1.1
Outcome 2: artmaking – criteria 1
CONTENTS
OUTCOME 2: ARTMAKING
1.2
Introduction
1.3
Top Arts: Short-list for NGV Top Arts
1.4 – 1.17
Fiona Hall – Inspiration / Influences / References / Artworks
1.18 – 1.20 Units 3 & 4 2011 Assessment Criteria (VCAA)
1.21 – 1.23 DECV – Units 3 & 4 2011 Criteria Checklist
1.24
Practical Considerations
1.25
Activity 2: Student Idea Map(s)
1.26 – 1.28 Activity 3: Student Focus Statement Chart
1.29
Activity 1: Responding to Fiona Hall
SEND
1.25
Activity 2: Student Idea Map/s
1.28
Activity 3: Student Focus Statement Chart
1.29
Activity 1: Responding to Fiona Hall
1.2
OUTCOME 2: ARTMAKING
Introduction
“It seems to be one of the paradoxes of creativity that in order to think
originally we must familiarize ourselves with the ideas of others.”
George F Kneller (1965)
It is very important to reflect on the words by Kneller; in relation to your initial
generation and exploration of ideas. No one artist develops concepts or produces
artworks devoid of history or the time in which they live. To acknowledge and learn
from the experiences or thoughts by others is vital to the development of your folio.
Of equal importance are your own past experiences, ideas, interests, concerns or
attitudes as sources of inspiration towards the making of personal art responses.
Week 1, contains information that deals with Outcome 2: Artmaking. This week also
provides Units 3 & 4 Course Material and Assessment Criteria. And although it might
seem a little overwhelming with factual information you should respond to the
content covered in Week 1 during the course of the year.
1. To help you become aware of the broad approaches taken by students, you
should also visit the NGV site to view those short-listed for the Top Arts.
2. This week you are introduced to work by Fiona Hall. You should aim to
understand the diverse sources of inspiration and reference that are an
integral character to Hall’s body of work. This knowledge should provide you
with guidance and direction during the practical and conceptual exploration of
your folio of work.
3. Be aware that the VCAA Units 3 & 4 Assessment Criteria provided, refer
only to Folios that demonstrate Very High level of achievement.
4. The DECV Units 3 & 4 Criteria Checklist provides a ‘break down’ of the
criteria, as a simple yet concise outline. This list is provided intermittently
throughout the year, in relation to Outcome 2.
5. Refer to Week 16 in your Coursebook and Arts Resource CD for the list
of definitions and references for Outcome 1 & 2.
1.3
Top Arts: Students Short-listed for NGV Top Arts
The following site provides profiles and interviews of students short-listed for the
Top Arts VCE 2009 at: The Ian Potter Centre: NGV Australia:
http://www.ngv.vic.gov.au/toparts/vce2009/exhib.html
This site provides you with an excellent reference to folios by students dating back to
1999. A range of support material is provided to show the diverse approaches taken
by VCE students of art. You should become aware of the clarity in conceptual
development of ideas including the skilful and competent documentation of
innovative thinking and working practices by students.
During Week 9, DECV students will attend an excursion to The Ian Potter Centre.
This excursion will provide you with the opportunity to see VCE Art first-hand. The
experience not only highlights the consolidated artwork within the gallery space but
also offers the display of a number of folio support material and discussion by the
NGV gallery education department.
The day will also include the viewing of artworks by artists at the NGV International.
Here students will also be provided with an outline of selected artworks with a focus
on Analytical Frameworks.
In reflection, last year’s DECV students found that the excursion encouraged
communication with their peers in an informal setting. Many of the students built on
this; especially those studying from home, or if they happened to be the only student
learning by distance at their school.
Jessica Sullivan, ‘Cometes’,
(multi-media) Short-listed Top Arts, 2008
1.4
Fiona Hall (b. 1953) – Inspiration / Influences / References / Artworks
Hall originally grew up in Sydney, resided in Melbourne and Hobart, and now lives
and works in Adelaide. She travels extensively, to Europe, America and Asia, and on
occasion worked as resident artist. Expansive histories, and in particular, the
colonisation of Australia have resided in the content of her work.
Her iconographic use of metaphor and layered interrelationship of concepts and
styles, challenge the ‘traditional’ notion of the role of the artist in society.
Since 1975 Hall has embraced numerous artistic practices. Originally majoring in
painting, during the past four decades Hall has disclosed a number of art disciplines
over a substantial body of work. She has worked with the photographic medium,
involving postmodernist practice, including appropriation. In her plight to deal with
the relationship to history, her ceramics, sculpture, architecture and use of
technology transformed ordinary or discarded material. In the continuum, Hall is
influenced by diverse range of perspectives and experiences; historical and
contemporary. Her oeuvre of art is compelling in its intricacies, ‘obsessive’ attention
to detail, multifaceted visual and literal language, historical and scientific reference.
Markedly, Hall blurs artistic disciplines in her attempt to construct a relationship with
mythology, history and humankind’s relationship with nature.
Hall convincingly articulates visual conceptions, metaphors, and fact with fiction.
Her early photograph, “The Marriage of the Arnolfini, after van Eyck” (1980), is now a
part of the collection of the National Gallery of Australia, Canberra. Hall’s initial
response to photography was that it was simply; reflected light on to sensitive paper.
Her framework for such an interpretation, resided in the parallels she draws and
recognised in the popular tactile abstract style of the time. In response to this, Hall’s
work evolved from: the experimental culmination of her early composite collage and
photomontage techniques: including reproductions of historical artwork, postcards
and drawings to; the resolved polaroid snapshot. The surface plane in her work
combine a variety of visual references that are restructured to form altered
perspective and displaced imagery, not only within her work, but also with reference
to the ‘original’ artworks. Furthermore, ”The Marriage of the Arnolfini, after van Eyck”,
is simply accessible only as a ‘reproduction’ but a postmodernist implication; that art
is not a precious commodity. The original subject in van Eyck’s painting is drawn
from Renaissance history and symbolism: a portrait steeped in allegory and solemn
religious temperament, picturing a most sacred union. In response, Hall’s reference
is deliberately dislodged, to form a mocking of elite historical artworks.
O [refer to CD- ROM for colour prints]
1.5
Jan van Eyck,
“The Arnolfini Portrait”, (1434)
Hall, “The Marriage of Arnolfini after
van Eyck”, (1980)
Since the late 1980’s reworked sculptural entities and instillations emerged.
The content scrutinizing the interaction between the organic and inorganic in a
variety of context: natural environment, architectural reference and scientific
associations. Her prolific body of work, noted by critics and collected by galleries and
institutions, are testaments to the importance of Hall’s work both in Australia and
overseas.
“Occupied Territory” (1995), refers to the British colonization of Australia. Hall
focuses on the original trees that surrounded Government House. Her reference is
based on the trading items of the early nineteenth century. Consumed with historical
metaphors, Hall accounts the struggles faced by Europeans, romantic notions of
prosperity and displacement of Aboriginal culture.
“Fern Garden”, installed at the National Gallery of Australia in 1998. Hall regarded
the work as a, “sphere of garden design and landscape architecture, rather than as a
public art-work or ‘land art’”. Working with architectural elements and the plants
themselves, Hall pressed her landscape design into an uncompromising space,
within the confines of the insular nature of concrete. Rejecting, Western articulated
tradition, Hall draws from notions prevalent to Japanese, Pakistani and Indian
aspects of garden design.
“Paradisus Terrestris” (1989-90) series, Hall ‘assumes’ the nature of a botanist,
cultivating and classifying plants and human genitalia into an, ‘Erotica’
interpretations. She investigates plant species and notions of fertility, exquisitely
made from common ‘sardine cans’.
1.6
“We share a great deal with plants, and use them frequently as erotic metaphors. The basis
of our shared existence is that, scientifically, we are now more fully able and obliged to
acknowledge. I heard on a radio program a few years ago that it has been found that plants
have haemoglobin – this was quite a shocking and exhilarating revelation for me. There are
more genetic similarities between us, and the plant world than there are differences. These
are mind-blowing concepts that should make us take notice, because if we can’t coexist with
and maintain the plant world then human life is doomed”. Fiona Hall
“A folly for Mrs Macquarie” (2000), a permanent interlaced structure set in the
Botanic Gardens, Sydney, that allows the viewer to freely interact and become an
active participant. Technically aligned with craft ‘women’s work’, the fabricated steel
transcends towards masculine association to the use of fabricated engineered iron.
Referring to the Macquarie’s transplantation and commercialisation of native British
‘exotic’ plants to indigenous Australia: Hall considers it to be a ‘foreign exotic
landscape’.
“Leaf litter” (2002-02), was initiated by Hall’s residency through ‘Asialink’. Over a
period of two years, she developed the work from the singular use of local Sri
Lankan references to plant species and banknotes that she effectively evolved into
works of global significance.
During the 7th Adelaide Biennial of Australian Art, Hall included in the exhibition the
work titled, ‘con Verge’: it was an expansive project by a group of artists, including
Fiona Hall, where artist pushed the content, processes and boundaries between
contemporary science and contemporary art. “Cell culture” (2002) was part of this
challenge for the exhibition, comprising of, festival symposium and online archive
material. In addition, it involved collaborative relationships with; industry, research
centres, medicine, biology, and geology technologies.
1.7
Unless otherwise stated, the
following annotations are taken
from:
Ewington, Julie, (2005),
Fiona Hall,
Piper Press, Australia.
O [refer to CD for colour prints]
Bruegel, “Desidia (Sloth)”, (1558)
In 1984 and 1985 Hall made two
suites based on the Seven Deadly
Sins, the Medieval Catalogue of
human error.
–p.78
“The Seven Deadly Sins drew its
inspiration from engravings by
Peter Bruegel, the Elder. Each of
my depictions of the Sins has a
central motif a tool symbolising
abstractly the emotive properties of
that vice. Other imagery deals with
a visual response to the ideas
generated by each sin…The Seven
Deadly Sins are concerned with an
inquiry into ways of visually
depicting, reacting to and
commenting upon the ills of society
(although not in a moralising
way)…ills of which there are a
multitude of contemporary
examples, The Sins are an
emotionally loaded and highly
charged subject as they ever have
been.”
-Fiona Hall quoted in Sandra Byron,
Martyn Jolly and Eelco Wolf, In full view:
An Exhibition of 20x24 Polaroid
Photographs, Australian Centre for
Photography, Sydney, 1986, p.27
Boticelli, “Chart of Hell”, (1480-95)
(Illustrations of Dante's Inferno)
Bosch, “Garden of Earthly Delights”, (c.1500)
Triptych left wing - detail
1.8
William Blake, “The Divine Comedy,
Inferno ii”, (1825-1827)
Hall, “Inferno, canto XIX: The Simoniacs”,
The Divine Comedy, (1988)
“The Divine Comedy is not so much about
damnation, probably more about ‘the dark
side’, the truly scary side of existence, the
personal hell for all of us. Everyone has
their demons and each of us has to
encounter pitfalls. I am aware this is a
contemporary reading, since I am not a
Christian. But life has to be contended
with, and Dante’s writing is an exquisite
rendition of these fears, and the journey
to overcome adversity.”
Dürer, “The Expulsion From Paradise,
Small Passion, 3” (1510).
-Fiona Hall, telephone interview with the author,
May 2003
Hall, “Birds”, The Antipodean Suite,
(1981)
Hall, “Temptation of Eve”,
Paradise Series, (1984)
1.9
Hall, “Words (detail)”, 1990
Michelangelo, “Creation of Adam”,
Sistine Chapel Ceiling (1511)
“We shall not cease from exploration
And the end of all our exploring
Will be to arrive where we started
And know the place for the first time.”
-T.S. Elliot, ‘Little Gidding’, Four Quartets
A black, E white, I red, U green, O blue:
vowels,
I shall tell, one day, of your mysterious
origins:
A, black velvety jacket of brilliant flies
which buzz around cruel smells,
Gulfs of shadow; E, whiteness of vapours
and of tents,
lances of proud glaciers, white kings,
shivers of cow-parsley;
I, purples, spat blood, smile of beautiful
lips
Friedlander, “Southern United States”, (1966)
in anger or in the raptures of penitence;
U, waves, divine shudderings of viridian
seas,
the peace of pastures dotted with
animals, the peace of the furrows
which alchemy prints on broad studious
foreheads;
, sublime Trumpet full of strange piercing
sounds,
silences crossed by [Worlds and by
Angels]:
–O the Omega! the violet ray of [His]
Eyes!
-Arthur Rimbaud, Voyelles, 1871
Eugene Atget, “The Roseraie”, (1910)
1.10
For Paradisus terrestris (1989-90) Hall chose plants associated with ideas of
paradise and the divine. The Citrus paradise/grapefruit, Musa x
paradisiacal/banana, Passioflora edulis/passionfruit and Strelitzia
reginae/bird of paradise explicitly recognise the Garden in their names. Other
plants testify to the nineteenth-century European obsession for exotic plants,
such as the South American Araucaria araucana/monkey puzzle, which was
associated with a powerful and beneficent spirit and Carnegia
gigantean/saguaro from the American Southwest, which yields a
psychoactive substance formally used in Native American rain rituals and is
still offered on the Internet to discerning gardeners. Yet others - Pandanus
tectoris/screw pine and Xanthorrhoea australis/black boy – are Australian
indigenous plants with richly layered histories which offered the artist
suggestive associations.
-p.101-102
Hall, “Citrus paradise/grapefruit”,
(1989-90)
Hall, “Passiflora edulis
paradise/passionfruit”, (1989-90)
Seemingly simple, Paradisus terrestris is actually rich and complex. Hall teases
out gloriously fertile associations connecting flowers and plants with sexual
desire. In fact, flowers are the sexual parts of plants. From the eighteenth century
the great revelation by Carl Linnaeus (1707-78), the father of botanical
classification, that plants propagated sexually was popularised by scientists like
Erasmus Darwin (1731-1802), whose interminable didactic poem, The loves of
the plants (1790), is a catalogue of elaborate romances accompanying botanical
illustrations. Thus sex has been part of modern gardening for at least two
centuries, though far longer in ancient narratives, and the erotic potential of floral
imagery is familiar in many cultures. (Page 102)
1.11
“The sardine cans came out of a feeling about the way plants grow-the delicacy, the
individuality of every living thing, the process of it, the being alive – and how you can
translate all those feelings into whatever your own medium is. The way Calvino does
it in his writing is fantastic. I read Invisible Cities, then The Baron in the Trees, and I
love Mr Palomar and Cosmi-comics. Calvino has a very strong sense of the space in
a garden or in a landscape, though often he does not write about landscape at all, or
perhaps refers to it in the folk tales he collects. Borges in fine, but Calvino has gotten
under my skin. He is my favourite author, if there is one.”
-Fiona Hall, interview with the author, May 2003
Hall, “Dionaea muscipula/Venus fly-trap”,
(1989-90)
Hall, “Adansonia digitata/baobab”,
(1989-90)
“I wouldn’t say that I’m looking for political or cultural metaphors particularly.
Although there are aspects of these in the works. It’s more an on-going fascination
with the infiltration of plants into human existence: political, social, sexual, medical,
metaphysical.”
-Fiona Hall quoted in Timothy Morrell, ‘Undermining the systems of the post-everything world:
Timothy Morrell interviews Fiona Hall’. Art Monthly Australia, no. 68, April, 1994, p. 9
1.12
Hall, “Fern garden”, (1998)
“The semi-enclosed garden derives from the medieval ‘hortus conclusus’, the walled
garden standing for the woman’s womb and, metonymically, her entire body. All that
grows within is nourished by her power.”
-p. 118
Hall, “Medicine bundle for the non-born
child, (1994)
“Medicine Bundle for the non-born child was
Hall’s most memorable work in Biodata. It is
enchanting. The baby’s layette, recalling
innumerable patterns from popular Australian
women’s magazines, is knitted from strips
made from Coca-Cola tins, and comes
complete with a six-pack of teated ‘bottles’ So
this is what is now imbibed instead of
Mother’s milk? This anti-consumerist
indictment simultaneously notes the
degradation of plant products and the ironies
of contemporary parenting. The work turns on
the history of coca leaves from South
America and cola nuts from Africa; both were
venerated medicinal plants in their original
settings but Coca-Cola is now celebrated as
the world’s favourite soft drink, the global
marker of modernity par excellence.
Curiously, Coca-Cola is used successfully as
a spermicide in the developing world. The
drink is equally successful symbolically,
having colonised the significance of plants it
refers to their cultures of origin, as surely as
elsewhere.”
-p. 129
1.13
Hall, “The Real Thing” (diptych), (1994)
“The most complex image was The Real Thing, a diptych showing two enviably selfcontained Lohans who are equally immune from past regrets and present torments.
Lohans are sages, enlightened beings venerated by Buddhists, who have achieved
such transcendent goodness that they will be spared the indignity of rebirth. They
are serene but Fiona Hall’s image is savage. She fashioned the figures out of a Diet
Coke can, a drink equally innocent of sugar and natural plant extracts. If the gods of
global trade have triumphed over local deities, and Diet Coke is now more ‘real’ than
the substances that named it, Hall has not set up a simple dichotomy between
paradise in traditional societies and a demonic globalising power. Rather, she
interrogates the complex histories of international trade, asking the hard questions
about the uses of botanical knowledge and the outcomes of global exploration. The
can identities Coca-Cola, and the image clips “diet” to “die”, asking whether the trade
which transforms plants and products is as indifferent as the holy men seem to be.”
p. 135
1.14
Hall, “Fieldwork”, (1998-99)
Hall, “White History”, (1998-99)
“On April 22, they saw some Australians on the beach…Exactly a week later, the
first contact was made…Only when they anchored and Cook, Banks, Solander and
Tupaia…approached the south shore of the bay in a longboat did the natives react.
The sight of men in a small boat was comprehensible to them; it meant invasion.
Most of the Aborigines fled to the trees, but two naked warriors stood their ground,
brandishing their spears and shouted in a quick guttural tongue…Cook and Banks
pitched some trading-truck ashore – nails and beads, the visiting cards of the South
Pacific. The blacks moved to attack and Cook fired a musket-shot between them.”
-Robert Hughs, The Fatal Shore: A history of transportation of convicts to Australia, 1787-1868,
Collins Harvill, London, 1987, p. 53.
1.15
Hall, Cell Culture”, (2001-2002)
“The term Cell Culture describes a mass of cells that have been derived either from
a single cell or from a group of cells from the same tissue, and maintained using
solid or liquid nutrient media. This work consists of a series of Tupperware
containers, in a wide variety of shapes, from which "growths", or forms from the
natural world (animal, vegetable and mineral) emerge. These organic growths,
connected to the streamlined forms of the Tupperware boxes, are formed from glass
beads. Beads are used for their historical association with trade. However, in Cell
Culture they signify another kind of "cultural exchange": on a molecular level. The
work is based upon the principle that all material bodies are derived from simple
substances (elements) which are compounded to form more complex structures.
Despite the multifarious appearance of all forms of existence there is an
interconnecting substructure, and a complex interdependence.”
-
Fiona Hall, proposal: for the 2002 Adelaide Biennial of Australian Art, ‘Converge: where art
and science meet’
1.16
Hall, “Understorey”, (1999-2004)
Hall, “Tender” (details), (2003-05)
In Understorey (1999-2004), the
implied conflicts between cultures and
peoples that was traced so delicately,
so ironically in Paradisus terrestris
entitled (1996) and the Sri Lankan
series of 1999 is now made explicit.
The work takes its title from the
botanical term for the layer of
vegetation that lies underneath the
tallest trees in a forest, which is a
crucial component of the ecosystem.
In the understorey the delicate balance
necessary to sustain the life of the
forest is secured. The understorey
often embraces the greatest biodiversity in tropical forests, which Sri
Lanka, as elsewhere in the tropics, are
now under constant threat.
(Page 165)
Tender (2003-05), also relates to
conflict and destruction, but this time
the focus the focus is on animal
habitats. Hall turned once more to the
complex intersections between the
natural world and human systems of
trade. The work consists of dozens of
simulacra of birds’ nests of all shapes
and sizes, improbably fashioned from
American one-dollar bills, each
bearing the official declaration: ‘This
note is legal tender’. The American
dollar is the most desired currency in
Third World countries, and for those
desperate for it, like birds scavenging
for material to build their nests, the
greenback provides shelter. Here, in
its ubiquity and availability, the dollar
bill is made to assume the form of
each exquisitely differentiated avian
habitat, at exactly the moment when
modernisation, the advance of
capitalism and the spread of
deforestation is depriving many birds,
animals and indeed people, of their
own environments.
-p. 169
Hall, “Tender” (detail), (2003-05)
1.17
Hall, “Leaf Litter”, (1999-2003)
“Money doesn’t grow on trees–or does it? Plants have played a crucial role in
the history of colonization and the development of world economies. Many
species have been responsible for the rapid growth of European power and
wealth over the past 500 hundred years. Plants, and along with them people,
have been shifted across oceans, battles have been waged over them, forests
razed. But everything comes at a price, and now we are paying heavily for
over-taxing the environment and for cultivating an ever-widening gap between
rich and poor nations. Many of the once most plant resource-rich countries
are now amongst the poorest on earth. Leaf Litter aligns the distribution of
plant species with the distribution of monetary wealth. It also displays
botanical connections across diverse territories, for plants, like people, have
colonised where they can. Closely related species belonging to the same
botanical family have evolved and adapted to wide-ranging habitats.”
-Fiona Hall, in notes used for the wall text in the Federation exhibition at the National Gallery
of Australia, Canberra, 2001, and published in the exhibition notes for Hall’s exhibition Leaf
Litter & Cell Culture, Roslyn Oxley 9 Gallery, Sydney, October 2002.
Hall, “Cross purpose”, (2003)
1.18
Units 3 & 4 2011 Folio Assessment Criteria (VCAA)
The following Assessment Criteria is provided by VCAA. The documentation
presents the extent to which the Folio demonstrates a Very High level of
achievement.
Students can access the entire Assessment Criteria at:
http://www.vcaa.vic.edu.au/correspondence/bulletins/2010/February/2010FEBSUP
1.pdf
Assessment criteria: 2011
The extent to which the Folio demonstrates:
Criterion 1
Exploration of personal ideas through a conceptual and practical
investigation in artmaking.
Very High
Evidence of comprehensive and highly informative exploration of personal ideas
and observations in a conceptual and practical investigation.
Focused and effective investigation of the selected art form/s and/or media, highly
relevant to the student’s intentions, provides insightful and considered evidence of
the development of concepts, directions and skills.
The scope of the investigation is comprehensive and imaginative. Thorough and
consistent, highly effective visual and written material clearly communicates
thinking and working practices throughout the body of work.
Criterion 2
The progressive development and refinement of ideas and
concepts demonstrated in the body of work.
Very High
A highly innovative development and refinement of ideas and personal concepts
through consistent and highly effective consolidation of thinking and working
practices gives a clear focus and strength to visual imagery in a variety of ways.
The refinement of thinking and working practices is effectively communicated
through thorough and highly developed visual material in the body of work.
1.19
Criterion 3
Exploration, investigation and experimentation of materials,
techniques, processes and artforms and in the development of
related technical skills.
Very High
Evidence of highly innovative exploration and investigation of selected art form/s
and/or media, relevant to the student’s intentions.
Evidence of a very high level of sustained experimentation leading to a high level of
control in the application of materials and techniques.
Highly informative and effective visual material displays evidence of accomplished,
effective and consistent handling of materials and techniques from the initial
exploratory work to the finished artworks.
Criterion 4
Understanding, application and manipulation of visual language
and formal qualities in artmaking.
Very High
Highly skilled and effective use and manipulation of visual language and formal
qualities to comprehensively communicate the student’s personal art responses,
ideas, concepts and observations.
Evidence of highly effective use of formal qualities from the initial exploration
through to the finished artworks.
Insightful and conceptually sophisticated use of visual language and formal
qualities that reveals a very high level of understanding and control in the body of
work.
1.20
Criterion 5
Reflective annotation and documentation of working practices that
use art language and selected Analytical Frameworks.
Very High
Strong evidence of a very high level of understanding of art language through
insightful documentation of the use and manipulation of formal qualities and
aesthetics in visual and written material.
Highly effective use of the language of the Formal Framework and at least one
other selected Analytical Framework in reflective annotation of working practices.
Highly informative documentation and critical evaluation, with consistent and
confident use of the selected Analytical Frameworks, from the initial exploration of
personal art responses, ideas, concepts and observations through to the
finished artworks.
Criterion 6
Resolution of ideas, directions and/or personal concepts in a body
of work that includes at least two finished artworks.
Very High
Highly innovative and well presented body of work, displaying well articulated
reflection on the progressive development and exploration of personal ideas,
concepts and directions, from the initial exploratory work through to their
refinement.
Evidence of highly imaginative resolution of thinking and working practices in the
presentations of at least two finished artworks.
Comprehensively resolved and finished artworks demonstrating a very high level of
technical skills in the resolution of ideas and directions.
1.21
2011 DECV - Units 3 & 4 Checklist
OUTCOME 2: AoS 1 & 2
Investigation and interpretation through artmaking
Realisation and resolution
DECV - Units 3 & 4 Folio Checklist
1. Exploration of personal ideas through a conceptual and practical
investigation in artmaking

comprehensive evidence of research into artists, artworks, styles
relevant to the artform/s and/or media

visual and written documentation of personal concepts, influences,
experiences, attitudes; including focus statement

practical investigation and documentation of the Formal Analytical
Framework and at least one other Analytical Framework ( Personal,
Cultural and/or Contemporary) pertinent to the artform/s and/or media
and concepts and/or idea/s

imaginative and informative exploration of personal ideas and concepts
2. The progressive development and refinement of ideas and
concepts demonstrated in the body of work

employ and experiment with collected research / sources of inspiration
and / or influences to the selected artform/s and/ or media, concepts
and/or ideas

prepare, develop and explore a number of visual solutions within
selected artform/s that demonstrate visual strength
investigate, develop and refine personal concepts, themes and / or
ideas providing clear focus


consistently and effectively document investigation of thinking and
working practices
1.22
3. Exploration, investigation and experimentation of materials,
techniques, processes and artforms and in the development of
related technical skills.

innovatively explore a number of thinking practices and possibilities
relevant to the theme and intentions

broad and sustained experimentation of the different ways, angles and
presentation in the application of material and techniques

effective communication of investigation and exploration in thinking and
working practices

date and highlight key entries throughout the written and visual
material in the visual diary

refine, clarify and resolve ideas and selected artform/s from innovative
and investigative beginnings and accompanied by reflective
annotations: the body of work is linked to the final work –
complete at least one visual solution
DRAFT: copy of finished artwork
NOTE: the completed DRAFT artwork/s should be colour copied.
Feedback will be provided BEFORE final submission during
INTERIM FOLIO PRESENTATION in Week 16
4. Understanding, application and manipulation of visual language
and formal qualities in artmaking.
UNIT 3: WEEK 16
SUBMISSION OF AT LEAST ONE VISUAL SOLUTION:
(GOOD COLOUR COPY OR PHOTOGRAPH)
Criteria 1 – 4 SAT Folio

innovative, progressive and sustained exploration and experimentation
of inter-media or cross-media

comprehensive communication of student’s personal art responses,
ideas, concepts and observations

conceptually sophisticated use of visual language and formal qualities

insightful trialling and application of media, materials, techniques and
processes

comprehensive communication and documentation of thinking and
working practices

high level of understanding and control in the body of work
1.23
5. Reflective annotation and documentation of working practices
that uses art language and selected Analytical Frameworks

effective use of Formal Analytical Framework and at least one other
Analytical Framework (Personal, Cultural and/or Contemporary)

progressive resolution of thinking and working practices that may have
evolved from a number of starting points that create visual solution and
reflect the development of ideas and concepts

produce solutions including finished artworks that demonstrate
considered and well-developed responses to the stages of artmaking

broad and innovative conceptual, technical and aesthetic investigation
in the body of work

resolved exploration of personal art responses, concepts and / or
observations

documented sustained and effective thinking and working practices
throughout the body of work

highly effective use of language and reflective annotation
6. Resolution of ideas, directions and/or personal concepts in a
body of work that includes at least two finished artworks

folio of work reflective of the study design

highly imaginative presentation of a cumulative and sustained body of
work including at least two finished artworks

considered and insightful realisation, resolution and presentation of
selected artform/s, ideas, concepts, interests, personality, values and
expectations

articulate communication of written and visual experimentation
supported by sustained documentation of thinking and working
practices

reflective of the standard of skills and concepts appropriate at this level
of study

apply the language of appropriate Analytical Frameworks in reflection
and appraisal of the visual solutions and responses
1.24
Practical Considerations
Students can elect to work within or across the following artforms. When selecting
the materials and techniques commonly used in relation to the artform, it is highly
recommended that you consider the following:

Your budget is important because it can dictate the materials and equipment
used in your Folio. Both home-based and school based students need to
select the artform/s that are within their financial means. You may have a
fabulous idea but it may not possible to realize! Artists face this constraint,
daily.

Do you have or can you get access to facilities? You might have thought that
you would like to focus on ceramics but you realize that you have no means of
firing because you cannot access a kiln. Or the local ‘community house’ no
longer runs this service. Don’t assume, check the availability of the facilities!

Year 12 is not a year that I would recommend that you use media or
techniques that you have had little or no experience with. Select artform/s
that you feel you can confidently handle, manipulate and use to develop a
highly imaginative folio reflective of the standard at this level of study.

Students can elect to work within or across the following artform/s. Refer to
Week 16 pages 16.23 – 16.36.
Claudia Scarica, ‘Insomnia’, Year 12 - photography, 2010
1.25
Activity 2: Student Idea Map/s
SEND
Clearly the most effective visual and written responses by students are derived from
looking at personal interests, attitudes, beliefs, feelings, memories and/or
experiences. These folios are characteristically reflective of the students’ intentions
and artmaking.
The focus on the practical folio is in the presentation of visual solutions that clearly
communicate the intentions of the student. The conceptual and aesthetic
documentation demonstrating individual exploration and mature technical skill should
be clearly present in the folio.
In preparation for the, ‘Student Focus Statement Chart’ you should document a
range of ideas and methods. You can do this as a cluster map, concept map or mind
map. Use whatever means, that helps you to explore different ideas and
approaches, when organizing and developing your thoughts for the content and
direction of your folio.
Cluster Map
Concept Map
Mind Map
1.26
Student Focus Statement Chart
The following guide in the Student Focus Statement should help you develop and
document your ideas and concepts, and organize your practical explorations and
applications that you will focus on in your intended folio.
STUDENT FOCUS STATEMENT (the following is provided as a guide)
1. THEME:
 describe and discuss the personal concept and / or idea that may be explored
 discuss why you have chosen or what motivated you to select this theme
 how does this relate to your personal experiences, memories, point of view,
attitude, interest and / or observations of life?
 what impression, feelings or understanding do you want the audience to gain
from viewing your artwork?
2. RESEARCH AND EXPLORATION:
 provide comprehensive account of personal influences and inspirations
 list possible past and present artists and artworks
(note: this is also pertinent to AoS 1)
 list the art form/s to be employed in AoS 2: artmaking
 consider other disciplines that provide broad context (such as philosophy,
science or design)
3.




SUBJECT:
list and describe the dominant subject/s to be included
how does your choice of subject relate to your theme?
include the style, expression, character and / or nature of the subject
are there any other components that you may consider, that further contribute
to the ideas and concepts in your work
4.





MEDIA AND TECHNIQUE:
provide a dot-point list that explains the sequence for your folio
indicate your choice of intermedia or cross-media
list and describe the techniques and medium you will employ
discuss the reasons for this choice
describe the applications and experimentation
5. RESOLUTION:
 describe how you intend to show the realisation and resolution of your ideas,
objectives and investigations
(note: the specific character may not be absolute, at this stage of the year)
6. PRESENTATION:
 describe the physical presentation of AoS 2: this should include a body of
work with at least one finished artwork for each of the Units.
Refer to Week 2 pgs 2.2 and 2.3 for Jessica’s Focus Statement and Criteria 1: Exploration of
personal ideas through a conceptual and practical investigation in artmaking.
1.27
Student Focus Statement: Jessica Bong (Year 12 Art)
The Generation Y population, are still teenagers.
What will they look like in twenty years time?
This is the focus of my folio exploration.
We are fed the belief that the ideal human being must be flawlessly
beautiful, wealthy and successful. If we accept this, I believe, we will find
ourselves living hollow and empty lives. Mark Conner, my pastor at City life
Church said, ‘When the Generation Y population grow up, there will be a
mass endemic of adults in a midlife crisis.’ This was a quote which resonated
through my mind, and was the inspiration behind this theme.
I began to explore the media which is so dominant in our culture, to
discover to what extent it manipulates our minds and forms our beliefs. I then
explored the aesthetic aspects of the media, the potency of type form,
models, brands and products.
At first I experimented with word art and typography as well as media
language. I found that the media spoke in a succinct and epigrammatic
style. In this way, the word ‘WHY’ encapsulates for me, the confusion and
need for answers. I progressively experimented using specifically the printed
advertising material directed towards my generation.
I found myself at a pivotal stage in my folio when a Top Art’s student
inspired me to ‘draw on my strengths.’ I then decided to explore with
traditional mediums such as paint, mono printing and drawing which
contrasts with the artificiality of Generation Y’s obsession with technology.
My folio began to evolve from word art to photography and then drawings.
I realised I would look like my parents in 20 years time, so began to
explore their figures and facial features to convey my message. However,
they became the main subjects of my final solution. I found myself finally
comfortable with what I wanted to do, and so, proceeded to develop my
finished artwork as a body of folio work, including, drawing, photography,
sculpture and installations. My parents were shown as a metaphor showing
bewilderment and frustration, as they search for answers to the question
implied in the word ‘WHY.’
generation y… generation why
WHY
1.28
SEND
Activity 3: Student Focus Statement Chart
THEME:
RESEARCH AND EXPLORATION:
(note: students select from their researched artists from this criteria for;
Outcome 1, Interpreting Art Extended Compare and Contrast Essay – AoS1)
SUBJECT:
MEDIA AND TECHNIQUES:
(refer to Week 16, pages 16.23 -16.36 for a list of possible artforms)
RESOLUTION:
Unit 3:
Unit 4:
PRESENTATION:
Enlarge chart to required size to accommodate your written focus.
Please feel free to include additional visuals that further explain the
content or direction of your folio – where required.
1.29
SEND
Activity 1: Responding to Fiona Hall
Instructions:
I.
II.
III.
IV.
V.
VI.
VII.
Consider the presentation and legibility of your work.
Carefully read through all the information on Fiona Hall. For your information
you are provided with an overview of Hall’s art, as well as references about
her work.
The written and visual information clearly reveals that Hall is continually
inspired by a range of sources: these directly respond to Hall’s remarks,
concepts and artforms.
This Activity requires you to recognize broad references, inspirations,
influences in Hall’s accomplished career in art.
Respond in complete sentences and do not exceed 70 words for each
answer.
Refer to Week 16, Analytical Frameworks and use appropriate art vocabulary
when responding to the following questions.
Visit: http://dl.screenaustralia.gov.au/module/846/
Betty Churcher (former NGV Director) Film Duration – 5 minutes.
Questions
1. Name three visual artists that inspired Hall, and describe where this is seen or
how this shaped her work.
2. Provide an example that shows the impact and association to plant species
on Hall’s personal approach in her artwork.
3. List and briefly define at least two different artforms employed by Hall.
4. What does Betty Churcher recognise as being a significant characteristic in
Hall’s art?
5. Name and discuss an artwork that clearly shows the influence of Cultural
Framework.
6. How does, ‘Medicine bundle for non-born child’ 1994, relate to Contemporary
Frameworks?
7. How has reading about and viewing the artwork by Hall helped you
understand the significance of researching historical and contemporary
material when making art?
1.30
315 Clarendon Street, Thornbury 3071
Telephone (03) 8480 0000
FAX (03) 9416 8371 (Despatch)
Toll free (1800) 133 511
Fix your student barcode
label over this space.
SCHOOL NO.
62901
STUDENT NUMBER ___________________
[62901]
SCHOOL NAME _______________________
STUDENT NAME ______________________
SUBJECT
Art Unit 3
YEAR/LEVEL
TEACHER
12
WEEK
1
________________________
[ZX]
PLEASE ATTACH WORK TO BE SENT.
NOTE: Please write your number on each page of your work which is attached to this page.
SEND
Please check that you have attached:

Activity 1: Responding to Fiona Hall.

Activity 2: Student Idea Map/s.

Activity 3: Student Focus Statement Chart.
If you have not included any of these items, please explain why not.
___________________________________________________________________________
___________________________________________________________________________
___________________________________________________________________________
Use the space on the back of this sheet if you have any questions you would
like to ask, or problems with your work that you would like to share with
your teacher.
1.31
YOUR QUESTIONS AND COMMENTS
DISTANCE EDUCATION CENTRE TEACHER’S COMMENTS
DISTANCE EDUCATION CENTRE TEACHER