Exemplar for internal assessment resource Art History for Achievement Standard 91019
Exemplar for Internal Achievement Standard
Art History Level 1
This exemplar supports assessment against:
Achievement Standard 91019
Demonstrate understanding of developments in an artist’s work
An annotated exemplar is an extract of student evidence, with a commentary, to explain
key aspects of the standard. It assists teachers to make assessment judgements at the
grade boundaries.
New Zealand Qualifications Authority
To support internal assessment
© NZQA 2014
Exemplar for internal assessment resource Art History for Achievement Standard 91019
Grade Boundary: Low Excellence
1.
For Excellence, the student needs to demonstrate in-depth understanding of
developments in an artist’s work.
This involves:
•
•
coherently explaining developments in the artist’s work
integrating supporting evidence from art works and/or other sources.
This response provided evidence of in-depth understanding through the coherent
explanation of several developments in Bill Culbert’s work. Coherence is apparent
in the structure and fluency of the response. The introductory section identifies
and briefly explains 3 stages in Culbert’s work (1). Further explanation is provided
in the discussion of the artist’s early work (2).
These explanations have been supported by the fluent integration of evidence in
aspects of the selected art works (3).
For a more secure Excellence, the student could expand their explanations, by
incorporating more information about the developments in the artist’s life and
works, and by integrating more evidence from other sources such as texts or
articles about Culbert.
© NZQA 2014
Outline of Biography
Bill Culbert is one of New Zealand’s most successful international artists. Born in
Dunedin n 1935, he completed a B.FA at Canterbury University in 1956 then won a
scholarship to the Royal College of Art, London where he studied until 1960. Then he
settled in London and worked as a painter before developing a strong interest in
photography which has continued until the present day. In the 1970s he began
working as a sculptor using found objects and lights, especially florescent tubes. He
still uses these material today. He now lives in the south of France but visit’s New
Zealand often to see old friends, especially Ralph Hotere who has collaborated with
him in some great works. Culbert has been strongly affected by some major issues in
his life such as the prosed aluminium smelter in his hometown of Port Chalmers and
also by pollution.
Three Developments
It is easy to say that Culbert had developed through 3 phases – painting, photography
and sculpture but I think some of the developments in his art can be linked to other
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things in his life so I am going got look at:
• An early stage: this was when he was a young artist in London and France
and he experimented with paintings, photography and started to look at
sculpture. This is how he got focussed on light and dark, the two things he has
explored ever since.
• The friendship with Ralph Hotere: which I think was a really important part
of his live and has led hike into collaborative work and work which challenged
issues and installations.
• Interacting with the urban environment: In the last ten years or so Culbert
has produced sculpture for public places which explore the urban
environment.
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Early work, 1960s – 1970s
This is an early photograph which is called Clay in one of
the websites I use but is described as untiled on another
one. It was made in 1976. I chose it because it has a person
in it which is a bit unusual for Culbert as most of his
photographs are still life works. This has a typical
composition for Culbert it is a square framed composition
with a central subject. The photograph has been printed to
have a range of grey tones so that the dark shadows from 3
the ladder really stand out. The ladder works as a link
between night and dark, a bit like the transparent glasses in
other photos. This work is a good example of a
straightforward exploration of light and shade in a picture
with a subject. At this time Culbert had children and the
subject also fits into this early period of family life as well
as the medium
1970s -1990s Collaboration with Ralph
Hotere
Pathway to the Sea by Ralph Hotere and Bill
Culbert, 1991
This is an amazing work which I have only seen as a
photograph but it was rally an installation. The black
floor and dark lighting are important parts of this
installation and they create a symmetrical frame for
the lines of white light in the centre which lead the
eye back to a glowing light in the distance. The
central lines are made up of a continuous line
fluorescent tubes with a parallel line of cut and
polished paua shells. The combines Hotere’s
characteristic.
Exemplar for internal assessment resource Art History for Achievement Standard 91019
Grade Boundary: High Merit
2.
For Merit, the student needs to demonstrate informed understanding of
developments in an artist’s work.
This involves:
•
•
explaining developments in the artist’s work
using evidence from art works and/or other sources.
This student’s interview script demonstrates informed understanding of Sonia
Delaunay Terk’s work by explaining developments in her work that pertain to
making a quilt (1). The explanation of this development is supported by evidence
that describes the quilt (2) and the link to other aspects of Delaunay-Terk’s work –
the ‘colourful cubism’ of her painting (3).
At the beginning of the discussion of Simultaneous Contrasts the student also
explains a development, and supports it with evidence from the art work (4).
To reach Excellence, the student could demonstrate greater coherence in the
structure and language of their response, and integrate the supporting evidence
from art works and/or other sources into their explanations of these developments
© NZQA 2014
Developments in the Work of Sonia Delaunay-Terk
Interview script for an interview to be conducted with Sonia Delaunay on the
television series “The Art that shaped the twentieth Century”
The focus of our episode tonight is the development of Orphism a significant
development in abstract art. We are lucky enough to have Sonia Delaunay her to
speak with us about her work and the developments she made towards Orphism
and then how she developed the ideas of Orphism to create work in a range of
different media.
Welcome Sonia. Many of our viewers will now about the work that you made in
the Orphic Cubist style and we will discuss the developments you made there
later. But many of our viewers may not be aware of the work you made earlier.
What sorts of styles and ideas did you experiment with?
When I was staring out in my art career, I experimented with the bright colours and
lyrical forms of Fauvism. In my painting “Yellow Nude” 1908 you can see how
similar my work at that time was to the Fauves. You can see I was using the bright
colours and patterns that they did and the subject matter was clearly recognisable but
simplified and shown with intense colour. It was here that I started my lifelong
interest in colour.
This painting you have shown us was made the year before you met your
husband Robert. The two of you would go on to develop Orphism. What inspired
the two of you?
There were a number of different things that inspired us. We were very interested in
the work of the Cubists that were happening in Paris at that time and we were very
much responding in our work to the work of other artists. A very significant
development for my work however was a quilt I made for my son when I was
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pregnant with him. I was raised in Russia and I wanted to make a quilt for the baby I
was expecting that was similar to those made in the Russia. I wanted it to be very
colourful and made out of fragments of different coloured fabrics.
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When it was finished I saw the similarity between this quilt and cubist paintings. I
could see the possibilities for this type of colourful cubism in my painting.
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What brought about the appearance of circles in your work?
In 1912 Robert and I were out in the city street, and we saw the glow form the new
electric streetlight in the evening. We were both so struck by the colourful halos that
surrounded the light and were amazed by the beauty of it. How it was a new kind of
beauty that didn’t come from nature but rather was part of city life. We both really
wanted to make artworks that were an expression of city life.
You can see the influence of this in “Simultaneous Contrasts” of 1912. In this
painting I used concentric circles and contrasting colours to create the idea of the city
and what the experiences of living in that modern and fast changing……
4
Exemplar for internal assessment resource Art History for Achievement Standard 91019
Grade Boundary: Low Merit
3.
For Merit, the student needs to demonstrate informed understanding of
developments in an artist’s work.
This involves:
•
•
explaining developments in the artist’s work
using evidence from art works and/or other sources.
This student demonstrates informed understanding of developments in Ian
Athfield’s work (1). This explanation has been supported by evidence in the
discussion of the first selected art work (2).
For a more secure Merit, the student could be more confident in their explanations
and avoid tentative statements that are not supported by evidence from the art
works and/or other sources (3).
© NZQA 2014
Outline of Biography
Ian Athfield was born in Christchurch and graduated from Auckland School of
Architecture in 1963. Her worked in Auckland and was a partner in Structon in 1965
and then become principle partner in Athfield Architects in Wellington in 1968. For a
long time he focussed on domestic architecture but by the 1980s he had become
known for large projects and he is now one of New Zealand’s top architects. He liked
doing big buildings because he is interested in having a positive impact on cities and I
the twenty first century he had been involved in some big urban projects, including
the Bangkok Railway.
Three Stages
Athfield’s early work has close links to his New Zealand upbringing, especially
growing up in Christchurch and his work shows strong influence from Warren
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Mahoney and their Brutalism.
As Athfield became a mature architect he used more international influences in his
work which he gained from his oversea travel in big cities America and Asia
In the last decade Athfield has been involved in many civic projects which he used to
show his belief that architects can have a positive impact on urban environments.
1970s Moves away from focussing on
domestic work and begins designing
high-rise buildings.
1990s -2000 Period Dominated by
Commercial work. Athfield was busy
In the expansion of Wellington and other
New Zealand cities.
The Arlington Flats (1970) was one of Athfield’s
first high rise commissions. It is a tall reinforced
white concrete building with a faced which is
given interest by its square windows and receding
balconies. At one end there are glass lounges
which are cantilevered out from the building and
the other end of the building the service tower has
a decorative top. The irregular shapes are a bit like
the shapes in Athfields houses of the time like his
own house in Wellington but not as curved. The
blocky shape of the building is a bit like some of
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Warren and Mahoney’s brutalism llam buildings
and shows the influence that these top
Christchurch architects were still having in his
work. You can also see he has looked at Le
Corbusier’s Unite d’Habitation. This all shows
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that he is learning to build big building and using
other people’s ideas.
This is the Telecom Building in 1988 and it is very different
from the first building. By this stage Athfield was recognised as
a major New Zealand architect so he is making a big statement.
This building was built in a boom period when New Zealanders
had big ideas and wanted their cities to look like international
ones and there were lots of glass walled skyscrapers like this
being built in Wellington at this time. The building has a strong
simple shape with smooth sides with lots of glass like an
international style building. It is more restrained and shows that
Athfield wants the building to fit into the urban landscape and
you can see how well it matches the glass curtain wall in the
back ground. This world-class designer who can design
buildings in contemporary corporate style like this building
which look like it has three towers and covers a whole block. It
has a shopping plaza down below and Athfield has been
influenced by the big high-rise shopping plaza building he has
seen in America and Asia.
Exemplar for internal assessment resource Art History for Achievement Standard 91019
Grade Boundary: High Achieved
4.
For Achieved, the student needs to demonstrate understanding of developments
in an artist’s work
This involves:
•
•
describing developments in the artist’s work
using evidence from art works and/or other sources.
The student has demonstrated understanding of developments in Kazimir
Malevich’s work by describing his association with the Union of Youth exhibition,
and linking this to his use of a new style (1). This is followed by a description of
this new development (2). Evidence from the art work The Woodcutter is provided
in the description (3).
To reach Merit, the student could explain developments in the artist’s work (rather
than describing them), and support these explanations by relating the
developments to evidence in art works and/or other sources.
© NZQA 2014
Developments in the work of Kazmir Malevich
Presentation Script
Today I am talking with the abstract artist I selected: Kazmir Malevich. Malevich was
a Russian artist whose parents were Polish. He lived 1878 or 9 (people are not too
sure) until 1935. During this time he was able to develop his wok from a PostImpressionist style to Pure Abstraction. Today I will be asking him about how he was
able to develop his style. I will be asking him about two developments that he made
with this work and the reasons for these developments.
Good afternoon Kazmir. I am very pleased to be able to speak to your today and ask
you about your work. Your developments have a lot of mystery around them and I am
hoping you will be able to clarify these for us.
So Kazmir, can you tell me about your early work? Where did your style start from?
Of course I am very pleased to be her to clear up some of this mystery. When I was
young I experimented with lot of different styles which were popular at the time.
Mostly my painting had a Post-Impressionist flavour. I created artworks with bright
clouds outlining like Gauguin. You can see this in “the Shroud of Christ” 1908. I was
also very interested in Russian folk art which you can see evidence of in paintings
such as “high Society in Top Hats” 1908. At this time in my life I was just really
trying out lots of different things and hadn’t developed my own style at all.
Thank you for sharing these early works with the audience. They shed new light on
where you style came from. This is so different from the work you are famous for
such as “the Black square”. How did you change your style?
Well, I was meeting fellow artists in Russia and was looking at the new styles that
were developing in Europe. I joined a group called the “Union of Youth,” we were all
young artists who were excited about developing new styles. I was some art that was
not like anything I has seen before they looked really simple and geometric. This
really appealed to me. I started to make painting that were of the same kinds of things
I had been painting before but using this new style. I started to make paintings where
all the parts of het object looked like tubes or blocky shapes. I made many paintings
like this but I will show you just one. If you look at “The Woodcutter” 1912, you can
see how I was trying to break up the objects into like shapes and even broke up the
background in tube shapes.
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Exemplar for internal assessment resource Art History for Achievement Standard 91019
Grade Boundary: Low Achieved
5.
For Achieved, the student needs to demonstrate understanding of developments
in an artist’s work
This involves:
•
•
describing developments in the artist’s work
using evidence from art works and/or other sources.
This student has investigated the work of Piet Mondrian. The student has
described developments in the artist’s work from his early work and the changes
or shifts over period of time (1) (2) (3).
The description of The Grey Tree supports the student’s description of
developments (4).
For a more secure Achieved, the student could provide clearer descriptions of the
developments in Mondrian’s work, and provide greater description of the evidence
to support these developments.
© NZQA 2014
Developments in the Art of Piet Mondrian
This is script of an interview between a television interviewer and an art historian who
is an expert on Piet Mondrian.
Television Interviewer: Good morning and welcome to “Art History Now!”
Today I will be talking to the world authority on Piet Mondrian who will be
telling us about developments in his work and why they are so interesting.
Hello and welcome.
So tell us who is Piet Mondrian?
Art Historian: Piet Mondrian is a Dutch artist who was born in 1872. When he was
born his last name was Mondriaan with two a’s, but later he changed the spelling and
dropped one of the a’s.
His gather was a school teacher, who taught drawing. This means Mondrian was
introduced to art and drawing from a very young age.
Mondrian trained to be a teacher liked his father. While he was training to be a
teacher he did a lot of painting. His paintings were in an Impressionist style. These
painting were quite realistic, much more than his later works.
What was his early work like?
His paintings when he was young were in an Impressionist style, some of them had
very bright colour and he was interested in lots of colour. These painting were quite
realistic, much more than his later works. The paintings were of nature such as
landscapes, plants and windmills.
A very good example of these paintings is “Windmill in the Sunlight” 1908. This
painting is very colourful and messy but you can still tell it is a windmill.
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What was something that changed his work?
In 1911 he moved to Paris. When he was in Paris he met Picasso and he liked the art
that Picasso was doing.
Because he saw the art of Picasso he wanted to change his work to be more like the
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work of Picasso and the other artists in Paris. He didn’t want to market he art he made
in Holland, where he painted windmills; he now wanted to paint more modern pictures.
How did it change is work?
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He made his wok less colourful and more one coloured. This is similar to the art of
Picasso. He also painted his paintings so that the things in them are broken up into
little pieces and geometric shapes. Picasso also broke up his paintings into geometric
shapes. A very good example of this the “the Grey Tree” 1912. This painting is of a
tree which is broken up to shapes and is grey and black. It is less colourful than “the
Windmill” and even messier but you can still tell what it is.
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Exemplar for internal assessment resource Art History for Achievement Standard 91019
Grade Boundary: High Not Achieved
6.
For Achieved, the student needs to demonstrate understanding of developments
in an artist’s work
This involves:
•
•
describing developments in the artist’s work
using evidence from art works and/or other sources.
This student has investigated the work of Robin White. The student attempts to
demonstrate understanding by copying information about the artist’s life and work
(1) and providing brief comments about 3 appropriately selected art works (2).
The descriptions of art works focus on the objects in the works (3) and should
describe developments in Robin White’s work.
To reach Achieved, the student could use their own words to describe at least two
developments in the artist’s work, using evidence from the art works and/or other
sources.
© NZQA 2014
Outline Biography
(Te Puke, NZ, 12 July 1946). New Zealand painter and printmaker. In 1967 she
graduated in fine arts form the University of Auckland and trained as a teacher. The
following year she moved to Paremata near Wellington, and in 1971 moved south to
Dunedin to work full-time as an artist. The relationship between her painting and
printmaking was always important to her development. In both, she presented flat,
simplified frontal images, as in Jerry at the Paekak Pub (1971 Lower Hutt, Dowse
Mus.). The legacy of Rita Angus was central to her work and she was frequently
grouped with the New Zealand painter Don Binney (1940) and Michael Smither as an
artist exploring realist concerns in a regional context. She was keen to make her
images widely accessible through her silk-screen prints; in these she often simplified
further the architecture and landscape forms of her environment. The birth of her son
led to the inclusion of family imagery in works such as the screen-print Buzzy Bee for
Suilolovao (1977). In 1982 she moved with her family to the republic of Kiribati,
formerly the Gilbert Islands, to work with the Baha’i community. There she produced
artist’s books, prints and watercolours, largely concentrating on her immediate island
environment.
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Three Stages
• Early work like lots of other NZ artist at the time
• Had family and made art of family
• Went to Kiribati to be Baha’i
Early work shows fish and chip shop very
simple and bright no people bright light.
Shows she is simple and just likes to be in
New Zealand and doesn’t have other things
to paint.
A buzzy bee painting. Buzzy bees
are a New Zealand icon and this
shows she is still into New
Zealand and it is a toy and it show
she is married and into family
things and there is a family house
down below.
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Florence in Kiribati where Robin was a Baha’i worker
and lived like natives and this was a friend who helped
her and she is earing Kiribati clothes and has a palm tree
and there is the sea behind.
Woodcuts because there weren’t good material there and
has Kiribati words beside and set out a bit like a tapa
cloth down the side.