Internal Assessment Resource
Art History Level 3
This resource supports assessment against:
Achievement Standard 91489
Analyse texts about art
Resource title: Views of Colin McCahon
4 credits
This resource:
• Clarifies the requirements of the Standard
• Supports good assessment practice
• Should be subjected to the school’s usual assessment quality assurance process
• Should be modified to make the context relevant to students in their school
environment and ensure that submitted evidence is authentic
Authenticity of evidence
Teachers must manage authenticity for any assessment
from a public source, because students may have
access to the assessment schedule or student exemplar
material.
Using this assessment resource without modification
may mean that students’ work is not authentic. The
teacher may need to change figures, measurements or
data sources or set a different context or topic to be
investigated or ensure different texts are analysed.
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Internal Assessment Resource
Achievement Standard Art History 91489: Analyse texts about art
Resource title: Views of Colin McCahon
Credits: 4
Teacher guidelines
The following guidelines are supplied to enable teachers to carry out valid and consistent
assessment using this internal assessment resource.
Teachers need to be very familiar with the outcome being assessed by Achievement Standard Art
History 91489. The achievement criteria and the explanatory notes contain information, definitions,
and requirements that are crucial when interpreting the Standard and assessing students against it.
Context/setting
This assessment activity requires students to produce a magazine review article based on their
analysis of two texts focused on the art works and contexts of Colin McCahon.
Before using this assessment activity you will need to finalise the specific details of the assessment
to ensure that it will engage your students, provide a range of appropriate texts that can be selected
from for the assessment task and ensure that the assessment schedule aligns with the activity in its
final form.
Conditions
This assessment activity will take place over four weeks of in-class and out-of-class time.
The students may work in small groups for the preparatory activities but will be assessed
individually.
This assessment activity directs students to select their own texts for analysis. However, depending
on your students, you may decide as the teacher to select and provide two specific texts to be
analysed.
Resource requirements
You will need to provide:
•
a selection of reference materials about Colin McCahon (books, documentaries, periodicals,
magazines, websites, etc.)
•
access to the Internet for students to research art works and web based texts.
Additional information
None.
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Achievement Standard
Subject Reference
Art History 3.8
Title
Analyse texts about art
Level
3
Subfield
Visual Arts
Domain
Art History
Credits
4
Assessment
Internal
Status
Registered
Status date
4 December 2012
Planned review date
31 December 2016
Date version published
4 December 2012
This achievement standard involves analysing texts about art.
Achievement Criteria
Achievement
Achievement with Merit
Achievement with Excellence
• Analyse texts about art.
• Analyse, in depth, texts
• Analyse, perceptively, texts
about art.
about art.
Explanatory Notes
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This achievement standard is derived from The Arts learning area in The New Zealand
Curriculum, Learning Media, Ministry of Education, 2007, Level 8, Visual Arts; Strands:
Understanding the Arts in Context, Achievement Objective; Communicating and Interpreting;
‘Research and analyse selected approaches and theories related to visual arts practice’; and
is related to the material in the Teaching and Learning Guide for Art History, Ministry of
Education, 2012 at http://seniorsecondary.tki.org.nz.
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Analyse involves explaining ideas and views expressed by the author(s) of the texts and
identifying interpretations about art, using supporting evidence from the texts.
Analyse, in depth, involves linking the ideas and views expressed by the author(s) of the texts
and interpretations about art, using supporting evidence from the texts and/or other sources.
Analyse, perceptively, involves evaluating the significance of the ideas and views expressed
by the author(s) of the texts and interpretations about art and drawing conclusions.
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Texts about art may include: oral, written, or visually recorded texts.
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Conditions of Assessment related to this achievement standard can be found at
www.tki.org.nz/e/community/ncea/conditions-assessment.php.
Replacement Information
This achievement standard replaced unit standard 1096Quality Assurance
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1
Providers and Industry Training Organisations must have been granted consent to assess by
NZQA before they can register credits from assessment against achievement standards.
2
Organisations with consent to assess and Industry Training Organisations assessing against
achievement standards must engage with the moderation system that applies to those
achievement standards.
Consent and Moderation Requirements (CMR) reference
0233
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Student instructions
Introduction
This assessment task requires you to analyse texts (oral or written) about Colin McCahon and his
art works.
You will then produce a magazine article reviewing these texts. In your article you will use
supporting evidence to explain and evaluate the ideas and views expressed by the authors of the
texts, and draw conclusions about the authors’ interpretations of the art of Colin McCahon.
You will be assessed on the perceptiveness of your analysis and evaluation of the significance of
the ideas and views expressed by the authors of the texts and their interpretations about art, using
supporting evidence.
This is an individual task. You have four weeks of in-class and out-of-class time to complete it.
Define and Select
Define a focus topic (e.g. a particular art work) or theme for your two texts about McCahon.
Possible focus topics or themes:
• ‘I AM’ - views of McCahon and his art.
• McCahon - The Greatest New Zealand Painter?
• McCahon and his audience
• McCahon and the landscape
• McCahon, religion and spirituality
• McCahon’s use of text in art
• McCahon’s most important works
Select two texts, by different authors, which relate to your focus topic. Make sure you understand
the key points about your topic theme or idea before you start the activity.
Choose texts that contain enough information and ideas to enable you to carry out a perceptive
analysis. Have your selected texts approved by your teacher to ensure that your selection is
appropriate. See Student Resource A for text suggestions.
Analyse
Photocopy or print key source material so that you can write on it and highlight points. Write down
the source details (publication details, website titles/URLs, etc.)
Make analysis notes about the most important aspects of the key idea or theme expressed in each
text.
Analyse each of your selected texts by explaining the ideas and views expressed in the text and
making links to interpretations about art. See Student Resource B for analysis guidelines.
Write your magazine article
Use the information you have gathered from your analysis of the texts to write a magazine review
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article of about 800-1000 words. In your article:
•
outline the nature and purpose of each of the texts and identify their intended audiences
•
explain the key ideas and views about Colin McCahon and his art which are expressed in
each text (use evidence from each text to support your explanations)
•
identify interpretations about Colin McCahon’s art in the two texts
•
make links between the ideas and views expressed by the authors and their interpretations
about McCahon’s art (use evidence from the texts and/or other sources to support your
analysis)
•
evaluate the significance of the ideas and views expressed by the authors of the texts and
draw conclusions about their interpretations about Colin McCahon’s art.
Final submission
•
Hand in your magazine article along with a reference list identifying the sources you used.
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Student Resource A: Selected Texts about Colin McCahon
Books
Bloem, and Brown, G. H. (2002). Colin McCahon A Question of Faith, Craig Potton Publishing
Brown, G. H. (2010). Towards a Promised Land on the Life and Art of Colin McCahon, Auckland
University Press
Brown, G. H. (1993). Colin McCahon Artist. Auckland: Reed Publishing
Brown, G. H. (1988). Colin McCahon Gates and Journeys, Auckland City Art Gallery
Curnow, W. (ed.) (1984). I Will Need Words Colin McCahon’s Word and Number Paintings,
Wellington: National Art Gallery
Keith, H. and Brown, G.H., (1969) An Introduction to New Zealand Painting 1839–1967, Collins,
Auckland
Simpson, P. (2007). Colin McCahon the Titirangi Years, Auckland University Press
Simpson, P. (2001). Answering Hark McCahon/Caselberg, Painter/Poet, Nelson: Craig Potton
Publishing
Articles
Curnow, W. ‘Thinking about Colin McCahon and Barnett Newman’, Art New Zealand, no. 8,
November–January 1977–1978, pp. 48–52. (Article comparing similar works by these two artists in
terms of titles, sequences, series and myths, illustrated.)
Green, A. S.G. ‘McCahon’s visit to the United States: a reading of letters and lecture notes’, Bulletin
of New Zealand Art History, vol. 3, 1975, pp. 19–42. (Report on a lecture McCahon gave on his
ideas about painting, especially after his visit to the USA, illustrated.)
Rowe, N. ‘Notes toward a McCahon ABC’, Art New Zealand, no. 8, November–January 1977–1978,
pp. 43–45. (Article about McCahon as a visionary dealing in metaphor and a prophet whose
imagery is vernacular, illustrated)
Film
Rymer, Judy, (Director), Victory Over Death, 1988, 52 minutes
Swadel, Paul, (Director), I AM, 2004, 72 minutes
Web sites
Colin McCahon Online Catalogue, www.mccahon.co.nz
McCahon House Trust, www.mccahonhouse.org.nz
Auckland Art Gallery, www.aucklandartgallery.com
Museum of New Zealand Te Papa Tongarewa, www.tepapa.govt.nz
Christchurch Art Gallery, www.christchurchartgallery.org.nz
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Student Resource B: Analysing your texts
Points to consider when making your analysis:
Basic information about
the text
•
the title, author, and date of publication of the text
The context in which the
text was written
•
where and when it was published (record date, city and country of
publication)
•
•
•
•
adult television audience
student
general public
art historians
•
•
•
•
•
•
a book chapter
a journal article for academic purposes,
a magazine article for entertainment purposes
a coffee-table book
a gallery or museum website
documentary or television art programme
The audience to whom
the text was presented
E.g.
The type and purpose of
the text,
E.g.
Does it present a particular argument or idea? Does it relate to a particular
event?
Main ideas/points made
by the author.
Summarise 3-6 key ideas
from your notes on the
text in your own words
as well as recording key
quotes, as evidence of
the key ideas.
Main viewpoints/
interpretations of the
presenter or author
What techniques are
used to reinforce the
main ideas:
Does the text focus on…
• the development of the artist’s style
• the significance of the artist within time/place
• meanings of art works
• the artist’s working method
• the value of art works
• the story behind the creation of certain art works
• the artist’s personality or purpose
• other artist’s or thinkers who influenced them
E.g.
• Major claims made about the artist
• Opinionated statements or questions about the artwork or artist’s
significance/importance
• Discussion of the reaction to the art works
• Comparison of the artist’s work to other artists
• Interpretations of the artist’s work in relation to biographical details
• Discussion of the artist in context of art history
• A tendency to view the artist from a particular perspective
E.g.
• sub-headings or titles
• Emotive language
• Provocative questions
• Personal anecdotes
• Humour
• Music sound track
• Quotes from the artist
• Voice over
• Interviews with experts or other important people
• Symbolism
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Analyse Perceptively
Background and context
of the author
*Extra research may be
required to find this
information.
E.g.
•
•
•
•
•
•
E.g.
•
•
•
•
•
Did the text set out to be objective neutral or subjective?
Does it balance fact v. opinion
What does the author emphasise?
What ideas do they leave out?
How do they shape the audience’s view?
What are the key differences between how this text presents the
artist compared to the other texts you have analysed?
What else has he/she written?
What is the relationship between the author and the artist?
What reasons does he/she have for the opinions or ideas
presented in the text?
How knowledgeable or reliable is the author?
How has the author been influenced by their historical, social
or artistic context (use evidence from the texts and/or other
sources to support your analysis)
Your opinion
As an emerging expert on this artist, how significant/persuasive are the
ideas and views expressed in the texts?
Looking at reviews of the film/book may also help inform your opinion –
make sure to include these in your reference list.
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Assessment schedule: Art History 91489 Views of Colin McCahon
Evidence for Achievement
Evidence for Achievement with Merit
Evidence for Achievement with Excellence
The student has provided a magazine review
article which analyses at least two texts about
McCahon and/or his artworks by explaining ideas
and views expressed by the authors of the texts
and identifying interpretations about art using
supporting evidence from the texts.
The student has provided a magazine review
article which analyses, in-depth, at least two texts
about McCahon and/or his artworks by linking the
ideas and views expressed by the authors of the
texts and interpretations about art, using
supporting evidence from the texts and/or other
sources.
The student has provided a magazine review
article which analyses, perceptively, two texts
about McCahon and/or his art by evaluating the
significance of the ideas and views expressed by
the authors of the texts and drawing conclusions
about their interpretations about art.
Example Topic:
‘I AM’ Colin McCahon - views of the man and his
art.
Murray Bail’s Essay ‘I AM is one essay within the
catalogue for a large exhibition of McCahon’s work
st
called A Question of Faith from the early 21
century. This exhibition focuses on religion and
spirituality in McCahon’s work.
Example Topic:
‘I AM’ Colin McCahon - views of the man and his
art.
Example Topic:
‘I AM’ Colin McCahon - views of the man and his
art.
Bail conveys the influence of the American trip on
The Northland Panels, 1958. He describes The
Northland Panels as being ‘enlivened with...flicks
and dribbles’ showing an almost direct or ‘fully
imported’ influence of American artists such as
Jackson Pollock. He considers the Northland
Panels to hold an ‘important, deflective place in
New Zealand art’. The use of ‘deflective’ is an
interesting way of suggesting that this work
suggests a change of direction not just for
McCahon but for New Zealand art in general.
A key idea throughout Murray Bails essay ‘I AM’ is
that McCahon struggled with life and that this
contributed to the intensity and feeling in his
works, “A pure life in itself doesn’t produce the
better painting, McCahon knew”. Bail views the
The Northland Triptych, 1959 as ‘an intensely
personal guilt trip’, expressing McCahon's struggle
to balance his ‘devotion to art’ and family life. In
The Northland Triptych McCahon writes the name
of his children and Bail describes the text as
appearing to be ‘weeping across the sky and land
during or after rain’, contributing an expressive,
mournful quality to the work
Bail also comments upon the considerable
influence of McCahon’s four month trip to America,
where he viewed Chinese and Japanese scrolls
Bail also comments upon the considerable
influence of McCahon’s four month trip to America,
where he viewed Chinese and Japanese scrolls
and the work of American modernists. He
describes the trip as contributing to a new
confidence and loosening up in McCahon’s style,
‘Clearly the effect was liberating’ giving him a new
freedom and confidence to paint in a more
expressive and more spontaneous manner,
“America’s confidence blasted away patches of
stiffness and design”.
Bail views the influence of Pollock and Newman
as well as the influence ‘of the ‘boundlessness of
America itself’ as motivating McCahon to abandon
traditional frames, post -1958, to work with unstretched canvases, which hang loosely ‘as if left
on the line to dry’. Bail sees a new approach in
these works which encourages the viewer to be a
more active participant when viewing his art
works, ‘America itself, encouraged McCahon to
employ length and stride in painting’.
Bail conveys the influence of the American trip on
Later Bail expresses the view that he thinks the
Chinese and Japanese scrolls that McCahon saw
in America had more of an influence on
McCahon’s work than the paintings of American
modernists themselves. He connects the influence
of the Chinese and Japanese scrolls to McCahon’s
Teaching Aids series in which McCahon paints
purely in white text on a black background as
being ‘art and words, as one; unframed; direct.’
Bail relates McCahon’s use of pure text in
Teaching Aids to the idea that McCahon had a
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and the work of American modernists. He
describes the trip as contributing to a new
confidence in McCahon’s style, ‘Clearly the effect
was liberating’ giving him a new freedom and
confidence to paint in a more expressive way. He
sees the influence of Pollock and Newman as well
as the influence ‘of the ‘boundlessness of America
itself’ as motivating McCahon to abandon
traditional frames, to work with un-stretched
canvases, which hang loosely ‘as if left on the line
to dry’.
Bail shows how the influence of the American trip
on The Northland Panels, 1958 as he describes it
as being ‘enlivened with fully imported flicks and
dribbles’. He considers the Northland Panels to
hold an ‘important...place in New Zealand art’.
The examples above relate to only part of what is
required, and are just indicative
The Northland Panels, 1958, which he considers
to be an important work holding ‘an important,
deflective place in New Zealand art’, meaning it
helped change New Zealand art at the time. He
describes The Northland Panels as being
‘enlivened with...flicks and dribbles’ showing an
almost direct or ‘fully imported’ influence of
American artists such as Jackson Pollock.
Later Bail expresses the view that he thinks the
Chinese and Japanese scrolls that McCahon saw
in America had more of an influence on
McCahon’s work than the paintings of American
modernists themselves. He connects the influence
of the Chinese and Japanese scrolls to
McCahon’s Teaching Aids series in which
McCahon paints purely in white text on a black
background as being ‘art and words, as one;
unframed; direct.’ Bail relates McCahon’s use of
pure text in Teaching Aids to the idea that
McCahon had a desire to be an ‘evangelist’ and
that he wanted communicate something to his
audiences.
The examples above relate to only part of what is
required, and are just indicative.
desire to be an ‘evangelist’ and that he wanted
communicate something to his audiences and that
he wanted ‘to change people’. Bail appears to
have mixed views of McCahon’s desire to ‘preach’
to his audience when he says “Who does he think
he is?”
Bails interpretation of a work by McCahon which
he owns; Small Landscape with Domed Hill, 1966,
connects back to his angle on McCahon as an
artist struggling with his own doubts. He discusses
previously how much black there is in New
Zealand cultural imagery as there is in the works
of McCahon and describes McCahon as “casting a
shadow – a long black cloud – over an entire small
culture”. Bail uses poetic language to convey the
idea that McCahon is important to New Zealand
art and that he struggled with a ‘darkness’ in
himself and that his influence on New Zealand art
is one of mystery and darkness. Bail makes it
obvious that he is writing a very personal
interpretation of Small Landscape with Domed Hill,
when he says, “ ‘Pleasure is hardly the word to
describe its effect, a painting in black and grey,
about the size of a man’s handkerchief…It is
stubborn, almost too singular”. He does not see
the liveliness or energy, in this work, that he
describes in the earlier Northland Panels and it
makes him wonder about Colin McCahon as a
man “Often I have wondered what sort of man it
was who produced such an image; not so much a
painting, an insistence”. Language like this does
not explicitly describe McCahon’s personality or
struggles but hints at it, leaving the reader to fill in
the gaps.
I found Murray Bail’s essay I AM, to be most
effective in conveying a sense of the personal
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connection between McCahon as a man and his
art. Bail uses many personal anecdotes and
interesting descriptions of his work to convey a
sense of McCahon as a man who struggled with
life but was a visionary artist because of this
struggle. He is successful in conveying the
intensity of personal feeling that comes across in
McCahon’s art works. Bail is a novelist who writes
about McCahon from the perspective of knowing
him as a friend. His way of writing reflects the
poetry and texts that McCahon uses in his own art.
The examples above relate to only part of what is
required, and are just indicative
Final grades will be decided using professional judgement based on a holistic examination of the evidence provided against the criteria in the
Achievement
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