© International Baccalaureate Organization 2022 International Baccalaureate ® | Baccalauréat International ® | Bachillerato Internacional ® DP visual arts curriculum review: second update to teachers 2022 © International Baccalaureate Organization 2022 International Baccalaureate ® | Baccalauréat International ® | Bachillerato Internacional ® How is visual arts progressing in the curriculum review cycle? The DP CP visual arts course is currently at the end of the development phase of the review cycle. Due to the impact of the pandemic the life of the current visual arts course has been extended. We can confirm that visual arts will not be released for first teaching in 2024. As soon as there is confirmation of the launch, we will notify schools. This will be at least two years in advance. Curriculum and assessment details are still under review and will be trialed, so all what is presented here is a draft version which might still see some, likely minor in scope, changes prior to publication. The aim of this deliberative, collaborative process is to ensure that the future visual arts course is: • fit for purpose in a changing world • incorporates the latest educational research • enhances the learning and teaching experiences of IB students and teachers. © International Baccalaureate Organization 2022 Complex generative thinking: an approach to learning visual arts … and to curriculum design “Tentacularity is about life lived along lines – and such a wealth of lines – not at points, not in spheres. (Donna Haraway).” N. Katz, Pinnoctopus cordiformis, pen and ink on paper, Complex generative systems, International Baccalaureate, 2018 1. 2. The octopus is “the only animal that has a portion of its brain (three quarters, to be exact) located in its (eight) arms. Without a central nervous system, every arm ‘thinks’ as well as ‘senses’ the surrounding world with total autonomy, and yet, each arm is part of the animal. For us, art is what allows us to imagine this form of decentralized perception. (Chus Martinez).” (D. Haraway, 2016 https://www.e-flux.com/journal/75/67125/tentacular-thinking-anthropocene-capitalocene-chthulucene/ Martinez, Chus. “2014, www.e-flux.com/journal/55/60304/the-octopus-in-love/ © International Baccalaureate Organization 2022 Three principles for the new visual arts course Engage: cultivating own art-making practice. Encountering others in a dialogue about making. Entering into conversation with contemporary issues. Transform: creating in the arts is to transform matter. Art making as personal transformation. Art-making as an agent for change in the world. Emerge: exploring innovative trends in art-making. Thinking as an arts practitioner. Forming creative habits for lifelong learning. © International Baccalaureate Organization 2022 Initial recommendations for the visual arts review Pursue minor to moderate change Clear and authentic SL/HL differentiation The next course will provide clear and authentic differentiation for SL and HL students that honours and values their unique allocated time commitments and learning pathways. Greater alignment between curriculum and assessment The next course will seek greater alignment between “the front of the guide” and the “back of the guide” in which course aims, assessment objectives and taught curriculum support authentic summative assessment. Clear, concise and compelling course guide The next course will build on the clarity and strengths of the current guide and seek to inform and inspire educators and students. Improve student and teacher support. The next course will include a robust suite of materials to guide and support teacher and student art-making and art thinking. Build on continuity with current course and respond to community’s needs The next course will refine and enhance the existing course to encourage continuity to teaching and learning, while responding to the changing needs of the IB community. © International Baccalaureate Organization 2022 Goals and principles of the visual arts curriculum review Design a course that: • responds to the diversity of DP/CP candidates and their contexts • prepares students for a variety of post-18 education paths: for academic courses or art schools but also for entering the workplace or to continue to develop art skills outside of formal education • is innovative in comparison to similar secondary-level courses • can be taught using best practices by a broad base of IB-trained teachers • aligns well with other DP/CP and MYP arts subjects • provides students and teachers with agency • is inquiry and practice based supporting teaching and learning in the classroom as studio • is assessed through streamlined, clear, authentic summative tasks © International Baccalaureate Organization 2022 Focus of the curriculum review • • reduce workload for all students authentically differentiate between SL and HL course requirements • • write assessment objectives that are clear and authentic clearly define assessment objectives for teaching and learning and for each assessment task • • • • increase emphasis on art-making and the creative process, which remains not prescribed enhance learning and teaching experiences in the classroom as studio allow teaching and learning to be about making art with assessment tasks designed to evidence discrete aspects of the creative practice shift focus in the assessment of curatorial practice to offer all students equal opportunities • • respond to feedback from multiple IB stakeholders create clear and user friendly guide and teaching and learning support materials © International Baccalaureate Organization 2022 The visual arts draft guide The syllabus is designed with art-making practice as inquiry at the core. Complex generative thinking and three principles are introduced as tools to frame teaching and learning. Three core areas combined with the assessment objectives offer a more straightforward structure to the course The guide now explicitly makes the creative process unprescribed, flexible, inclusive. Key terms are defined to provide clarity. The assessment objectives are embedded in the art-making practice and are more user- friendly.. The assessment model better differentiates between SL and HL. The assessment tasks are more authentic, and the assessment criteria structure is simplified. © International Baccalaureate Organization 2022 Draft syllabus outline The visual arts course is a creative, practice-based course. The new course focuses on three core syllabus areas linked iteratively: • Create • Connect • Communicate © International Baccalaureate Organization 2022 Draft structure of the syllabus Working through iterative creative processes provides students with learning experiences across the three core areas of the course and supports their individual development as emerging artists. Art-making as inquiry is at the core of the new visual arts syllabus and it is through making that students become aware of and engage with the connections among their artistic intentions, creative strategies, art-making forms and contexts. © International Baccalaureate Organization 2022 Creative process The model proposed for art-making as inquiry at the core of the syllabus allows for an infinite number of approaches to the creative process. Assessment focuses on evidence from art-making practice leaving the process flexible, dynamic, authentic but establishing clear objectives. © International Baccalaureate Organization 2022 As highlighted since the beginning of the review, those approaches that are prescribed - such as knowledge, understanding and use of formal elements and principles of design -- are most often embedded in the current course within assessment criteria rather than explicitly highlighted as required within the teaching and learning of the course. Assessment objectives ENSURE THAT OBJECTIVES – SYLLABUS CONTENT – ASSESSMENT MODEL ARE ALL ALIGNED objectives identify desired outcomes assessment determine best evidence syllabus © International Baccalaureate Organization 2022 learning experience Draft assessment objectives Assessment objectives provide specific and measurable indicators of student success. Having followed the course, visual arts students are expected to demonstrate learning and provide evidence of how they: create, communicate and connect through art-making as inquiry. Visual arts students are expected to demonstrate their achievements by submitting evidence of their visual arts work according to the requirements of the course assessment tasks to demonstrate how in their art-making they: Curate visual and written materials including both developing and resolved artworks to communicate artistic intentions and evidence art-making. Investigate art forms and creative strategies as well as meaning and cultural significance of artworks within and across contexts. Generate ideas to develop intentions and artworks through the application of creative strategies. Refine intentions and own art-making practice and artworks through inquiry. Resolve artworks to fulfil intentions and convey meaning. Situate own artworks and art-making in relation to own context(s), audience(s) and communities of artistic practice as well as in relation to the work of other artists. Synthesize ideas, influences and experiences through creative and curatorial practices. © International Baccalaureate Organization 2022 Situate is a new objective Situate own artworks and art-making in relation to own context(s), audience(s) and communities of artistic practice as well as in relation to the work of other artists. Situatedness is defined by the Oxford Reference as "The dependence of meaning (and/or identity) on the specifics of particular sociohistorical, geographical, and cultural contexts, social and power relations, and philosophical and ideological frameworks, within which the multiple perspectives of social actors are dynamically constructed, negotiated, and contested.“ https://www.oxfordreference.com/view/10.1093/oi/authority.20110803100509181 When making or studying artworks students recognize their ‘situatedness’ – and this is through understanding the connections among their artworks as well as between their artworks and their own context(s), with their potential audiences and with the wider web of (existing or perceived) communities of artistic practices. Students learn how to situate themselves also learning about how other artists positioned themselves through their works. Visual arts students experience the expansion and collapse of context as a significant aspect of living in the contemporary world in which the local is very often global and are empowered to discover their own connections. © International Baccalaureate Organization 2022 How does ‘situate’ relate to art-making practice as inquiry? Guiding questions: •In what ways is my artwork influenced by my context(s), by my experiences? •How do my artworks connect to and communicate about my context(s)? •In what ways do social, political, and historical factors influence me as an artist? •What are the cultural factors that influence my art-making? and what are the cultural factors evident in my artworks? •What is the relationship between personal, local, global that I experience and express in my work? •How does my artwork relate to audience(s)? •What are the artworks by other artists that influence my own artmaking? Why these ones? •How has my understanding of meaning and cultural significance of other artworks helped me to situate my own artmaking? © International Baccalaureate Organization 2022 A reviewed assessment model: moderate change HL/SL three tasks: SL Resolved artworks CURATE RESOLVE SYNTHESIZE SL Connection study INVESTIGATE SITUATE CURATE HL Selected resolved artworks CURATE RESOLVE SYNTHESIZE SITUATE INVESTIGATE HL (stand-alone) Artist project Art-making inquiries portfolio - one task is shared - authentic HL / SL differentiation is achieved across the two other tasks INVESTIGATE GENERATE REFINE CURATE • • • SITUATE INVESTIGATE REFINE SYNTESIZE CURATE OBJECTIVES – SYLLABUS – ASSESSMENT TASKS TALK TO EACH OTHER REDUCED AMOUNT OF EVIDENCE TO SUBMIT COMPARED TO CURRENT COURSE SIMPLIFIED ASSESSMENT CRITERIA STRUCTURES © International Baccalaureate Organization 2022 Draft assessment outline—SL (details are subject to change) External assessment Weighting 40% Art-making inquiries portfolio (32 marks) The task is focused on the student demonstrating how they engaged in their art-making through investigation, generative processes and refinement following personal lines of inquiry. Students present curated evidence of explorations, experimentations, practical investigations and discoveries documenting their critical approach in developing and refining their visual vocabulary. The portfolio is curated by the student to provide evidence of their inquiries and choices in the use of art-making forms and creative strategies. SL students submit: • up to 15 screens including visual evidence and supporting written materials with a total word count that does not exceed 3000 words. • A list of sources Connections study (28 marks) This SL-only task is focused on the students situating one of their own resolved artworks. SL students select one of their resolved artworks and present the connections and influences that this piece evidences. Students consider how their artwork is connected and communicates about their own context(s) and they evidence the connections between their selected resolved artwork and two other artworks by different artists. These connections are informed by the student’s research about meaning and cultural significance. Finally, students consider the connections between their selected resolved artwork and audiences. 20% SL students submit: • Up to 10 screens including visual and written materials with a total word count that does not exceed 2500 words. • A list of sources. Internal assessment This component is internally assessed by the teacher and externally moderated by the IB 40% Resolved artworks (32 marks) This SL-only task is focused on the body of 5 resolved artworks that SL students created during the two years of the course to demonstrate their technical and conceptual accomplishments and their ability to communicate stated intentions and an overall meaning. Each student also provides a rationale for the body of resolved artworks, in which they introduce their work, concepts and ideas they want to communicate and the intended overall meaning that guided the creation of their body of resolved artworks. SL students submit: • five image or video files of artworks each accompanied by the title, medium, size and a short text of 500 characters to provide examiners with other specific supporting details. The submission of two optional supporting images is allowed per each artwork. • one image with an overview all five artworks reproduced together to provide a sense of scale • a PDF file with up to two screen for the rationale text not exceeding 500 words. © International Baccalaureate Organization 2022 Draft assessment outline—HL (details are subject to change) External assessment Art-making inquiries portfolio (32 marks) The task is focused on the student demonstrating how they engaged in their art-making through investigation, generative processes and refinement following personal lines of inquiry. Students present curated evidence of explorations, experimentations, practical investigations and discoveries documenting their critical approach in developing and refining their visual vocabulary. The portfolio is curated by the student to provide evidence of their inquiries and their choices in the use of art-making forms and creative strategies. Weighting 30% SL students submit: • up to 15 screens including visual evidence and supporting written materials with a total word count that does not exceed 3000 words. • A list of sources Artist Project (42 marks) This a stand-alone HL-only task is focused on students situating their work in context and working as emerging artists. Students present a personally compelling project proposal that is situated in their own context. They engage in research and dialogue to create a resolved artwork which they curate and display. The display of the project artwork is documented in a short video and may be accompanied by a project wall-text. At the end of the project students reflect and evaluate their creative process and the outcome of the project and complete this review proposing ideas for future development of their practice. 30% HL students submit: •Up to 12 screens with visual evidence and written commentaries about the project with a total word count that does not exceed 2500 words. •One video file maximum 3 minutes long presenting their resolved project work •A list of sources Internal assessment This component is internally assessed by the teacher and externally moderated by the IB. Selected resolved artworks (40 marks) This stand-alone HL-only task is focused on the body of five resolved artworks selected by the student to demonstrate their technical and conceptual accomplishments and their ability to communicate stated intentions and an overall meaning. The body of selected resolved artworks is accompanied by the rationale, a map presenting the body of five resolved artworks in relation to the wider body of artworks they worked on during the two years of the course, and five artwork-texts where they provide critical and contextual analysis to situate each of their selected pieces. HL students submit: • five image or video files of artworks each accompanied by the title, medium, size and a short text to provide examiners with other specific supporting details. The submission of 2 optional supporting images is allowed per each artwork. • one image of all 5 artworks reproduced together to provide a sense of scale • a PDF file with up to 7 digital screens including: o one screen for the rationale text not exceeding 500 words. o one screen with the mapping of the body of five selected resolved artworks in relation to the student’s wider body of artworks o up to five screens for the series of artwork-texts not exceeding a total word count of 1000 words. © International Baccalaureate Organization 2022 40% Task 1: Art-making inquiries portfolio external assessment, common SL/HL criteria To what extent does the curated visual and written materials present evidence of: A • Focus is more explicitly on evidencing art-making as inquiry • Removes marking penalties • Reduced number of screens • Evidence required is visual materials with accompanying commentaries regulated by a set word count. marks objectives Exploration and experimentation • exploration and experimentation with a range of diverse art-making forms and strategies to develop a visual language in response to intentions? 8 investigate 8 investigate To what extent does the curated visual and written materials present evidence of: B Practical investigation Lines of inquiry C • practical investigation of the work by other artists to inform their own artmaking? C u r a t e To what extent does the curated visual and written materials present evidence of: • 8 generate 8 refine generative processes through art-making within lines of inquiry? To what extent does the curated visual and written materials present evidence of: D Critical review • the student’s critical review of own work and engagement with critique and feedback to refine and enhance material and conceptual practice? TOTAL 32 © International Baccalaureate Organization 2022 Task 2: internal assessment - different at SL and HL Resolved artworks – SL only Selected resolved artworks – HL only criteria A marks Rationale To what extent does the submitted visual and written materials evidence: • a curated body of resolved artworks with an intended overall meaning Technical resolution To what extent does the submitted body of resolved artworks demonstrate •technical resolution in the use of art-making forms B objectives criteria A 8 Rationale curate B 12 resolve C C Conceptual realization TOTAL To what extent does the submitted body of resolved artworks demonstrate •conceptual realization and the synthesis of forms and concepts 12 Technical resolution Conceptual realization synthesize D 32 Situating TOTAL • Differentiation between SL and HL is authentic and reflects amount of learning time and student commitment at different levels • Change of name for the task: it is now explicit that the set up of an exhibition is not part of the summative assessment. Curation is assessed more authentically. © International Baccalaureate Organization 2022 marks objectives To what extent does the submitted visual and written materials evidence: • a curated body of resolved artworks with an intended overall meaning 8 curate To what extent does the submitted body of resolved artworks demonstrate •technical resolution in the use of artmaking forms 12 resolve To what extent does the submitted body of resolved artworks demonstrate •conceptual realization and the synthesis of forms and concepts 12 synthesize To what extent does the submitted written and visual materials evidence: •how the student situates their selected resolved artworks through visual mapping as well as through critical and contextual analysis 8 situate 40 Task 3: Connections study external assessment – SL only Criteria • Allows more authentic engagement and progression for SL students situate A To what extent does the study present Connections visual and written evidence of: with context how the student’s chosen resolved artwork connects to their own context? 6 B To what extent does the submitted visual Connections and written materials evidence: with artworks the connections between the student’s chosen resolved artwork and at least two artworks by different artists 8 • Research is now connected to artmaking for SL too • It is clearly scaffolded and criteria target discrete aspects of the work matching specific objectives • Better balance between visual and written evidence C D TOTAL © International Baccalaureate Organization 2022 marks objectives situate investigate To what extent are the connections supported by evidence of investigation and consideration of meaning and cultural significance 8 Connections To what extent does the study consider the impact of the student’s chosen artwork on with audiences audience(s ) 6 Investigation of meaning and cultural significance 28 situate c u r a t e Task 3: Artist project external assessment – HL only • It is a clear differentiator • Allows authentic deeper engagement and extra skills development • Provides structure for teaching the course. • It is clearly scaffolded and criteria target discrete aspects of the work matching specific objectives. • Research is integrated in a project marks criteria Proposal A To what extent does the submitted visual and written materials evidence: • the student’s intentions for the project within context 8 situate Connections To what extent does the submitted visual and written materials evidence: 8 investigate situate Up to 3 PDF screens max 1000 words • connections through two examples of student’s research to inform their project work, at least one connecting the project with the work of another artist • investigation and consideration of meaning and cultural significance to inform the project work. Up to 3 screens max 500 words B Dialogues C Up to 2 PDF screens max 250 words To what extent does the submitted visual and written materials evidence: Up to 3 minutes MP4 •the realization of the student’s intentions through synthesis of form and concept in the chosen context •the curation of the project display Post- production evaluation To what extent does the submitted visual and written materials evidence: D F © International Baccalaureate Organization 2022 6 refine •the student’s engagement with critique and their responses to critical feedback to refine the project in its context Curation and To what extent does the documentation of realization in context the final display evidence: E objectives Up to 2 screens •the student’s evaluation of the creative Max 500 words process and the outcome of their project Future development To what extent does the submitted visual and written materials evidence: Up to 2 screens Max 250 words •the student’s ideas for future development 12 synthesize curate situate 4 situate 4 situate c u r a t e Mapping objectives and tasks across levels to support teaching objective task ART-MAKING INQUIRIES PORTFOLIO RESOLVED ARTWORKS curate curate a body of five artworks, write a rationale and provide an overview photo of the body of five artworks as well as accompanying details for each artwork image curate a body of five selected artworks from a wider body of work, write a rationale and provide an overview photo of the body of five artworks as well as accompanying details for each artwork SELECTED RESOLVED ARTWORKS CONNECTIONS STUDY ARTIST PROJECT ART-MAKING INQUIRIES PORTFOLIO investigate Requirements of evidence SL Requirements of evidence HL curate evidence of explorations, experimentations, practical investigations and discoveries within selected lines of inquiry CONNECTIONS STUDY curate evidence to include in the study curate evidence to document the project as well as curate a project proposal and the project display Practically investigate art-making forms, strategies, media, techniques, conventions, the work of other artists as part of art-making as inquiry Investigate context(s), the work of other artists, cultural significance and meaning to inform connections for one resolved artwork Investigate context(s), the work of other artists, as well as cultural significance and meaning to inform connections ARTIST PROJECT generate ART-MAKING INQUIRIES PORTFOLIO ART-MAKING INQUIRIES PORTFOLIO Generate own lines of art-making inquiries Refine material and conceptual practices through critical review of own work and engagement with critique and feedback refine critical review of own work and engagement with critique and feedback to refine project in its context ARTIST PROJECT resolve RESOLVED ARTWORKS SELECTED RESOLVED ARTWORKS CONNECTIONS STUDY situate RESOLVED ARTWORKS Realize artworks conceptually; synthesise form and concept in artworks Situate one of their resolved artwork in relation to own context(s), works of other artists and audiences Situate body of artworks through the rationale Situate body of selected artworks through the rationale but also through the mapping of the with a wider body of works as well as through critical and contextual analysis in the artworks texts Situate own project in context through a proposal as well as through post-production evaluation and in relation to future plans SELECTED RESOLVED ARTWORKS ARTIST PROJECT RESOLVED ARTWORKS synthesize SELECTED RESOLVED ARTWORKS Conceptual realization and synthesis of form and concept in artworks © International Baccalaureate Organization 2022 ARTIST PROJECT the realization of the student’s intentions through synthesis of form and concept in the chosen context Next steps and stakeholder involvement Your feedback on the contents of this report is valued. Next steps involve the creation of samples and the trialling of assessment criteria. Please send your comments, ideas and considerations directly to the curriculum manager at sabina.sorrentino@ibo.org Suggestions for teacher support materials are welcome via the Basecamp forum for visual arts. Thank you for your attention © International Baccalaureate Organization 2022 Vase from Mycenaean cemetery at Prosymna, Argos, 15 cent BC National Archaeological Museum, Athens – photo s.sorrentino It is important to bear in mind that the curriculum review for visual arts is still ongoing and that these draft proposals are being trialled and tested.
