrical (static) or
asymmetrical (dynamic movement)?
5. Is repetition, rotation, reflection used?
6. Is geometry used to arrange objects?
1. What are the main colours used? (primary,
secondary, cold, hot, black & white)
2. Does a single colour dominate?
(monochrome = unified picture surface)
3. Are opposite colours used to create a
dramatic effect? (simultaneous contrast)
4. Are the colours bright or dull?
5. How do the colours relate to the theme?
6. Are the colours realistic?
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PAKEHA FEATURES
MĀORI FEATURES
Colour
Media
Materials
Technique
Context
Colour
Media
Materials
Technique
Context
Paint
Application
Meaning
Purpose of
Art
Approach
Imagery
Composition
Anatomy
Perspective /
Space
Full range of colours - Bright bold colours
Oil paint, acrylic, metal, plastic
Canvas
Brushes, glazes, casting,
Private art in homes - Public art in galleries
Owned by individual or institution
Blending, shading, scumbling
Personal expression, social commentary, religious, political
Entertainment, social commentary, provocation.
Education back in the middle ages
Culture for the privileged few - Political activism (McCahon)
Innovative new ideas for every work – must be original
Naturalistic – Anatomy and perspective correct
Abstract – geometric non-figurative
Balanced in subtle sophisticated ways with hidden
underlying structures
Correct anatomy
Sometimes made more perfect = Idealised
Sophisticated techniques including linear and atmospheric
perspective used to create the illusion of pictorial depth
Paint
Application
Meaning
Purpose of Art
Approach
Imagery
Composition
Anatomy
Perspective /
Space
Black, white and red - Natural sources – clay, charcoal
Traditional – flax, wood
Wood, natural materials
Carving, Weaving
Art exists in a social context such as a Marae
Owned by community
Flat colour (Kowhaiwhai)
Ancestry, Whakapapa, Māori Mythology – Tells a story
Education – Tell stories – record of the past for society
without written records – Integral part of everyday life for
everyone
Follows established custom for forms and meaning
Stylised – Whakairo – patterns contain meaning
Abstracted – Kowhaiwhai – patterns derived from nature
Often symmetrical – graphic balance of positive and
negative
Figures distorted to show relative importance of head and
other parts
Not invented – Flat patterns and abstract designs
Meaning / Symbolism
Personal Response
1. What is the picture about (theme, story, and narrative = specific event
like a battle, shipwreck or legend)
2. What effect is the artist trying to produce in the viewer? (shock,
entertainment, calming, emotional)
3. Is the artist trying to educate us about an issue?
4. What objects has the artist included and what do they symbolise or
represent? (eg a dove can symbolise peace)
5. Is the picture a personal subjective response or a detached view?
6. How has the artist used formal features to help communicate their
message? (colour, tone, shape, line, texture, composition)
7. How does this picture show the relationship between art and society?
1. List three things you like about this picture.
2. List three things you don‟t like about this picture.
3. How would you describe the picture? (exciting, beautiful, peaceful,
impressive, inspiring, shocking, ugly)
4. What do other people think about this picture? (friends, family,
teacher, art historians)
5. Do you think this is a significant picture? Why?
6. What aspects of this painting would you like to use in your own
work?
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Internal assessment resource reference number VisArts/1/1 – C4
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© Crown 2006
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Internal assessment resource reference number VisArts/1/1 – C4
PAGE FOR TEACHER USE
NAME:____________________________________
Visual Arts 1.1 Achievement Standard: 90018 Version 3
Research art and artworks from Maori and
European Traditions and their contexts Credits: 3
Contemporary New Zealand Art
Evidence
Task 1,2,3a
2 x examples of
Cotton‟s art analysed
Achievement
Definition of
appropriation & key
reasons by Cotton
would use this
Investigate information
relevant to selected
Māori and European art
works from established
practice.
Investigate information
relevant to selected
Māori and European
art works from
established practice.
Provide evidence of the
investigation, which
includes art terminology,
to comment on art
works in relation to their
context(s).
Provide evidence of the
investigation, which
includes art terminology,
to inform an analysis
of art works in relation to
their context(s).
Provide evidence of
the investigation,
which includes art
terminology, to
demonstrate a depth
of understanding and
inform an analysis of
art works in relation to
their context(s).
Second New Zealand
artist analysed
COMPLETED:
© Crown 2006
Achievement with
Excellence
Investigate information
relevant to selected Māori
and European art works
from established practice.
Identified minimum of 2
European and 2 Maori
references & original
context
Task 3c,4a & b
Achievement with
Merit
Achievement Criteria
FEEDFORWARD:
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Internal assessment resource reference number VisArts/1/1 – C4
PAGE FOR TEACHER USE
POSSIBLE GRADE:
DATE:
NAME:____________________________________
Visual Arts 1.1 Achievement Standard: 90018 Version 3
Research art and artworks from Maori and
European Traditions and their contexts Credits: 3
Contemporary New Zealand Art
Achievement
Achievement Criteria
Achievement with Merit
Achievement with
Excellence
Investigate information
relevant to selected Māori
and European art works
from established practice.
Investigate information
relevant to selected Māori
and European art works
from established practice.
Investigate information
relevant to selected Māori
and European art works
from established practice.
Provide evidence of the
investigation, which
includes art terminology, to
comment on art works in
relation to their context(s).
Provide evidence of the
investigation, which
includes art terminology, to
inform an analysis of art
works in relation to their
context(s).
Provide evidence of the
investigation, which
includes art terminology, to
demonstrate a depth of
understanding and
inform an analysis of art
works in relation to their
context(s).
COMMENTS:
GRADE:
TEACHER:
© Crown 2006
RE-SUBMISSION:
DATE:
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