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Answers
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as
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Der
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Contents
Introduction
1
iv
The visual arts journal
4
The process portfolio
What
is
the
What
are
process
the
70
portfolio?
requirements
of
70
the
process
1
portfolio?
What
is
the
visual
arts
journal?
Making
the
visual
arts
journal
a
habit
criteria
Assembling
your
your
visual
arts
journal
as
process
portfolio
with
the
assessed
components
process
portfolio
90
The exhibition
Formal elements of art
are
the
formal
elements
of
94
4
is
the
Starting
exhibition?
94
points
95
15
Developing
ideas
and
intentions
15
Developing
skills
and
considering
art?
art-making
Composition
16
Light
17
Themes,
Form
100
forms
ideas
Sensitive
and
104
concepts
issues/provocative
106
art
117
18
Academic
Space
and
depth
honesty
and
the
artworks
you
18
present
Line
20
Colour
20
The
Texture
118
impact
and
your
and
motion
process
and
technique
The comparative study
Making
What
How
the
comparative
we
120
by
Visiting
museums,
How
interpret
do
we
culture?
for
How
to
present
How
to
make
exhibition
121
the
artworks
for
your
exhibition
133
exhibition
135
Glossary
143
Bibliography
151
Recommended reading
152
Index
153
34
the
39
exhibitions
function
mean
make
the
29
study
to
for
35
criteria
How
criteria
30
mean
comparative
What
study?
research
Assessment
to
culture,
29
choices
do
to
your
24
The
is
school,
23
Selecting
What
your
22
Materials,
3
of
teacher
Assessment
Time
75
3
What
What
the
a
tool
5
2
for
3
learning
Linking
Assessment
2
Format
Using
71
1
by
and
context
and
galleries
purpose
and
53
audience?
comparisons
your
60
61
comparative
connections
45
to
your
study
own
65
art
67
iii
Introduction
This
guide
will
help
successfully.
It
It
wealth
includes
but
also
a
plenty
effectively.
course,
when
The
has
or
you
of
You
of
need
has
to
complete
written
ideas
to
suggestions
can
simply
course
you
been
choose
as
a
to
to
to
save
use
IB
visual
inform
and
you
this
book
your
assessed
the
both
challenge
reference
answers
three
to
to
as
and
a
reach
course
inspire
stretch
time
book
arts
and
your
help
guide
for
in
students.
creativity,
you
to
work
throughout
a
moment
of
the
panic
questions!
components
that
have
different
weighting
Tip
for
Make sure you balance your time
assessment:
●
the
comparative
●
the
process
●
the
exhibition
study
worth
20%
between the dierent elements
portfolio
worth
40%
appropriately.
And
there
is
a
worth
key
element
There
is
no
necessary
will
this
visual
parts
of
formal
areas
on
in
the
will
a
to
you
Your
then
the
to
you
to
as
at
this
the
course.
a
feel
are
have
syllabus
content
that
understand
this
of
for
how
the
section
is
on
study,
a
that
to
is
help
to
to
all
the
each
the
detailed
bibliography
links
for
book.
advice
to
of
the
process
glossary
essential
and
you
the
students
the
that
is
of
of
list
for
of
expand
short
your
section
student
have
criteria
scope
the
part
each
through
past
with
Read
important
assessment
and
course.
introduced
that
tells
assessment
exactly
The
guide
Visual
the
section
studies
so
you
examples
produced
for
each
the
book
relevant
is
essential,
It
expands
the
ideas
practical
on
meant!
as
well
as
for
giving
for
required
that
criteria
arts
has
plenty
guide
teachers
methods
what
is
the
students,
language
actually
a
introduction
the
the
a
book
throughout
introduction
by
the
this
introduction
this
language
this
an
understand
also
an
an
work
between
organized
use
There
Flicking
familiar
look
of
is
better
meet
is
the
teachers
to
the
assessed
then
different
course.
will
course
look
get
where
the
balance
comparative
exhibition.
content
rst
demands
Once
know
you
the
subject-specic
the
whole
required
study
iv
with
and
of
teacher
ofcial
there
followed
your
journal.
introduce.
journal
the
of
we
arts
you
demands
then
art,
arts
complete
with
will
suggest
help
will
you
Finally
meet
component.
as
visual
but
have
start
course.
arts
also
work
the
We
you
a
We
reading
yourself
sense
achieve
the
visual
visual
gain
of
as
the
course,
recommended
ideas
Familiarize
to
journal
course,
the
of
arts
exibility.
and
providing
follow
visual
components:
portfolio
all
to
assessed:
components.
elements
assessed
not
lessons
arts
the
is
order
the
assessed
reect
the
that
set
for
structure
three
to
40%.
but
the
of
been
of
in
book
used
projects
you.
in
that
pictures
It
is
the
help
the
help
illustrate
to
you
ofcial
really
is
the
important
choosing
will
to
This
examiners
course.
you
this
to
and
to
guide.
you
to
what
is
The visual arts journal
1
L TA
What is the visual arts journal?
The
visual
arts
journal
is
the
most
important
learning
tool
for
your
course.
Thinking skills
In
“ Visual” is a key word when
the
following
chapters
there
are
plenty
of
suggestions
of
ways
you
can
use
thinking about the visual ar ts
your
journal
to
support
introduction
to
the
each
component.
Here
you
can
nd
a
more
general
journal, and being visual is the
concept
of
the
visual
arts
journal
and
the
different
forms
key to keeping a successful
it
can
take.
You
will
use
visual
arts
course
it
throughout
your
visual
arts
course.
journal. It is a way to make
The
is
studio-based.
What
this
means
is
that
during
your thinking visible. Try
your
time
following
the
course,
you
will
be
adopting
the
work
practices
using sketches, annotated
and
habits
of
a
working
visual
artist.
The
Diploma
Programme
is
a
images and diagrams, ow
university
matriculation
course,
so
you
won’t
have
all
of
the
artistic
char ts, concept webs and
freedoms
that
you
might
imagine
artists
to
enjoy.
After
all,
your
work
mind maps in dierent ways to
will
be
assessed
against
standardized
assessment
criteria,
therefore,
it
will
communicate your processes
need
to
comply
with
a
range
of
specic
requirements
and
will
need
to
be
and your ar t-making practice.
submitted
in
art-making
ideas,
and
as
a
of
part
critical
in
they
the
artist
and
use
the
–
a
them,
in
be
expected
practice
and
body
use
more
but
of
their
where
approach
you
your
develop
with
materials
artworks.
some
form
range
of
is
they
of
visual
varied
what
to
techniques
Sketchbooks,
whole
even
artist
a
today,
practice.
probably
to
will
skills
complete
past
will
you
develop
workbooks
and
become
but
discipline-based
art-making
them,
individual
a
ultimately,
both
their
of
forms,
concepts,
notebooks,
describe
each
a
and,
artists,
part
journals,
to
as
investigate
media
Many
particular
different
the
arts
in
journal
visual
terms
different
have
art-making
visual
diaries,
are
ways
common
is
used
that
how
practice.
Real ar tists use visual ar ts journals too. This shows a sketch of an ar t installation in
progress by British ar tist Andy Goldswor thy at the Château de Chaumont-sur-Loire
in central France. It is entitled “Egg-shaped cairn of slates”.
Section 1
1
T H E
V I S U A L
A R T S
J O U R N A L
The
journal
is
not
formally
fundamental
activity
in
components.
It
glue
the
visual
they
will
research
journal
arts
use
for
will
●
will
the
journal
to
put
their
be
development
You
is
a
as
assessed
or
course,
and
the
that
will
be
together
sticks
the
an
artist
them
If
most
and
the
but
into
of
well,
it
For
a
three
many
assessed
students,
evidence
and
your
written
is
the
the
portfolio
used
visual
throughout
feed
together!
of
process
study.
comprehensive
will
source
their
comparative
moderated,
all
of
that
the
visual
arts
record
of
your
notes,
drawings
course.
record:
observations
from
real-life
experiences
through
and
photography
●
your
research
works,
visual
from
stimuli
●
your
interactions
●
your
references
assessed
You
will
books
and
with
so
and
contextual
your
that
electronic
it
is
teachers
easy
to
media
into
other
artists’
ideas
and
add
class
critiques
citations
when
you
submit
work.
experiment:
Tip
●
with
new
skills
●
with
new
concepts
and
technologies
Organize your electronic records
and
ways
of
working.
carefully. As par t of your journal
you will take many photographs.
You
will
practise:
Whether you use a camera or
●
rening
●
writing
your
existing
art-making
your phone, over two years it is
very easy to accidentally delete
text
portfolio
or simply forget where you have
for
and
your
for
the
exhibition
curatorial
comparative
study.
of
ideas
statement,
for
your
process
stored the les. Similarly, if you
You
will
reect:
upgrade your phone – or lose
●
it – all those records are gone.
on
the
development
portfolio
So download your les to a safe
projects
and
your
your
new
and
evaluate
plans
for
process
exhibition
folder and back everything up on
●
on
visits
●
on
the
●
on
your
to
museums
and
galleries
and
on
artist
visits
and
workshops
one of the various cloud storage
challenges
that
you
face
and
how
to
improve
your
art-making
systems available. Your school
will probably create a shared
folder for you to put these in –
own
development
as
an
artist
through
your
art-making
practice.
if they don’t do this you could
suggest that they do.
Making the visual arts journal a habit
Keeping
will
images
you
your
enable
that
are
mixing
to
can
nd
a
become
2
Section 1
got
to
as
the
journal
back
used.
the
to
up
an
to,
by
the
You
end,
your
you
what
your
next
for
your
other
areas
of
in
When
can
you
and
make
were
the
you
a
lesson
and
study
until
will
of
do
allow
next
that
any
you
a
you
that
are
problem,
until
feedback
your
to
source
colours
These
to
you
or
scheduled
remind
next.
time.
artworks
and
journal
As
notes
to
on
encounter
arts
teacher.
quick
of
ratios
note
going
work
sketches
names
visual
make
peers
you
the
and
your
also
as
ideas,
record
hues.
can
and
goals
side
combinations
You
from
your
original
can
alternatives
solution.
value
to
particular
various
you
the
attention
well
comes
you
arts
refer
been
produce
workable
time
where
as
sketch
suggestions
class
to
have
using
you
visual
you
you
can
refocus
your
S E C T I O N
The
visual
arts
conventional
allocate
and
some
possibly
you
during
and
record
teacher
on
of
studio
some
for
study
of
generate
your
time
the
to
some
of
by
your
teacher
your
with
some
on
time
that
typically
that
home
up
critical
progress
images
doesn’t
your
follow
suggested
your
and
course
homework
investigation
work
your
next
was
of
review
valuable
or
an
work,
studio
level
of
will,
but
your
You
artist
to
or
same
subjects
visual
suggestions
peers.
into
beginning
current
piece
the
other
start
to
them
think
to
undertake
artwork
remind
journal
given
could
or
arts
1
that
of,
your
reect
about
ideas
work.
Format
There
is
choice
and
prescribed
deciding
notebooks,
records
fact,
no
in
of
you
a
format
what
single
nd
it
your
an
that
artist’s
you
journal.
should
hardbound
experiments,
might
for
form
take:
book,
folio,
switch
a
The
course
collection
electronic
or
a
les
forms
of
you
free
sketchbooks
on
combination
between
gives
of
your
of
all
visual
of
arts
computer,
these.
In
journals
Tip
as
you
using
explore
a
form
different
of
art-making
electronic
journal
forms
might
and
work
media.
better
You
for
might
you
nd
while
that
you
You are likely to want to use
are
working
on
a
screen-based
art-making
form,
for
example.
The
journal
a wide selection of pages or
could
be
a
single
short,
small
sketchbook
or
dozens
of
notebooks.
It
can
be
long
or
extracts from pages from your
and
private,
or
large
and
public.
You
can
write
in
ink
with
visual ar ts journal as par t of
a
quill
pen
or
dictate
your
thoughts
directly
onto
your
phone.
It
might
your process por tfolio. It will
include
photographs,
lms
and
recordings.
It
will
denitely
include
notes,
pay dividends if you take the
annotations
and
reection.
Of
course
there
will
be
drawings,
scribbles
and
approach of considering every
mess!
In
other
likely
to
be
words,
the
visual
arts
journal
is
a
general
term
for
what
is
page as a potential process
a
number
of
different
ways
you
record
visual
creative
work.
por tfolio screen. Always be
You
will
eventually
comparative
The
most
–
to
presenting
be
time-efcient
proportion
pages
study
be
for
some
whatever
your
of
appropriate
aswell
as
Before
you
ways
your
arts
examples
best
of
in
your
is
your
to
use
journal,
in
this
the
process
assessment
a
on
chapter
do
as
an
a
horizontal
of
a
scan
this.
However,
of
a
of
the legibility of your work . Journal
pages will need to be scanned
complete
the
body
screen.
similar
to
Choose
mindful of your presentation and
and
you
practice.
development
development
portfolio
sketchbook
allowing
art-making
recording
own
for
approach
visual
the
works
viewed
both
or photographed for inclusion
in the process por tfolio, so it is
use
impor tant that there is adequate
most
contrast between any text and
work,
the background, and that the
artist.
size of the text will be legible on
start,
look
at
the
examples
in
this
section
of
how
your
screen.
journal
that
will
the
connect
learning
to
from
the
assessed
your
journal
areas,
will
as
be
it
is
in
these
presented
to
components
be
assessed.
Using your visual arts journal as a learning tool
The
core
three
arts
of
the
areas:
presenting
of
will
you
arts
(ways
of
ideas).
help
which
which
syllabus
visual
methods
teacher
all
of
will
in
feature
could
use
engage
in
your
(artists
art)
practice
to
students
context
making
In
you
expects
your
and
to
and
means
in
wide
visual
journal
as
through
why
they
communicating
this
a
learn
art),
visual
visual
arts
(ways
that
in
your
of
different
journal.
of
this
with
make
range
arts
part
engaging
art
Below
classes
your
activities,
are
ways
in
learning.
Theoretical practice: Thinking and ideas
This
will
include
judgments.
You
gender-based
looking
might
issues
in
at
other
evaluate
relation
artists
ideas
to
and
such
considering
as
feminism,
contemporary
art
as
how
we
make
colonialism
well
as
or
using
Section 1
3
T H E
V I S U A L
A R T S
J O U R N A L
L TA
historical
frameworks
for
traditional
art.
Much
of
this
material
will
Creativity box
be
included
techniques
in
your
are
comparative
used
to
express
study.
ideas;
Consider
this
will
how
processes
become
part
of
and
your
This is a Pandora’s box of ideas
process
portfolio.
You
can
explore
different
ways
of
communicating
for when you get stuck, or need
these
concepts
by
making
notes
and
perhaps
audio
recordings
for
your
to shake up your creative work,
journal,
but
also
reect
on
the
most
successful
ways
of
presenting
ideas
for when your ar t is becoming
in
preparation
for
your
nal
exhibition.
repetitive or boring. Find or
make a container – it could be
an envelope, a tin, a basket, a
Ar t-making practice: Doing stu
shoe box; you might want to
You
give it ex tra value by decorating
your
it or making your container
and
from scratch.
an
will
create
with
intentions.
select
which
essential
artwork
for
new
media
Experiment
art
activity
element
your
in
in
this
and
a
evaluate
expresses
process.
exhibition
and
which
meaningful
it
your
This
is
in
way,
ideas
will
the
materials
rene
–
the
develop
journal
best
your
journal
into
that
a
will
body
you
suit
choices
will
be
of
organize
Then prepare a stack of cards
the
connections
and
prepare
the
text
to
support
your
presentation.
Most
and on each one write a word
of
this
material
will
become
part
of
your
process
portfolio.
– these are going to be your
inspiration triggers. Think of
Curatorial practice: Presenting stu
qualities such as rough, hard,
thick, silken and so on. Think
Respond
of values such as rened,
artist
tiny, large, colourful. Think
own
of materials and substances
like
such as string, chalk, charcoal,
recordings
to
visits
the
and
artwork.
your
interactions
you
workshops.
Then
This
is
exhibition
in
the
when
to
you
have
journal
on
into
have
with
evaluate
will
the
the
other
what
consider
the
audience
assessed
art
is
by
through
most
exhibitions,
relevant
impact
you
to
your
would
synthesizing
all
your
exhibition.
sharpies, oil, sugar. Think of
what is impor tant to you such
as sunshine, bagels, the sea,
dogs. Think of feelings such
as sad, reective, instinctive,
angry, impulsive.
If you work with a friend you
can add words to each other ’s
box. In spare moments add new
words. Then when your work
gets dull, pull out three words
and use them to change your
ideas. A rough and impulsive
Linking with the assessed components
How
will
material
components?
sketchbook
If
you
do
matches
their
You
pages
this,
a
in
your
scanned
with
a
as
that
record
of
be
transferred
your
directly
choose
an
A3
students
journal
scanned
take
this
most
they
reorganize
then
stay
there
portfolio
studio
making
a
as
rst
for
the
clear,
the
use
experimentations
of
assessed
organized
process
format
that
even
the
portfolio.
readily
for
journal
presentation.
trials
where
record
to
approach
students
screens
coherent
as
into
landscape
However,
may
process
pieces,
be
Some
study.
journal
in
photo
exhibition
might
step
journal
complete
can
screenshot.
comparative
made
your
might
that
you
developmental
or
from
or
end
they
and
your
are
the
art
up
as
So
a
sketches
photographed
combined
development
of
journey.
drawing of your dog, for
If
you
choose
to
keep
an
electronic
journal,
then
word
processed
text
example!
can
easily
personal
type
be
pasted
touch
them
up
of
into
nal
presentations.
handwritten
unless
you
have
notes,
really
then
clear
If
you
you
prefer
will
to
keep
probably
the
need
to
handwriting.
Linking the journal with the comparative study
You
do
will
be
when
study
keeping
you
should
also
juxtapositions
4
Section 1
research
prepare
be
and
for
an
visual
graphics
notes
essay,
so
in
that
the
and
but
you
writing
journal
are
screens
draft
work
equipped
you
paragraphs
for
to
submit
your
make
for
just
as
you
comparative
exciting
assessment.
S E C T I O N
1
Meg and Meghan are preparing
topics for their comparative study.
This is an example of how working
on a large scale — they have spread
big sheets of paper on the oor –
has helped them to explore ideas
in a free manner. Meg has taken
books on Ukiyo-e prints and then
used paint to make a visual link
with Maggie Hambling’s paintings
of waves. Meghan knew that she
wanted to write about Alexander
McQueen, but was unsure how to
develop connections. Her teacher
has suggested themes and she is
beginning to trace links by adding
images and using her fashion books
as inspiration. Work such as this is
easily photographed on a phone
to refer to later when the detailed
comparative study research starts
This could be seen as stage two of the work that Meg and Meghan were engaged in. Anson is using collage and juxtaposition to
make meaningful links with his comparative study on iconoclasm.
Section 1
5
T H E
V I S U A L
A R T S
J O U R N A L
On a museum visit Anthony is using his journal to record his interest in Picasso and Matisse. This is the rst stage of his research
on Matisse’s use of colour for his comparative study. Alongside his notes he used sticky coloured paper and sharpies to respond
directly to the paintings in the gallery.
Carl and Becky are sketching in the Stedlijk Museum in Amsterdam. The point of these drawings is to slow down and look
carefully. The notes can be prompted by the museum labels (remember to cite these if you use this text later) and observations
of formal qualities and function. Spending time sketching also allows you to consider the relationship to the gallery audience – to
observe how others respond to the ar tworks and to think about the way the works are presented.
6
Section 1
S E C T I O N
1
Kierlan’s work on Dali forms one of the case studies in the comparative study chapter. Here are three early pages from her
journals. In the rst she makes rough notes in front of the painting, in the second she develops a focused analysis of formal
qualities and the third is par t of her research into Dali himself.
Emma and Carolyn visited an exhibition of Chinese
painting. Back in the studio they are experimenting
with brush and ink in the Chinese fan fold
sketchbooks they bought at the gallery. These
practical experiments are nicely combined with
research in materials and function. Some of these
pages are clear enough to be directly included in
either their process por tfolio or their comparative
study.
Section 1
7
T H E
V I S U A L
A R T S
J O U R N A L
Linking the journal with the process por tfolio
As
has
are
the
already
same
been
thing!
said,
sometimes
Notice
how
your
often
this
journal
is
the
and
case
your
in
process
these
portfolio
examples
This double page spread was presented for assessment as par t of Jonathan’s process por tfolio, but
it is in fact a collage from earlier journal work in several dierent formats: his photographs of owls,
his preparatory sketches and stills from his stop animation.
This investigative journal page could easily be scanned as a complete process por tfolio screen.
8
Section 1
S E C T I O N
1
Taking photographs is an impor tant par t of all ar tists’ work. Often we leave them in les without reecting on how they will
feed into studio ideas. Selecting and presenting photos in her journal has helped Sophia to think about how to compose her
exhibition sculpture piece. On the next page she begins to reect on these ideas and make preliminary sketches.
Here is another example of evaluating photographs in a journal. Octavia had been looking at Mondrian’s drawings of trees
when she decided to see if she could develop abstract forms in a similar way. She has star ted to play with unexpected
compositions. It is easy to see how with added captions this page can be scanned as par t of the development of her
exhibition pieces in the process por tfolio.
Section 1
9
T H E
V I S U A L
A R T S
J O U R N A L
Carolyn is planning a textiles piece based
on corsets for her exhibition so in her
journal she has taken photos, chosen the
ribbon colour and added reections on
corsets from a feminist perspective. Katie
is preparing for a still-life painting that
includes a glove, by drawing with dierent
media. Both students can easily scan these
pages for inclusion as assessed process
portfolio screens. Free, creative approaches
like this are the great advantage of the
journal – it allows you to concentrate on the
art ideas in any form you wish.
These are focused experimental pages,
mixing card collage with photocopies
and researched vocabulary on human
anatomy. These were produced in
preparation for a sculpture, but Chris can
now scan these pages for his process
portfolio – he will just need to type some
clearer explanatory notes and make links
to the development of his exhibition piece.
10
Section 1
S E C T I O N
1
Playing with materials is
one of the most impor tant
activities for an ar tist. Not
all of your pages will look
as exciting as this one,
but that is the point of the
journal – it allows you to
produce lots of material,
then scan the best
examples for the process
por tfolio. All that needs to
be added is some text to
contextualize this mixed
media work with the
development of studio
ideas.
Anthony’s collage book
is a studio tool, feeding
his paintings and
sculptures. The journal
has allowed him to work
free from concerns
about presentation or
assessment, although he
has added notes so this
is a resource for writing
about his ar t later too.
Linking the journal with the exhibition
The
the
most
obvious
journal
exhibition
need
to
you
and
record
However,
through
far
link
will
between
day
your
in
the
important
journal
the
preparing
developing
every
more
your
be
which
journal
to
write
connecting
studio
than
will
as
this
be
the
is
and
your
your
ideas.
well
the
exhibition
curatorial
as
To
on
do
foundation
this
well
museum
learning
that
for
is
that
statement
for
you
in
the
will
visits.
takes
resolved
place
works.
Section 1
11
T H E
V I S U A L
A R T S
J O U R N A L
Anson is developing a second outcome from an earlier sculpture idea – his notes record this and will be
useful when he explains the concepts in his curatorial statement. Below these he sketches some rst
ideas, while on the right he experiments with how he might use spray and stencil in this work. These
journal pages are essentially exhibition preparation, but could well be par t of his process por tfolio.
12
Section 1
S E C T I O N
1
Kitty has thought about the curation of an exhibition in Leicester City Art Gallery. Her
photo of a group of paintings will help her to consider how she arranges the paintings
in her own exhibition. The ground plan, the shots of the lighting and of the overall
space are a purposeful consideration of how an audience experiences art in a public
space, making this very good preparation for her curatorial statement.
Remember that
sometimes your journal
is just a sketchbook.
Antonia is preparing for
her exhibition paintings
of the life model and here
she uses contour lines to
capture the dynamism
of movement. Ella has
used her small notebooks
to doodle – it is easy to
imagine these sketches
as par t of a process
por tfolio page.
Section 1
13
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ciceps-tcejbus desu sah ehs segap eseht nO .yduts evitarapmoc reh ot sknil hcihw ,secaps roiretni ni tseretni reh dnuora noitibihxe reh gnipoleved si ronaelE
Section 1
14
J O U R N A L
A R T S
V I S U A L
T H E
Formal elements of art
2
What are the formal elements of art?
Key terms
This
chapter
provides
you
with
a
structured
approach
to
the
critical
Subject-specic language:
analysis
of
formal
qualities.
This
is
an
important
skill
that
you
will
words that are specic to
need
to
use
in
your
visual
arts
journal
when
writing
about
your
own
the eld of ar t. The use of
artworks
or
the
art
of
others
and
in
the
three
assessed
components.
subject-specic language is an
The
formal
and
their
elements
of
art
are
the
physical
qualities
of
an
artwork
assessed element of the course
visual
effects,
a
separate
aspect
from
function
and
meaning.
and this book includes plenty
A
consideration
of
the
formal
elements
is
a
way
of
making
a
focused
of ideas for how to develop your
description
of
an
artifact
and
the
processes
through
which
it
was
made.
language to analyse ar t.
To
do
this
At
the
effectively
back
vocabulary
There
are
of
this
to
you
book
support
good
guides
●
The
●
Thinking
About
●
The
Tate
Gallery
●
The
Metropolitan
There
Thames
are
divides
many
the
elements
task
consider
you
which
approach
impact
of
A
Composition
at
while
most
is
analysis,
You
will
of
arts-related
as:
(Thames
Penny
&
Hudson,
Huntsman
2015)
(2015)
at
http://www.metmuseum.org/
structure
second
and
need
be
the
the
As
exible
you
begin
work
function
analysis.
considers
develops
what
always
of
rst
technique.
to
to
formal
the
and
–
your
into
so
will
meaning
the
give
that
a
many
approach
examining.
noting
this
takes
chapter
formal
elements
art
in
are
by
This
the
and
However
emotional
you
you
an
can
later.
could
start
your
diagram.
description,
follow
Art
aspects:
suited
you
to
points”
the
but
analysis
These
don’t
order
that
with
points
follow
seems
act
the
as
them
most
“Seven
prompts
formal
to
your
systematically
appropriate
to
–
the
Light
Colour
artwork.
Emotion
it
Meaning
may
time
For
be
and
second
your
contemporary
appropriate
motion.
materials,
Space
to
impressions
return
such
by
Website
the
into
to
Guide
process
way
glossary
language .
http://www.tate.org.uk/
ways
you
subject-specic
task.
analysis
related
forms,
rst
this
Museum
material,
use
Introduction
Website
two
to
comprehensive
in
Thematic
insight
Texture
a
need
formal
effective
the
your
to
Art:
into
of
different
is
you
Hudson
individually,
consideration
wildly
and
will
process
part
formal
of
the
to
works,
look
Remember
and
at
that
technique
chapter
will
such
the
installation,
element:
discussing
as
be
as
eighth
detailed
an
the
in
the
important
part
of
analysis.
and
Form
depth
Line
Section 2
15
F O R M A L
E L E M E N T S
O F
A R T
Composition
Key terms
Composition
Golden mean: a system to
create aesthetically pleasing
painting.
the
In
is
the
arrangement
sculpture
surrounding
it
is
the
and
structure
relationship
of
of
the
the
elements
forms
to
each
within
other
space.
propor tions originating in
The
principals
of
harmony,
rhythm,
emphasis,
proportion,
variety
and
ancient Greece. The principle
balance
can
all
be
evaluated
in
relation
to
composition.
You
might
also
is that a line is divided so that
consider
theories
such
as
the
golden
mean,
or
the
rule
of
thirds
the smaller section’s relation to
the larger section is the same
When
you
analyse
composition
you
could
discuss:
as the larger section is to the
●
the
format
●
the
arrangement
●
negative
●
cropping
●
the
whole, approximately 5:8.
of
lines
and
shapes
Rule of thirds: imagine a
composition divided into thirds;
and
positive
space
these lines become the most
signicant points at which to
scale
place key elements.
Negative and positive space:
Tip:
useful
vocabulary
negative space is the area
around the forms (void) and
Useful words to use when describing composition:
positive space is the area
arbitrary, asymmetrical, balanced, busy, calculated, chaotic, confused,
taken by the form. In a strong
cropped, cut, discordant, divided, dramatic, complex, geometric, golden mean,
composition there will be an
harmonious, informal, imbalanced, irregular, random, regular, repetition,
interesting balance between the
rhythm, rule of thirds, segmented, symmetrical
areas, with the negative space
being just as visually arresting
as the positive.
Cropping: this is when objects are
When
considering
the
scale
●
How
●
Do
I
need
to
stand
●
Do
I
need
to
go
●
What
●
How
●
What
●
Do
does
the
human
and
form
impact
of
compare
an
to
artwork
the
size
you
of
might
the
ask:
artwork?
cut o by the edge of the picture,
back
to
see
the
painting?
as often happens in photography.
Cropping is less evident in
really
close
to
engage
with
the
scale
and
artwork?
paintings before the invention of
is
the
relationship
between
the
the
detail?
photography. Cropping reminds
the viewer that we are looking
has
the
artist
drawn
us
into
their
world?
through a window or seeing a
is
our
role
in
this
scene?
portion of a reality that continues
outside of the frame.
we
need
Perhaps
we
to
move
around
experience
the
the
gallery
artwork
to
experience
the
work?
kinetically?
Scale: the relative size of an object.
You
might
ask
the
following
questions
about
composition:
K inetic: movement. Some ar t,
such as Calder ’s mobiles, move
●
Which
shapes
and can therefore be described
the
as kinetic, but we also move
elements?
dominate?
composition
been
Where
used
to
is
the
emphasis?
emphasize
the
How
most
has
important
around static sculptures in a
●
Where
is
●
Where
are
the
eye
led?
gallery so we experience them
kinetically: through movement.
the
major
divisions?
A
quick
sketch
can
help
to
analyse
these.
●
Is
it
arranged
perhaps
●
16
Section 2
How
with
does
the
on
a
arcs
vertical/horizontal
and
axis,
or
with
circles?
composition
affect
our
feelings?
diagonals,
or
a
and
S E C T I O N
●
Are
to
●
the
shapes
create
arranged
order?
Or
are
unsettle
the
spectator?
How
our
eyes
do
aspect
to
read
another?
in
the
Has
an
the
organized
elements
composition?
the
artist
and
balanced
random
and
Perhaps
created
way,
arbitrary
traveling
rhythms?
Variety
2
designed
to
from
of
one
interest?
The street ar tist Ernest Pignon has used
the traditional technique of chiaroscuro
to give a strong sense of form to his
drawing of lm director Passolini carrying
his own body. He has then fur ther
enhanced the form with the outline to the
gures. He needs to use strong contrast
so the image will show up in the strong
light on the streets of Rome where he has
pasted it. He has also created eective
contrasts of texture.
Light
The
use
of
light
will
determine
the
mood
of
an
image.
Darkness
can
Key terms
create
an
uplifting
tranqil
intense
and
depth
creates
atmosphere
brilliance.
Light
a
or
and
psychological
sense
a
raking
of
well-being.
mysterious
across
power,
a
one.
surface
wheras
light
Soft
light
gives
Strong
light
brings
will
reveal
the
a
is
suffused
clarity
and
and
Value: degrees of tonal
variation.
textures.
Cross hatching: hatching is the
Tone
from
you
a
the
intensity
colour
to
tonal
as
is
by
better
(subtle
graphic
printing
or
tonal
a
art
the
subtle
range
modulations
Sometimes
light
understand
contrast
wide
of
cross
light
range
from
is
Consider
tonal
in
black
and
The
artist
might
of
black
greys).
hatching
glows
dark.
image
value.
(from
of
and
mid
to
How
tones.
white)
has
used
to
within
the
build
the
white.
a
can
be
different
or
strong
expressed
the
of
from
use of parallel lines to create
tone; when these are overlaid
in dierent directions (cross
hatching) successively darker
range
tone?
densities
radiates
help
very
tonal
created
separately
will
used
narrow
artist
image
This
have
This
or
contrast
tones are created.
In
shadow.
the
light
Tip
of
the
You
white
might
paper
ask
behind
these
a
drawing.
questions
about
“Capture” is a useful word, as
light:
in, “The ar tist has captured
●
Is
the
atmosphere
●
Is
the
artist
cold
or
warm?
the mood of the scene”. For
using
candlelight?
light
or
Or
warm,
articial
maybe
yellow,
light?
Perhaps
daylight?
southern
If
so,
is
electric,
it
cold,
gas,
neon
blue-tinted
or
example, “I have attempted
northern
sunshine?
to capture the eect of water
on skin” is better than “I have
attempted to get the eect of
●
Where
is
the
light
source?
Perhaps
from
within
the
picture?
light
sources?
Or
from
water on the skin.”
outside?
From
which
side?
Are
there
multiple
Section 2
17
F O R M A L
E L E M E N T S
O F
A R T
●
Tip:
useful
Is
vocabulary
the
light
clear,
as
the
is
appears
spot-lit?
to
be
it
if
Alternatively,
scene
cinematic,
as
is
on
in
a
Consider
the
a
stage
lm
in
still?
the
theatre?
Perhaps
relationship
to
the
scene
shadow,
obscurity
Useful words to describe light
and
darkness.
Maybe
the
light
appears
to
lter
through
the
gloom.
and tone:
How
is
the
Does
the
light
used
to
create
emphasis?
atmospheric, back lit, blinding,
●
light
have
a
symbolic
or
metaphorical
meaning
in
the
bright, chiaroscuro, contrasting,
context
of
the
artwork?
contrejour, crisp, dark,
darkness, deep, oodlit, glaring,
Form
graduated, gradual, half light,
Form
has
a
specic
meaning
in
art:
it
refers
to
the
three-dimensional
harmonizing, harsh, highlights,
aspect
of
solids,
even
objects.
In
images
form
makes
objects
appear
to
be
realistic
illuminated, light, medium, mid
though
they
are
in
fact
two-dimensional.
Draw
a
circle.
Now
tone, monochrome, obscurity,
shade
one
side
rendering
from
light
to
dark,
then
make
it
cast
a
shadow.
ominous, reected, rendered,
You
have
used
chiaroscuro
to
give
an
illusion
of
form
–
transforming
a
romantic, sharp, shade, shadow,
two-dimensional
shape
into
an
illusion
of
three-dimensional
form.
soft, spot-lit, suused, tint, void
Sculptors
is
the
deal
relationship
considered
Tip:
useful
with
in
real
form
between
relation
to
rather
form
the
than
and
the
space.
surrounding
illusion
Forms
space
of
in
or
form.
Sculpture
sculpture
void
and
in
can
be
relation
to
vocabulary
the
Useful words to analyse form:
space
outwards
weigh
in
that
they
as
it
if
on
contain.
will
the
ll
forms,
the
Sometimes
the
surrounding
seeming
to
volume
space.
crush
of
the
form
Conversely
the
expands
space
can
them.
abstract, amorphous, biomorphic,
circular, closed, concave,
Form
convex, distorted, enclosed,
words,
can
also
be
making
used
in
concepts
the
sense
of
“giving
form”
to
ideas;
in
other
concrete
erotic, at, free-form, geometric,
You
might
ask
these
questions
about
form:
geomorphic, heavy, light,
●
How
●
Do
massive, monumental, modelled,
has
the
illusion
of
form
been
given
in
two
dimensions?
modulated, nebulous, open,
the
lines
follow
the
forms?
Perhaps
curving
and
owing
lines
are
organic, planar, palpable, realistic,
used
to
emphasize
How
do
them?
rendered, seductive, sensual,
●
the
forms
relate
to
the
surrounding
space?
Has
the
artist
solid, vague, volumetric
fragmented
space?
Or
weight
of
them?
Perhaps
alternatively
the
to
has
create
the
the
artist
effect
of
emphasized
movement
and
the
and
density
objects?
Key terms
●
How
has
light
been
used
to
help
describe
the
forms?
Metaphor: in ar t an image
Of
three-dimensional
artwork
you
might
ask:
that suggests or symbolizes
●
Is
the
●
Is
this
form
of
this
sculpture
expanding
or
contracting?
a dierent idea or feeling is
metaphorical. For example, Van
Gogh’s sunowers can be seen
space
open
surrounding
as a metaphor for idyllic rural
or
closed?
spaces?
To
the
How
do
plinth?
the
To
forms
the
relate
ground?
to
To
the
the
human
form?
life in the south of France.
Plinth: the base of a sculpture.
A useful synonym is “socle”,
which is more often used to
describe the base for classical
sculptures.
Void: nothingness, or the empty
space that is the opposite of
mass, substance and form.
18
Section 2
Space and depth
Space
images
is
the
artists
dimensional
surface
In
of
or
sometimes
surface.
the
sculpture
mass
three-dimensional
picture
and
density.
expanse
attempt
Depth
(the
is
picture
architecture
to
how
give
far
in
an
which
objects
illusion
back
the
of
image
are
space
located.
on
appears
a
In
two-
from
the
plane).
space
or
voids
can
usefully
be
related
to
S E C T I O N
The
principal
ways
of
creating
an
illusion
of
depth
2
are:
TOK
●
overlapping
●
linear
and
intersecting
planes
Can form exist without space?
perspective,
when
a
scene
is
viewed
from
a
single
viewpoint
Can space exist without form?
with
objects
shown
diminishing
in
size
as
they
become
more
distant
Is a balloon dened by what it
●
atmospheric
and
crisper
perspective,
in
the
when
foreground
forms
to
give
are
the
out
of
effect
focus
of
in
the
distance
depth
contains or by what surrounds it?
Star t by asking these questions
in front of a sculpture, or the
●
aerial
perspective,
when
colour
values
are
used
to
create
an
illusion
trash can! Then apply the same
of
depth
questions to metaphysics and
●
isometric
perspective,
a
system
to
describe
space
where
uniform
the universe.
objects
●
tonal
Depth
remain
same
size
contrast.
can
traditions,
Chinese
the
be
shown
for
landscape
These
multiple
When
considering
theviewers,
without
example,
in
painting
uses
viewpoints
are
space
in
and
relation
perspective
Indian,
the
create
depth
to
the
as
Islamic,
many
of
of
oating
sensation
is
essential
artwork;
in
high,
to
ask
other
the
and
concept
a
it
in
Chinese
eastern
Japanese
level
and
for
the
where
words,
works.
deep.
viewer.
we,
what
is
the
Key terms
viewpoint?
This
can
denes
the
way
we
used
to
establish
gives
power
important
subjects.
secret
who
to
read
effect
and
the
hierarchy
between
the
spectator.
A
the
gures
Sometimes
witnesses
us
depth
the
a
than
invites
determine
or
we
are
spying
into
the
in
low
the
scene
the
by
the
sense
image.
of
spectator
viewpoint
scene;
positioned
on
of
this
as
scene.
space
and
often
voyeurs,
our
eye
an
it
seem
the
high
that
case
there
or
by
is
also
image.
A
a
It
that
can
be
viewpoint
we
with
suggesting
Sometimes
catching
in
image.
makes
is
Viewpoint
are
less
religious
we
are
Mass: the body of matter. In
sculpture you might refer to
the physical mass of the forms;
in architecture the sense of
weight, solidity and force, such
protagonist
as in the ancient pyramids.
gesturing.
Picture plane: the surface of a
If
the
picture
viewpoint.
is
in
Often
strict
linear
artists
perspective,
combine
several
there
will
viewpoints,
be
one
even
xed
though
two-dimensional work of ar t.
the
Foreshor tening: this is the
picture
appears
to
be
from
one.
You
will
need
to
consider
the
cultural
illusion in perspective when a
context
when
writing
and
Cubists
about
perspective,
for
viewpoints
and
example,
non-western
art
artists
the
form, such as an outreached
the
use
multiple
very
few
follow
arm, leads into the space.
rules
You
of
perspective
might
ask
completely.
these
questions
about
space
and
depth:
Tip:
●
How
has
the
artist
created
●
Why
did
the
artist
show
●
Do
the
the
illusion
space
in
of
this
useful
vocabulary
depth?
Useful words to describe space
way?
and depth:
the
forms
come
forward
from
the
picture
plane,
or
do
they
Ambiguous, aerial perspective,
recede,
as
if
we
are
looking
through
a
window?
atmospheric perspective,
●
Has
the
artist
used
foreshortening
to
create
drama
and
to
draw
us
background, deep, depth of
into
the
scene?
eld, diminishing, distance,
●
How
have
space
and
colour
and
atmosphere
been
used
to
give
an
illusion
expanse, faceted planes, focus,
of
foreground, at, illusionary,
depth?
isometric, perspective, linear
You
might
ask
these
questions
about
viewpoint:
perspective, middleground,
●
Are
we
often
looked
the
case
down
with
upon
from
monumental
above
to
make
sculpture.
us
feel
small?
This
is
negative, open, overlapping,
positive, receding, repoussoir,
shallow spatial, vast
Section 2
19
F O R M A L
E L E M E N T S
O F
A R T
●
Are
we
more
●
Do
raised
we
confront
stage
drama?
●
Does
the
●
At
a
up,
perhaps
even
oating
above
the
scene
to
make
us
powerful?
what
artist
kneeling
scene
want
height
religious
the
did
work
draw
the
of
position
to
art
directly
us
painter
the
looking
as
into
equals
the
intend
intention
as
in
a
scene
or
to
the
may
work
be
television
to
that
stand
be
we
or
apart?
hung?
view
If
it
from
is
a
up.
Ancient Greek vase painting in
black over red ceramic. Line can
Line
eectively describe form. In this
vase painting notice how we read
Lines
the volumes of the gures, yet there
boundaries
is no chiaroscuro.
Key terms
said
“A
a
line
is
might
●
Do
●
What
the
that
dot
ask
the
edges
between
famously
You
Contour: a line which connects
describe
“A
that
forms,
and
for
is
a
the
or
solid
they
simply
a
meets
follow
line
space.
They
contours.
going
for
a
Paul
walk”
dene
Klee
and
walk”.
questions
follow
where
dark
drawing
went
these
lines
of
light
about
line:
contours
of
the
forms?
lines
tell
us
points of equal value, such
does
the
character
of
the
about
how
the
artwork
as the contour lines on a map
was
made?
Are
they
fast
and
expressive
capturing
the
dynamic
showing points of equal height.
movement
of
the
artist’s
hand
–
or
arm
–
gestures?
Or
are
they
slow
The same principle is used in
and
careful,
conveying
precision
and
accuracy?
Or
even
hesitant
and
drawing when lines follow the
sketchy,
showing
doubt,
change
and
uncertainty?
boundaries of a form or points
Lines
also
have
expressive
qualities
and
can
be
used
to
reveal
texture.
of equal tone.
When
an
artist
draws
Mark-making
pen,
Tip:
useful
brush,
a
when
line
they
drawing
spray-can,
pencil,
leave
a
depends
trace
on
charcoal,
or
mark
of
implements,
and
the
their
such
surfaces
action.
as
ngers,
worked
on,
such
vocabulary
as
Useful words to describe line:
paper,
effects
using
canvas
of
this
words
or
plaster.
There
mark-making.
such
as:
blot,
Try
are
to
bleed,
many
express
blotch,
useful
this
drag,
words
variety
drip,
to
describe
when
erase,
you
etch,
the
write
by
inscribe,
Angular, blurred, broken, bold,
score,
scratch,
scumble,
splatter,
smear,
smudge,
spot,
spray,
stain.
condent, controlled, contoured,
cross hatched, cur ved, crisp,
Colour
delicate, descriptive, dragged,
edged, engraved, etched,
Colour
faint, ne, owing, freehand,
(how
is
the
strong
visual
the
sensation
red
is)
and
of
hue
(red,
brightness
for
(how
example),
light
or
dark
saturation
the
red
is).
geometric, gentle, gestural,
We
can
see
up
to
ve
million
colours
but
colour
is
very
difcult
to
graceful, granular, harsh,
describe
in
words
so
be
imaginative
and
make
up
your
own
colour
incised, heavy, hesitant, loose,
vocabulary.
Use
the
names
on
paint
tubes
to
help.
Or
refer
to
the
many
meandering, organic, outlined,
colour
name
websites
to
spark
your
imagination.
ragged, ruled, sensitive, sinuous,
sharp, sketched, smudged, soft,
subtle, streaked, tentative, thick,
thin, wide
White,
black
and
do
occur
in
not
you
of
are
its
also
not
used
can
example,
also
Section 2
and
be
expressive
not
always
spectrum,
create
link.
are
colour.
will
liasons,
values.
on
It
memories
the
in
light
the
to
and
relation
have
for
they
always
deplete
context
might
and
will
helping
adds
analysed
considered
however,
Black
grey
White
depending
associations,
20
to
normally
Colour
or
the
analysing
neighbours
be
grey
it
colours
very
important
intensify
power
of
harmonize
purity
to
to
function
may
been
are
true
have
chosen
psychological
the
colour
colours.
colours
and
when
values
Grey
can
would
colours.
meaning.
For
symbolism
evoke
effect.
they
that
surrounding
cultural
to
as
Some
feelings,
artists
are
S E C T I O N
more
concerned
with
the
phenomenological
aspects
of
colour–
2
the
Key terms
sensations
the
of
conict
light.
Painters
between
our
such
as
Cézanne
perception
of
have
local
attempted
colour
and
to
resolve
reected
light.
Local colour: the actual colour
You
might
ask
these
questions
about
of an object when unaected
colour:
by reecting light.
●
How
have
colour
contrasts
and
harmonies
been
used?
Is
the
Analogous colours: colours
composition
constructed
around
analogous
colours?
which sit next to each other in
●
How
●
Are
●
What
has
the
artist
used
colour
to
create
a
mood?
the colour circle, such as yellow
by
the
colour
would
making
a
contrasts
be
lost
tonal
if
and
this
harmonies
artwork
was
related
in
to
black
white
and
or
to
white?
black?
Test
and green.
this
version.
Tip:
●
How
in
a
would
the
different
Given
meaning
colour
variety?
of
this
painting
range?
Has
the
Created
be
artist
altered
created
if
it
was
colour
useful
vocabulary
executed
rhythms?
discord?
Useful words to describe colour:
Analogous, brash, bright,
brilliant, bleached, calm,
The
three
basic
colour
contrasts
are:
clear, contrasting, cool, dull,
●
contrast
of
hue,
for
example,
yellow
against
red
exciting, garish, glowing,
●
contrast
of
pigments,
against
saturation,
for
bleached,
saturated
the
example,
pale
colours
or
a
contrast
pure,
yellow
of
pure
strongly
reections,
de-saturated
pigments
pigmented,
hence
with
you
can
glazed, harmonious, hue,
diluted
yellow
iridescent, faded, uorescent,
sun
refer
monochromatic, muted, neutral,
to
pale, pastel, polychrome,
colours
primary, pure, opaque,
●
contrast
of
brightness
(tonal
contrast),
for
example,
a
contrast
secondary, subdued, ter tiary,
between
light
blue
water
lilies
in
the
sunlight
with
those
in
shadow.
tint, translucent, warm
Four
●
other
active
colour
and
contrasts
passive
are:
contrast,
we
sense
reds,
oranges
and
yellows
as
Key terms
busy,
moving
hues,
while
greens,
browns
and
blues
tend
to
feel
quieter
Colour contrast: colour is
usually described in terms of
●
contrast
of
temperature,
colours
can
be
labelled
as
hot
or
cold
hues
contrasts as the eect of colour
in
a
temperature
contrast.
Although
blue
is
generally
regarded
as
is always dependent on its
cool,
some
blues
are
have
quite
different
warmer
than
others.
Colours
such
as
yellow
can
neighbours.
●
complementary
opposites
against
on
blue
temperature
contrast,
this
the
colour
circle,
and
yellow
against
effects
term
that
according
describes
is,
red
violet.
the
against
When
to
their
three
pairs
green,
placed
context
of
orange
against
RED
each
RED-
RED-
ORANGE
other
red
they
seems
enhance
redder
their
and
the
hue.
When
green
red
seems
is
placed
greener.
against
(Do
not
green,
get
VIOLET
the
confused
VIOLET
with
the
spellings
different
of
meanings
complimentary
as
in
“He
and
complementary
complimented
me
on
my
which
blue
dress
ORANGE
have
with
BLUE-
YELLOW-
VIOLET
its
●
complementary
contrast
of
described
orange
colour
as
on
a
key,
scale
ORANGE
pattern”.)
as
with
with
notes
yellow
in
at
music,
the
top
colours
being
can
high
be
key
YELLOW
BLUE
and
BLUEYELLOW
-
indigo
blue
at
the
bottom
being
low
key.
GREEN
GREEN
When
you
colour
harmonies
colour
circle
while
describe
those
will
that
the
and
effects
the
far
colour
colour
harmonize
are
of
will
can
contrasts.
(these
apart
it
are
also
contrast.
be
helpful
Colours
called
Often
that
to
are
analogous
artists
GREEN
consider
will
close
on
the
colours)
build
a
Section 2
21
F O R M A L
E L E M E N T S
O F
A R T
TOK
Colour is a phenomenon. We each perceive colour dierently. Consequently,
philosophers have mistrusted colour because of its subjective nature.
•
Can colour be considered as a useful area of knowledge if we each
experience it dierently?
•
Is colour necessary to our understanding of the world? Is colour blindness a
limitation?
“Scientists are not concerned with colour but with radiant stimuli in light, or
with the physiological processing of those stimuli by the eye. Whereas colour
is in the mind which apprehends it.” (John Gage, 2000)
•
Do you agree with Gage’s statement? Where does that place ar t?
“Blue is always dierent from yellow, for example; depressed (‘the blues’), where
yellow is gay, loyal (‘true-blue’) where yellow is cowardly, and the like. Yellow has
the same meaning as blue once in a blue moon.” (Ludwig Wittgenstein, 1953)
•
Is language inadequate as a tool to describe colour sensation?
•
Do you agree with Wittgenstein’s colour mood associations?
Early Spring 1072 by Guo Xi. When
analysing space and depth you will
need to consider the conventions of
dierent cultures. Guo Xi describes
a totally believable spatial world,
theme
around
colour
to
colours
that
are
adjacent
adding
a
strongly
contrasting
yet much of his picture is empty. He
activate
the
composition.
also reminds us that this landscape
is an illusion by emphasizing
In
your
practical
the picture plane with his use of
contrasts
calligraphy.
the
is
colour
circle
so
art,
effective.
circle
that
it
to
planning
Build
act
“pops”
as
a
a
colour
schemes
harmony
foil
to
a
from
colour
around
colours
that
is
harmonies
that
are
opposite
and
adjacent
on
the
on
colour
out.
Texture
Tip:
useful
vocabulary
Textures
are
the
tactile
qualities
of
surfaces,
in
other
words
the
qualities
Useful words to describe
of
touch.
Art
often
represents
one
texture
with
an
equivalent
in
a
tex ture:
different
Actual, abrasive, bumpy, brittle,
cold, coarse, corrugated, dense,
delicate, dry, ephemeral,
feathery, at, furry, fragile,
gooey, glossy, granular, hairy,
media,
medium.
as
example,
surface
evoke
these
in
of
a
silk,
a
In
painting
are
description
generally
representational
mood
as
Your
texture.
fur,
or
stone
act
as
or
a
Sometimes
used
of
to
imitate
painting
esh.
In
metaphor.
artworks
texture
when
will
the
oil
be
linked
surfaces
paint
is
of
detail
include
real
in
a
textures
to
art
painting
that
that
of
objects,
used
non-representational
The
to
for
mimic
texture
the
can
can
be
read
can
be
felt.
layered, leathery, oily, open,
and
in
textiles
the
support
that
is
used
will
contribute
to
the
pimply, pitted, plastic, prickly,
texture:
canvas,
linen,
board,
wood,
metal,
silk,
hessian
and
so
on.
rened, repulsive, rough, sandy,
In
sculpture
the
surface
of
the
material
will
be
crucial
to
the
effect:
satiny, scaly, seductive, sharp,
shiny, slick, smooth, soft,
●
plaster
●
stone
●
bronze
●
wax
is
dry,
absorbent,
inert
sticky, tacky, touchy-feely,
can
be
rough,
abrasive,
granulated,
translucent, tactile, velvety,
waxy, wet
22
Section 2
is
is
patinated,
soft,
greasy,
shiny,
reective
malleable.
veined,
polished
or
smooth
S E C T I O N
Pattern
and
decoration
can
be
considered
as
elements
of
2
texture.
Key terms
In
textiles
weaving
the
or
physical
the
relief
structure
of
of
the
embroidery,
cloth,
for
the
warp
example,
and
build
weft
pattern
of
through
Patina: this is the sheen or
repetition,
through
a
tracery
of
lines,
through
lattice
work
and
through
colouration on an object’s
grids.
Similarly
appliqué,
embroidery
and
quilting
are
techniques
which
surface produced naturally by
combine
texture
with
decoration,
achieving
surfaces
that
have
variety.
age or deliberately by the ar tist.
In
ceramics
pattern
is
often
inscribed
into
a
surface
or
built
up
in
relief,
Appropriation: when an image
creating
both
decoration
and
a
real,
tangible,
physical
texture.
or an idea is taken from its
Street
effect
iron.
artists
when
The
appropriate
they
spray
smooth,
the
roughness
You
ask
these
of
textures
brick,
enamelled
weathered
might
on
the
quality
walls
questions
of
the
rendered
of
they
about
real
walls,
spray
work
world
to
concrete
paint
dramatic
or
contrasts
original context to be recycled
corrugated
to
the
by an ar tist in order to create
new meanings, or to subver t its
on.
conventional meaning.
texture:
Emboss: to emboss is to create
a relief surface. In printmaking
●
What
●
How
would
these
surfaces
feel
like
to
touch?
this is achieved by pressing into
Is
it
was
this
surface
embossed?
Polished?
Is
it
Abraded?
created?
in
relief?
Are
there
Has
the
layers
surface
of
different
been
materials?
distressed?
soft paper, in leather work by
using stamps, in sculpture by
Weathered?
carving, in ceramics by pushing
into the soft clay etc.
Time and motion
All
art
exists
increasingly
museum.
in
time
and
challenged
Installation
space
the
art,
although
xed
land
nature
art,
contemporary
of
artifacts
performance,
practice
preserved
video
and
has
in
lm
a
share
Tip:
many
of
the
formal
apply
additional
qualities
vocabulary
described
and
above,
questions
but
when
it
can
be
analysing
helpful
useful
vocabulary
to
them.
Useful words to describe time
You
might
and motion-based ar t:
ask:
Anti-aesthetic, contemplative,
●
How
does
●
How
has
this
work
engage
with
time
and
space?
challenging, disorientating,
lighting
been
used?
disturbing, distasteful,
●
How
long
does
it
take
transient
experience?
●
How
has
technology
●
How
has
the
●
What
other
touch
or
the
audience
to
experience
this
work?
Is
this
a
ephemeral, engaging,
evocative, kinetic, multimedia,
mesmerizing, par ticipatory,
been
adapted?
physical, psychedelic, pseudo
artist
arranged
the
space
to
create
scientic, repellant, sensory,
atmosphere?
shocking, tangible, transient,
senses
are
involved?
Perhaps
the
artist
has
used
smell,
sublime, unconventional,
sound?
unsettling
African Dogon head from Mali made in wood.
Notice how this head combines form, line and
decoration to dramatic eect. The sculptor
makes use of crisp edges to ensure that the
features are drawn with the shadows cast by
the strong sunlight.
Section 2
23
F O R M A L
E L E M E N T S
O F
A R T
Materials, process and technique
Tip
Your
description
analysis
of
the
of
formal
making
of
qualities
the
will
artwork
have
if
you
already
have
involved
been
using
an
the
When you write about ar t
vocabulary
above,
why
medium
but
you
will
want
to
think
further
about
the
how
and
you will need to refer to the
of
the
and
process.
ar twork repeatedly. You can
avoid repetition by the way
you structure your writing.
You can also nd varied ways
You
might
be
question
of
netsuke
are
a
why
of referring to the ar twork by
using alternative nouns such
consider
think
about
what
they
the
value,
the
artist’s
of
carved
choice
of
materials
in
economics,
of
skill
tradition.
from
ivory
and
technical
properties
made
(their
were
for
of
or
bone
will
carving
function),
of
as
particular.
lead
the
you
to
material,
fastenings
for
It
might
Considering
not
but
only
also
clothing.
as creation, picture, image,
Sometimes
materials
are
chosen
because
they
have
special
symbolic
sculpture, installation, tex tile,
signicance.
In
other
words,
they
connect
with
the
artwork’s
function
and
canvas or composition.
meaning,
Joseph
want
A
the
seek
an
to
it
is
properties.
sculptor
is
should
qualities
of
Here
some
are
their
of
be
that
Think
the
use
felt
and
to
reect
the
then
be
Jackson
wood:
ideas
fat
for
by
his
as
John
is
the
Ruskin
in
to
the
the
of
nature
materials,
The
to
case
of
paint
their
photography
Renaissance
At
in
“truth
expressing
attempts
true
in
materials.
often
dripping
artist
are
blue
installations.
of
distinctive
describing
textiles,
for
Pollock
they
lazuli
aware
honest
neither
media,
sculpture,
lapis
imitate,
suggested
and
of
of
particularly
materials
used
carving
painting,
to
use
idea
artist
way
choice
viewer
further
that
example,
Beuys’s
the
artists
for
his
or
might
other
times
painting.
materials”,
medium
those
hide
artist
oil
to
an
or
in
distinctive
African
the
expressive
materials.
technique
and
and
process
for
print
Painting
Paint
can
be
opaque,
that
is,
solid,
impermeable
to
light,
white,
or
it
Key terms
can
be
translucent,
colour,
as
in
a
that
stained
is
glass
allowing
window.
light
to
shine
Consider
the
through
a
layer
relationship
of
between
Brushwork: the way an ar tist
the
consistency
of
the
media
(uid
or
viscous)
and
the
effects
of
the
has applied the paint. Fast and
brushwork
(owing
or
heavy).
textured (loose brushwork) or
careful and controlled (tight
Paint
brushwork).
(which
is
pigment
makes
available
Type
of
paint
Watercolours
colour)
paint
with
its
ow
own
pigment
+
glue
(that
it
is
gum
arabic
(a
natural
resin)
light,
bright,
delicate,
+
polyvinyl
acetate
+
water
bright,
pigment
+
oil
the
pigment)
There
and
wax
are
+
medium
various
types
spontaneous,
transitory,
both
translucent
dull,
uid,
intense,
smooth,
Oil
binds
applied).
Characteristics
water
pigment
+
when
characteristics.
Composition
+
Acrylics
each
(the
the
rich,
or
pure
articial,
opaque
opaque,
varied,
plastic,
and
translucent
uid,
impasto,
shiny
or
sensual,
natural
Fresco
pigment
plaster
Tempera
24
Section 2
+
water
that
pigment
+
acts
egg
applied
as
the
yolk
onto
wet
binding
dry,
at,
cool,
pure,
fresh,
bright,
light
medium
opaque,
chalky,
smooth,
cool,
at,
pure,
inexpressive
dry,
even,
S E C T I O N
The
support
create
●
is
the
different
Wooden
surface
panel
or
painting.
●
Metal
used
●
Canvas
or
If
oil
under
paint
become
is
dull
traditionally
sealant
About
on
the
for
linen
brushstrokes
the
been
painted
on.
Different
surfaces
board
tends
smooth
is
and
used
dry
and
for
a
to
lead
to
intricate
freer,
brushwork
a
and
more
detail.
more
so
smoother
one
textured
surface
colour
fragmented
is
with
looser
over
painting.
put
as
on
the
with
the
an
oil
a
unsealed
soaks
glue
surface
artist’s
before
choice
of
they
●
Why
modelled
●
Why
embroidered
●
Has
the
artist
used
the
●
Has
the
artist
been
truthful
●
Is
special
not
oils?
clay
and
on
silk
symbolic
or
the
modern
might
carved
not
materials
to
colours
usually
you
not
and
the
will
surface
artists
fade
is
use
and
sealed,
an
acrylic
paint.
media
acrylic
in
so
although
Why
paint
surface
away
size,
●
there
has
effects:
detailed
is
that
2
from
printed
to
the
ask:
stone?
onto
imitate
reality?
properties
economic
cotton?
value
of
the
materials?
to
the
choice
level
the
raw
of
materials?
Tex tiles
First
ask,
might
multiple
the
wool
is
it
recycles
might
What
from?”
camel),
and
At
a
cotton,
processes
such
basic
or
as
silk,
but
most
synthetic
materials
textile
bres,
artists
paper,
hair,
use
or
materials.
ask:
were
before
made
(sheep,
materials
artist
You
●
“what
be
the
being
original
processes
transformed
by
the
that
the
materials
went
through
artist?
Dusasa II 2007 by El Anatsui. When
analysing the formal qualities
●
How
●
Has
has
the
raw
material
been
prepared?
Rened,
bleached,
spun?
of textiles many elements will
it
been
coloured
before
being
used?
Dyed,
stained,
aged
or
contribute to your description.
However, the tactile surfaces can
distressed?
be crucial to the eect, as in the
●
Has
the
artist
then
added
other
colours
and
materials?
magnicent pieces by El Anatsui
●
How
has
structure
Tip:
useful
the
artist
and
form
made
of
the
the
piece?
Describe
the
techniques,
with their recycled materials.
work.
vocabulary
Useful words to describe tex tiles:
Adorn, construct, deconstruct, distress, emboss, ephemeral, embellish,
entwine, fragile, frayed, inter weave, knit, layer, loop, pattern, pleat, sculpt,
sumptuous, sew, spin, stencil, starch, tattered, tufted, warp, weft, weave, yarn
Section 2
25
F O R M A L
E L E M E N T S
O F
A R T
Sculpture
Key terms
Sculpture
is:
Assemblage: when objects
●
constructed
●
modelled
●
carved
from
wood,
plastics
or
metal
(steel
or
iron)
(often found from everyday
life) are put together to create
from
clay
or
plaster
a sculpture – think of a threefrom
wood,
plaster
or
stone.
dimensional collage.
The
Readymade:
artist
might
have
used
natural
found
materials
such
as
branches
or
a term developed
pre-manufactured
materials
such
of
readymade.
as
scrap
metal
to
make
an
assemblage
by Marcel Duchamp to describe
forms
or
even
a
manufactured items that were
removed from their original
context by the ar tist to become
ar t .
Traditional
with
a
sculpting
void
and
material
and
angel
the
in
add
take
processes
bits,
stuff
marble
or
away.
and
I
can
be
described
subtractive,
set
you
Michaelangelo
him
as
additive,
start
with
famously
a
you
mass
said,
“I
start
of
saw
the
free”.
Armature: the structure that
suppor ts a sculpture, usually
You
might
ask
these
questions
about
sculpture:
underneath the modelled
●
Did
the
●
Was
it
●
The
sculptor
start
with
a
block
and
carve
material
and
then
it?
material such as wax, clay or
plaster. It is often constructed
shaped
from
a
soft
cast?
from wire, wood or welded steel.
surface
nger
armature
The
sculptor
will
and
material.
Stone
stone
it
be
what
can
be
Tip:
treat
as
useful
left
the
the
might
such
of
you
support
painted
species
give
evidence
function
original
Wood
or
to
meaning
could
will
marks
clues:
you
of
chisel.
his
surface
textures
the
work
be
left
coloured
and
rough,
it
is
polished
from?
and
in
nd
the
traces
artist
as
is
of
the
work
classical
can
appropriate
to
textured
marble
smooth
Steel
as
relation
and
smooth
naturalistically
tree
Did
artist’s
over
an
clay?
of
hard
might
or
be
or
the
according
grittier
sculpture
even
shiny
to
to
the
granite,
was
painted.
or
the
chosen
or
originally.
Can
you
tell
rusty.
vocabulary
Abraded, armature, bronze, car ved, cast, constructed, chiselled, ceramic,
clay, framework, hewn, hacked, modelled, moulded, maquette, man-made,
malleable, marble, model, natural, objets trouvés, organic, patinated, plaster,
plastic, polished, raw, relief, smoothed, stone, structure, synthetic, wax,
readymade, unprocessed, weathered, welded
The
term
cast
sculpture
is
used
when
the
sculptor
started
with
clay,
The relationship between form
plaster
or
wax.
Once
the
sculptor
has
moulded
the
forms
of
the
original,
and space is always an essential
they
cast
it
by
creating
a
mould
is
a
into
which
a
molten
metal
is
poured
element when analysing sculpture;
(usually
bronze
which
mixture
of
copper
and
iron)
to
form
a
even when colour and decoration
permanent
version
of
their
original.
(Research
this.)
Because
metal
“lost
wax
technique”
for
grab our attention, as in this piece of
more
information
on
is
expensive,
cast
sculptures
eye candy by Yayoi Kusama. Notice
are
usually
hollow
–
you
can
tap
the
the
gallery!
sculpture
to
nd
out
if
you
are
how the mass is emphasized by the
outside,
but
not
if
you
are
in
Casting
allows
the
artist
to
placement of the pumpkin on the
sand and against the sky.
make
can
several
be
polished
brown.
26
Section 2
copies
The
to
a
surface
of
their
original
reective
nish
is
shine
called
–
or
the
an
edition.
left
to
patina.
Bronze
oxidize,
sculptures
becoming
green
or
S E C T I O N
2
Photography
Tip:
Photography
to
a
has
specialist
can
use
the
however,
a
wide
source
seven
some
technical
for
these
formal
terms.
points
questions
vocabulary
that
as
are
When
you
of
and
you
analysing
would
with
particular
a
will
need
to
photography,
painting.
useful
vocabulary
refer
you
There
are,
Useful words to describe
photographs:
relevance.
Blurred, candid, captured,
crisp, depth of eld, decisive,
The
gaze
Why
is
the
Why
are
photographer
looking
at
this
person?
documentary, dramatic, fake,
they
looking
back
at
eeting, focused, grainy,
us?
historic, iconic, in focus,
The
gaze
of
the
photographer
and
of
the
subject
intimate, objective, posed,
is
often
private
and
intimate.
However,
when
an
snapped, factual, momentary,
image
is
displayed
in
public
this
personal
moment
objective, out of focus, private,
is
shared
with
strangers
from
a
different
time
and
public, propagandist, repor tage,
space
(hence
the
public
gaze).
How
does
this
make
sepia, shaky, social realist,
the
viewer
feel?
subjective, split second,
Cropping
Why
the
Depth
of
eld
has
the
photographer
chosen
this
section
of
view?
Why
why
is
is
transient, tinted, truthful,
voyeuristic
this
the
part
of
other
the
area
photograph
out
of
in
focus
and
focus?
Key terms
Time
A
photograph
“Why
has
is
the
of
a
split
second
photographer
so
you
could
ask,
chosen
this
precise
Gaze: this is the word ar t
historians use to refer to how
moment?”
we look at a gurative image,
The
French
photographer
Henri
Cartier
Bresson
par ticularly the spectator ’s
titled
his
book
The
Decisive
Moment
(1952)
because
gaze, that is, the gaze of the
he
considered
it
the
photographer’s
art
to
choose
viewer at an image of a person.
the
moment
that
captured
the
essence
of
a
subject.
It can also be used to describe
the way the gures within the
Printmaking
Printmaking,
and
in
the
You
will
composition look out at us or
like
photography,
glossary
there
is
a
has
very
a
rich
brief
specialist
overview
vocabulary.
of
the
between each other.
Here
principal
terms.
Monoprint: one of a series of
need
to
refer
to
specialist
books
to
enrich
your
subject-specic
prints, each with individual
language
when
writing
about
prints.
variations.
When
been
can
looking
used?”
be
at
The
difcult
a
print,
caption
to
judge
the
rst
should
so
ask
question
help
your
you
to
ask
is,
answer
teacher
to
“which
this.
If
it
process
does
has
not,
it
help.
Monotype: a unique print
made by working freely with
inks or paints on a smooth
surface (metal, plastic or
A
print
is
usually
one
of
a
series
or
edition
of
identical
prints,
except
for
glass). Sometimes the paper
monoprinting
and
monotype
is laid over the inky surface
The
print
processes
used
in
ne
art
are
often
technologies
that
were
and the ar tist draws on the
originally
used
for
commercial
reproduction,
but
have
since
been
back to produce a granulated
superseded
by
more
efcient
processes.
For
example,
the
wood
cuts
of
line. Alternatively, the paper is
the
middle
ages
were
replaced
by
engraving,
just
as
lithographic
printing
pressed onto the inked surface
of
the
20th
century
has
been
replaced
by
digital
print
technologies.
and a print is pulled.
However,
these
old
methods
are
still
used
by
contemporary
artists
for
Fine ar t: a generic term for the
their
distinctive
creative
properties.
creative disciplines that do not
Fine
art
print
can
be
divided
into
two
main
categories:
relief
printmaking
have a practical application. For
and
intaglio.
example, painting, printmaking
and sculpture.
Section 2
27
F O R M A L
E L E M E N T S
O F
A R T
In
relief
when
printmaking
ink
removed
●
areas
create
up
wood
create
●
lino
and
mark.
relief
a
press
These
in
implements,
and
making
●
dry
line
●
the
to
in
then
The
other
the
side
is
as
cut
away
positive,
as
card
hard
then
end
is
so
that
while
the
is
cut
be
to
of
cut
into
into
and/or
inked
wood
is
made
wood
so
incised
is
cut
into
to
printed
covering
incised
from
wood
printed
can
and
alternative
out
both
grain
oor
of
and
that
inked
a
grain
inked
surface
surface
both
a
of
a
for
that
lines
white
from
relief
when
as
a
cork
printing.
put
positive
light
and
nely
the
dark
zinc)
this
delicate
grooved
prints
as
black,
a
wax
resulting
ne
so
used
the
are
the
lighter
is
that
grooves
then
lines
ground
into
but
in
ink
is
lled
metal
are
wiped
lifted
out,
pressure
the
ink
out
processes
of
artist
(usually
holds
heavy
and
acetate
creating
lines
with
a
burnishes
is
hard
and
steel
scrapes
protect
of
to
are
ink
a
a
metal
metal
can
and
the
printing
make
a
plate
be
etched
top
press,
positive
lithography
surfaces
paper
is
mark.
which
You may nd the mark-making
works
on
the
principle
of
water
being
grease
resist
and
screenprinting
words in the “Line” section
in
which
inks
are
drawn
through
a
mesh.
useful when writing about
prints.
Printmaking
and
28
Section 2
colour.
results
in
a
rich
variety
of
a
expressive
burred
it
ink
tones
with
the
plastic
rocking
to
under
print
or
exposed
pulling
art
with
surfaces
then
surface
systematically
design
or
edge
by
the
incised
top
paper
or
burr,
is
the
press
(copper
a
plate
plate,
plate
drawn
principal
zinc
the
the
create
create
the
on
metal
which
clean
into
or
to
pressure
to
be
which
the
wiped
forced
vocabulary
is
pulled
marks
surface
which
are
useful
this
in
surface
acid;
the
linoleum,
copper
the
copper
etching
by
Tip:
on
is
a
the
print
then
such
grain-free
applied
which
can
mezzotint
edge;
●
in
is
inscribed
which
created
which
ink
positive
is
uses
is
is
create
surface
include:
which
which
when
ink
under
point
sheet)
to
and
are
in
which
which
which
the
These
a
they
include:
engraving
clean
in
surface,
cheap
areas
material
textures
processes
a
white.
a
printing)
top
surface,
when
printing
through
●
relief
engraving
as
block
the
printmaking
a
with
a
oil,
Intaglio
(or
over
remain
collograph
built
●
rolled
woodcut
to
●
is
surface
textures,
tonal
subtleties
The comparative study
3
What is the comparative study?
Key terms
The
comparative
study
is
a
critical
and
contextual
investigation
of
other
Screens: the term “screens” is
artists’
works.
It
is
worth
20%
of
the
marks
you
receive
for
your
visual
used as a constant reminder
arts
course.
You
will
choose
art
and/or
artifacts
by
different
artists
and
that the nal product for
from
different
cultures
to
analyse
and
compare.
If
you
are
taking
the
assessment is a digitally
subject
at
higher
level
(HL)
you
will
also
show
how
these
artists
have
uploaded le that will be viewed
inuenced
your
art.
Standard
level
(SL)
students
do
not
do
this
last
part.
on a computer monitor as a
Through
the
practices
of
comparative
study
you
investigate
the
meanings
and
series of screens. “Screens” is
art
from
different
times
and
cultures.
This
will
develop
used instead of “pages”, which
your
analytical
skills
so
that
you
can
better
understand
the
connections
would imply that the original
between
making
art
and
experiencing
art.
It
will
also
develop
your
format was in book form,
communication
skills
so
intentions
clearly.
that
you
can
articulate
your
art
ideas
and
or “slides”, which suggests
more
You
will
move
from
description
to
interpretation.
an electronic presentation
The
comparative
students
of
three
submit
HL
artists.
from
and
is
uploaded
screens
objects
The
different
students
work
10–15
artworks,
different
come
study
submit
practices
or
works
at
for
contexts.
been
assessment
examine
artifacts,
screens
have
that
selected
cultural
3–5
for
that
least
as
and
two
of
addition
analyse
inuenced
by
PDF
compare
comparison
In
a
which
and
to
document.
a
minimum
need
analysis
this
SL
to
be
by
should
requirement,
the
extent
to
the
artworks
which
their
examined.
using software such as
Microsoft’s® PowerPoint® or
Apple’s® Keynote®. While all
of these are valid tools for
generating potential screens
for the process por tfolio or
comparative study submission,
they are not, in any way,
There
is
no
word
limit
–
this
is
not
an
essay,
although
it
might
contain
prescribed.
sections
visual
of
more
extended
presentations
to
writing.
You
communicate
may
your
well
prefer
annotation
and
ideas.
So what do I need to do?
1.
Choose
is
art
relevant
2.
Discuss
3.
Make
4.
Conduct
from
to
with
a
your
formal
●
Try
●
Pose
●
Use
different
your
cultural
creative
teacher
analysis
your
of
contexts
that
excites
you
and
that
practice.
choices
these
and
the
timetable
for
completion.
works.
research.
to
arrange
to
meaningful
a
range
of
see
at
least
research
sources
to
one
of
these
works
in
its
original
state.
questions.
answer
these
questions.
Tip
5.
Analyse
the
content
and
context
of
the
works,
that
is,
their
function
If you are also writing an
and
meaning.
ex tended essay in visual ar ts,
6.
Compare
and
contrast
the
works.
make sure you choose a dierent
7.
Present
8.
Add
your
ideas
in
a
visually
appropriate
and
engaging
format.
topic. You must not use the same
material as in the comparative
a
separate
screen
with
your
sources.
study.
9.
Upload
your
presentation
for
assessment.
Section 3
29
T H E
C O M P A R A T I V E
S T U D Y
Case study
In
this
section
screen
art
at
with
the
a
you
title
end.
can
that
The
three
Chapman
Brothers’
about
works.
the
follow
gives
Kierlan
us
a
illustrations
sculptures
as
sense
and
she
of
help
made
prepares
what
us
she
to
her
make
own
her
will
comparative
be
exploring,
visual
copy
of
links.
the
She
Dali.
the
course
your
well
This
as
explains
She
Making choices
During
study.
as
also
a
is
her
introduction
connection
that
she
introduces
has
to
her
seen
some
of
own
the
her
ideas
Tip
interests
and
understanding
of
art
will
develop
Think local. Even if you don’t have
and
change.
You
will
investigate
a
broad
range
of
artworks
rst
and
then
a museum within reach, we are all
narrow
down
support
and
your
interests
as
you
see
how
looking
at
art
can
help
to
surrounded by cultural artifacts
inuence
creative
studio
work.
Build
your
knowledge
by
worthy of study, such as textiles
visiting
museums
looking
at
and
galleries,
browsing
the
art
shelves
in
a
library,
or architecture, and we live among
art
blogs,
pin
boards
and
artist
websites.
the
experience
Discuss
your
interests
the people who make them. There
with
your
teacher
as
they
have
to
suggest
how
to
develop
are many artists who are pleased
meaningful
connections
from
what
you
like.
Then
review
your
interests
to show their work to students.
to
select
what
to
investigate
for
the
comparative
study.
This will take more eort than
As
you
make
your
choice
remember
that:
downloading images by famous
artists, but will lead to a more
●
You
●
They
should
try
to
experience
at
least
one
of
the
works
rst-hand.
personal and original comparative
should
come
from
different
cultural
contexts.
study. Things that you have seen
and experienced are also easier to
●
If
you
are
an
HL
student,
the
artworks
should
connect
with
your
write well about.
practical
30
Section 3
art
work.
S E C T I O N
Exhibitions
are
often
of
starting
for
your
can
be
points
Thought
three
boxes
box
you
like.
idea
from
with
and
write
Then
the
related
art
curated
juxtapositions
draw
rst
ideas.
from
a
helpful
in
the
another
that
this
can
Think
of
provide
using
interesting
these
as
study.
to
make
spaces.
thought
most
Through
way
These
cultures.
comparative
ideas
set
thematically.
different
3
Don’t
box.
interests
process
decisions.
reect,
This
you,
you
time
then
can
First
Draw
just
put
ll
into
the
narrow
a
write
three
by
down
the
artists
centre
surrounding
your
the
spaces
choices.
thoughts:
Pop
Roy
Damien
Art
Lichtenstein
Hirst
Tip
Guy
Jeff
Students often include extra
Grafti
Denning
Koons
works in the study; this is very
successful when it enhances the
contextualization of the principal
Street
Manga
M.C.Escher
works. However, students
Art
that present a sequence of
unconnected works all analysed
at the same level fail to achieve
More
focused
NYSF
depth. It is strongly advisable
Banksy
Jazi
thoughts:
Crew
to concentrate on three clearly
dened and meaningfully linked
ar tworks.
Keith
Street
Guy
Haring
Art
Denning
Ernst
Blek
le
Rat
Jon
Pignon
(Xavier
Prou)
Matos
Ernst
Comparative
rst
artist
Blek
le
study
choice
Rat
Antonia has used three thought boxes: the rst lists the artists she
likes; the second the themes from her process portfolio and potential
ideas for her nal exhibition; for the third box she has extracted
the three artists for her comparative study and some associated
themes. Because she is an HL student it is important that she makes
connections between her work and the artists that she studies. At SL
you don’t need to worry about this. Antonia then completed a study
that compared three contrasting ways of showing movement: the hip
hop-style paintings of Keith Haring, the Balinese shadow puppets of
Wayang Kulit and the illustrations of Max Busch. She made a puppet
theatre as part of her nal exhibition so there were plenty of links to
discuss in her connections screens.
Section 3
31
T H E
C O M P A R A T I V E
S T U D Y
Below
are
personal
As
you
the
make
artworks
links,
heading
theme:
Natural
forms
examples
in
for
in
put
your
so
perhaps
suggested
Connecting
some
choices
here
choices
ensure
through
the
of
to
table.
comparative
suggest
remember
that
the
sharing
If
the
they
three
that
or
by
Frank
Lloyd
Wright
architecture
A
visit
to
Casa
Milà
(1906–10),
Burnham
aim
lead
subjects
are
as
to
is
to
copy!
compare
meaningful
with
unrelated
to
all
not
the
then
topics
you
(1939),
Bear
Barcelona
prompted
interest
Gaudi’s
are
in
this
use
of
Run,
forms
in
architecture
and
Art
USA
Nouveau.
La
main
These
possible–
trouble!
organic
Pennsylvania,
ideas
will
completely
student’s
Fallingwater
topics.
of
the
works
themes
are
study
range
known
as
Barcelona,
Pavilion
by
‘La
Pedrera’
by
Antonia
Gaudi
development
Spain
Zaha
Hadid
(2009),
Chicago,
This
then
the
form
in
led
of
to
research
modernism
contemporary
Hadid’s
use
in
of
into
the
America,
organic
computer-designed
Illinois,
structures.
USA
HL
connections
abstract
to
sculpture
Connecting
studio
and
theme:
work:
painting
her
of
Cultural
exhibition
natural
signs
explored
organic
and
and
patterns
An
interest
trace
Ta moko
examples
of
indigenous
Maori
man-made
the
(1861)
as
Shikan
an
as
example
Kurikara
of
by
traditional
32
Section 3
tattoos
by
Maud
Wagner
Toyokuni
Japanese
tattooing
Circus
tattoos
tattoos
Denshichi”
Irezumi,
in
signicance
traditional
“Nakamura
structures
through
forms.
(1877–1961)
cultures.
led
of
this
student
designs
in
to
three
S E C T I O N
Connecting
theme:
Monuments
Visiting
an
Portable
War
Memorial
by
Ed
Kienholz
Jima
memorial
(1954),
Arlington,
Iwo
in
Virginia,
USA
student
anti-war
to
the
Third
International
monument
nature
by
Vladimir
contrasted
sentiment
assemblage
Monument
Jima
the
of
started
memorials.
(1968)
This
Iwo
the
interest
3
and
of
then
this
with
the
Kienholz’s
the
political
Tatlin
optimism
of
Tatlin’s
tower.
(1919)
HL
connections
constructed
to
his
forms
Connecting
studio
partly
theme:
work:
his
suggested
by
Photographs
exhibition
these
of
included
modernist
Pop
Art-inspired
children
This
student
different
“Virginia
at
Four”
“Migrant
Mother”
by
Sally
Mann
Dorothea
Lange
(1936),
MET
New
started
one
Julia
Margaret
Cameron
(1865),
Victoria
Connecting
and
Albert
theme:
Museum,
Textiles
London,
and
with
south-east
Nigerian
head
Japan,
decoration
Museum,
1870–80,
(yuzen)
London,
and
crepe
and
Playing
Albert
cultural
signs
This
a
Biwa”
silk
(chirimen),
embroidery,
Connecting
by
theme:
Gakutei,
The
her
by
George
Grosz
Victoria
paste-resist
and
Albert
their
Ukiyo-e
print,
Mechanical”
by
looked
Garden
An
(1916),
Tate,
London,
of
HL
Madrid,
Earthly
connections
drawings
and
Connecting
at
one
sand
two
by
McCarthy
(2003–09)
examples
one
Delights”
by
of
Hieronymus
use
an
in
a
work
of
World
disturbing
She
of
explored
She
then
Japanese
actual
kimono
print.
by
the
Paul
student
shock
War
in
satire
images
of
art.
to
of
The
Grosz
Bosch
and
provided
Bosch,
interesting
precedent.
Spain
to
then
studio
a
work:
short
theme:
The
he
developed
political
and
social
satire
through
a
series
of
caricature
animation.
American
land
An
exhibition
to
of
the
Pollock’s
student
drip
a
painting
comparative
art
Frederick
E
Church
(1857)
Mist”
by
Jackson
Pollock
about
landscape,
Lightning
Field”
by
Walter
De
responses
from
Navahos
the
to
the
American
symbolic
through
the
art
19th
of
century
(1950)
sublime
“The
of
meaning.
prompted
the
post-First
the
“Lavender
photographs
scarves.
portrayed
exhibition
study
“Niagara”
with
wedding
and
design,
suggested
Navaho
children
UK
an
Prado,
of
Victoria
the
“The
contrasted
images
UK
grotesque
Paul
head
tradition
explore
“Train,
started
parents’
McCarthy
“Suicide”
then
and
photography.
student
kimono
London,
American
documentary
scarves
UK
Museum,
very
UK
and
“Bijin
two
one
romantic
ceremonial
Kimono,
with
Victorian
from
Ichafu,
three
childhood.
albumen
in
print,
of
contemporary,
these
by
compared
visions
photographers,
York
“Hosanna”
and
(1989)
She
by
assemblages
approaches.
Maria
to
late
20th
century
land
art.
(1977)
Section 3
33
T H E
C O M P A R A T I V E
S T U D Y
What do we mean by culture?
The
Visual
“learned
arts
and
of
behaviour
of
symbols,
create
So
all
and
ideas,
denes
beliefs,
by
the
artworks
of
European
in
or
to
will
this
be
The
way
and
art
is
I
I
and
all
patterns
organised
production
your
that
system
humans
from
the
comparative
this
the
cultural
the
of
art
of
is
are
their
was
perspective
1950)
study
context.
viewpoint
history
(Gombich,
a
painting
traditional
and
painted
artificial
also
act
wanted
study to explore the cultural issues
of colonialism and gender evident in
symbolism
the orientalism of the 19th century.
culture.
a
of
seen
as
western
very
good
part
recreate
for
the
my
exotic
their
design
and
with
the
painters
subvert
stand
stand
Whistler
represent
symbols
century
to
of
lower
roses
as
to
nineteenth
the
kimono
kimono
orientalism
The
I
in
from
but
Evelyn has used her comparative
an
art.
the
then
so
Art
silk
used
with
at
explain
told
of
own
products
includes
material
recently
seeing
My
to
does
Story
attitudes,
culture
looking
story,
of
of
lives.”
task
relatively
unfolding
civilization.
introduction
beliefs
about
Until
view
daily
Your
as:
interests,
This
their
you
writes
identity.
progression,
values,
society.
culture.
who
culture
explanations,
manipulate
Everyone
a
shared
created
expressions
cultural
guide
to
link
Tissot.
the
interior
English
culture,
prostitutes.
aesthetic
but
to
use
colonialist
of
the
modern
use
of
As she is an HL student she has
then made connections to her
Edward
Said,
a
post
colonialist
literary
critic,
said
that
exhibition work.
much
of
their
and
work
painting
makes
servile
to
suspect
with
by
shows
Asian
portrays
James
the
a
nineteenth
culture.
East
transformed
into
exemplifying
Western
Abbott
as
Japanese
a
The
McNeil
Whistler
century
western
title
princess,
painters
of
fantastical,
the
mythical
thereby
belittling
orientalism.
sp tt h
Section 3
political,
intellectually
the
which
ne//
34
to
2013)
clearly
fascination
it,
eh t _m o r f_s se cn i r P _e h T / ikiw / gr o . a id e p ikiw
right)
tied
produced
inherently
therefore
Said,
-4)
(see
inextricably
that
d naL
power
(Edward
remains
societies
/ # n iale c r o P_ f o
orientalism
imperialist
S E C T I O N
Although
Picasso’s
western
“Les
questioning
artists
have
Demoiselles
of
the
always
taken
d’Avignon”
relationship
in
between
ideas
1907
art,
from
marked
cultures
other
the
and
3
cultures,
birth
of
power.
a
new
Tip
Picasso
Make your task simpler by
subverted
the
explosion
of
established
western
order,
opening
the
way
not
just
for
the
choosing ar tworks that are
modern
art,
but
also
for
the
different
reading
an
artwork
readings
of
art
history
from obviously dierent cultural
that
exist
today.
Through
we
gain
insights
into
the
contex ts. This will make the
ideas
of
the
time
in
which
it
was
made,
but
we
also
reveal
our
own
values.
contrasts easier to explain.
It
can
be
useful
to
consider
these
four
themes
in
relation
to
art
criticism:
If the works are close in time
●
colonialism
●
nationality
●
gender
●
ethnicity.
you will have to consider the
nature of the dierences
very carefully. For example,
Culture
can
be
used
to
exert
power.
The
gathering
together
of
conquered
Edward Degas and Jean
peoples’
cultural
artifacts
Gramsci
described
in
national
museums
is
an
example
of
this.
Renoir were both French 19th
the
idea
of
cultural
hegemony,
the
use
of
culture
to
century ar tists associated with
dominate
over
another
group.
This
is
evident
through
racism,
colonialism
Impressionism. One was from
and
sexism.
It
is
an
area
that
has
been
explored
by
many
contemporary
a rich bourgeois background,
visual
artists
and
is
an
important
theme
in
modern
art
criticism.
the other poor and working
class. These dierent cultural
How to research
contex ts did aect their ar t,
So
far
we
have
been
analysing
formal
qualities
of
artworks
by
looking
to
consider
function,
but in a subtle way, which is
carefully
at
them.
However,
in
order
to
be
able
dicult to explain. This can
purpose
and
cultural
signicance
you
will
need
some
background
be resolved by choosing a
knowledge.
This
section
is
about
how
to
nd
out
that
information.
third work that is obviously
from a dierent culture, but
Asking meaningful research questions
linked thematically: perhaps a
It
is
a
mistake
is
much
better
you
need
and
meaning
need
arts
to
to
to
Imagine
to
think
know?
ask,
journal
consider
well
before
that
you
of
it
Discuss
section
as
research
in
as
are
nding
this
this
the
you
as
simply
with
chapter
advice
start
your
writing
a
as
gathering
answers
your
for
to
questions.
teacher.
Look
suggestions
below.
Then
information.
of
write
a
at
the
list
What
the
It
do
your
you
visual
research.
comparative
Ukiyo-e prints?
function
questions
in
genre scene such as Japanese
Tip
study
that
compares
Why should I spend time
landscapes
by
Edvard
Gogh.
task
Munch,
Caspar
David
Friedrich
and
Vincent
van
asking questions?
The
is
not
to
nd
biographical
information
but
to
answer
the
Because spending a little
following
questions.
time planning will save you a
●
Why
did
Munch
use
non-naturalistic
colours?
lot of wasted time looking up
●
Why
is
●
How
did
Munch
called
an
Expressionist
information that is not relevant.
artist?
Filling your comparative study
Munch
use
the
landscape
to
express
feeling?
with research is not the aim
●
How
was
Munch
inuenced
by
Van
of this task; you want to use
Gogh?
selected knowledge to inform
Your
teacher
will
help
you
to
formulate
meaningful
questions
for
your investigation.
research.
questions
You
may
(1956).
information
also
nd
These
when
you
it
will
useful
help
to
you
look
move
at
Bloom’s
beyond
thinking
just
repeating
research.
Section 3
35
T H E
C O M P A R A T I V E
S T U D Y
Rory has applied his understanding of Munch’s style when taking photographs of his brother in Edinburgh.
This is a practical way of answering research questions. It helps him to appreciate the relationship between
gure and surroundings, which he has then developed by using Expressionist colour in his painted study.
Below
how
is
you
a
table
might
with
apply
Bloom’s
them
categories
to
Category
Question
Evaluation
Judge,
the
of
questions
landscape
and
examples
words
appraise,
of
assignment.
Example
evaluate,
assess
How
to
Synthesis
Compose,
construct,
Analysis
Compare,
contrast,
design,
predict
examine,
analyse
effective
express
Make
a
that
is
study
Edvard
of
Van
Munch’s
use
of
colour
feelings?
colour
Contrast
to
his
in
Munch’s
Munch’s
Gogh
and
use
of
Caspar
style.
colour
David
Friedrich.
Application
Interpret,
apply,
use,
demonstrate
Take
by
Comprehension
Restate,
discuss,
describe,
explain
a
series
Edvard
Describe
Knowledge
Who,
what,
when?
Dene,
recall,
list
List
ve
style.
36
Section 3
photographs
Munch’s
the
Friedrich’s
of
key
compositions.
differences
and
Munch’s
aspects
inuenced
of
between
use
of
Edvard
colour.
Munch’s
S E C T I O N
L TA
Case study
Remember
Form”?
write
art
Kierlan’s
She
about
teacher
now
introduction
has
function
who
has
three
and
page
different
meaning.
helped
her
to
on
areas
She
“Distortion
of
the
to
so
that
has
write
research
discussed
these
these
research
Human
she
with
can
her
3
Research skills
Research is a skill. Learning
where to nd information and
assessing the usefulness and
accuracy of what you research
questions:
is dicult. Ask your school
1.
Salvador
Dali
librarian which online resources
●
What
●
Why
has
●
How
does
makes
this
painting
a
Surrealist
work?
your school subscribes to.
Then ask your teacher to help
Dali
distorted
the
human
form?
you devise a focused research
this
painting
reect
the
Spanish
Civil
War?
question. Use the online
resources to gather material for
2.
The
Chapman
Brothers
your answer, carefully citing
●
Why
have
●
Why
did
they
●
Who
are
the
they
made
grotesque
distortions
of
children?
each source.
3.
Makonde
●
Who
●
What
●
Why
Now
she
is
choose
moulded
audience
for
plastics
these
for
the
sculptures?
artworks?
sculpture
made
these
were
do
they
they
ready
to
sculptures?
used
include
start
for?
distorted
her
gures?
research.
How to nd good research material
One
of
the
difculties
when
reading
about
Tip
art
is
that
text
is
often
written
If you are researching a
in
a
complex
language
that
is
very
difcult
to
understand
unless
you
contemporary ar tist try
already
have
background
knowledge.
If
you
don’t
understand
what
you
sending them or their gallery an
are
reading
then
it
is
useless,
so
start
simple!
An
online
encyclopaedia
email; they might be willing to
such
as
Encyclopaedia
Britannica
will
give
clear
and
easily
understood
answer your questions directly!
information.
Other
good
starting
points
are
the
major
museum
websites
Museum and gallery curators
such
as
The
Metropolitan
Museum
or
The
Tate
Gallery.
These
have
short,
are often pleased to help
clearly
written
pieces
of
information
and
provide
links
to
glossaries
to
when approached directly by
explain
specialist
terms.
students so consider emailing
Once
you
have
equipped
to
detective
and
tackle
have
Wikipedia
links
to
a
have
the
exhibitions
website
Try
or
Google
of
reviews
Scholar,
have
subscription
such
try
help
as
your
nd
at
more
books
and
end
books
and
of
then
their
you
reliable
and
and
that
EBSCO
artists
entries;
Google
past
much
They
that
Placement
have
as
these
to
venue
exhibition.
Many
your
may
of
the education depar tment with
your questions.
a
you
the
Project.
thousands
Advanced
lead
but
better
websites
such
out
on
reviews,
more.
contain
Art
Be
follow
will
check
be
will
Artist
Websites
Blogs
can
will
articles.
information
The
of
on
you
articles.
section.
information.
databases
these
newspaper
books
the
the
databases
JSTOR
and
“Press”
artists;
online
you
local
for
Google
free
will
then
the
of
understanding
example,
other
in
sources
access
articles
to
For
bibliographies
librarian
to
trail!
you
of
magazine
contemporary
news
newspapers
foundation
reviews
original
of
the
leading
list
a
journal,
follow
bibliographies
often
gained
school
also
have
specialist
Source .
If
not
library.
Section 3
37
T H E
C O M P A R A T I V E
S T U D Y
Case study
How
is
Kierlan
●
What
●
Why
has
●
How
does
First
she
more
is
a
Now
the
How
is
Who
●
What
●
Why
tries
is
were
do
and
Figures
about
difcult
at
by
to
they
the
used
much
the
Tate
work?
form?
Spanish
Civil
War?
Spanish
Civil
war
Gallery
Museum.
her
Dali?
Not
website.
only
do
on
She
they
Encyclopaedia
nds
have
that
a
Britannica.
“Soft
good
Then
Construction
article
on
the
she
with
reads
Boiled
painting,
they
also
answers.
the
questions
on
Makonde
sculpture?
for?
and
distorted
in
on
Saatchi
Zachary
who
and
the
on
sculptures?
article
the
human
questions
research.
include
Books
research
Surrealist
the
all
answer
these
they
The
from
with
her
reect
Surrealism
pack
nothing
Google
painting
a
the
Philadelphia
going
made
brief.
1989
up
the
answer
painting
Surrealism
more
she
to
distorted
this
teacher’s
●
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in
this
Dali
looks
have
very
makes
about
Beans”
going
the
Encyclopaedia
Wikipedia
gallery
nds
Kingdon
Makonde
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are
in
part
is
1992.
of
A
been
and
the
Britannica
confusing,
but
Searching
Host
of
uploaded.
history
for
Devils:
of
and
the
these
The
This
their
the
is
article
bibliography
gives
History
very
her
and
on
some
Context
detailed
the
MET
mentions
and
museum
an
information,
of
the
she
website
exhibition
Making
learns
all
of
but
in
then
Makonde
she
is
Paris
needs
in
she
Spirit
to
know
carvings.
Are your sources reliable?
The
easiest
write
a
When
1.
you
Who
Look
at
written
by
help.
the
else
is
should
they
objective
it
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bloggers
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with
URL
.edu
the
websites,
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information
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ends
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can
accurate?
questions.
children
Often
knowledge.
.ac.uk
by
for
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research.
then
it
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helpful
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museum
it
websites.
accurate?
promoting
the
is
comments.
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of
from
author?
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website
it
little
then
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a
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spelling
websites
the
ends
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language.
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2.
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information
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Section 3
the
the
can
to
page
look
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Is
museum
38
is
reader?
(URL)
way
web
a
particular
information.
set
of
beliefs?
This
might
distort
the
S E C T I O N
3
Van Gogh’s ear
Did
Van
and
is
Gogh
an
question
aspects
on
of
him
as
in
the
Gogh’s
He
the
pair
then
new
and
account
had
to
been
attacks,
(The
Van
and
he
None
of
Gogh
Museum
have
in
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suffered
Museum,
stories
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are
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in
same
exaggerate
the
wilder
his
the
have
intensied,
Van
Gogh
instability.
few
and
known
his
and
facts,
painting
happened
removed
or
legend
the
staying
anger
police
cut
off
in
He
his
with
Arles.
attacks
knife.
he
art
to
entire
with
with
ear.
Gauguin
cut
off
Van
self-defence.
delivered
discovered
him
the
the
ear
to
the
following
day,
the
2009)
ared
in
was
row
either
to
an
answers
include
might
that
Rhône.
actually
while
the
what
become
emphasize
who
where
(Samuel,
for
is
the
to
their
–
has
varied
presented
and
in
sword
nd
correctly
bordello,
home,
didn’t
used
Gogh
the
ll
temperatures
working
hallucinate
these
a
weapon
Gogh
when
often
suggesting
his
staggered
claims.”
van
happened
the
is
Gauguin
then
often
with
It
episode
might
accounts
with
writers
This
you
character
the
approached
threw
“Vincent
of
earlobe
ear?
how
internet.
details
left
his
of
dispute
Arles,
prostitute
off
Gogh’s
most
colourful
“As
the
Van
Although
such
cut
example
Van
which
could
entire
Paul
left
Gogh’s
he
later
ear
,
Gauguin,
lost
just
the
illness
a
little
artist
revealed
consciousness.
recall
nothing
piece.
with
itself:
he
During
about
the
This
whom
he
began
one
of
event.”
2015)
false;
they
academic
information
are
just
institution
about
Van
presented
and
so
is
differently.
the
most
The
likely
Van
to
Gogh.
How to reference your research
The
Visual
“Every
arts
image
acknowledge
The
A
same
used
the
is
a
information,
screen
is
a
of
As
you
research
be
able
to
Look
at
cite
the
A
of
you
(when
the
the
you
wrote
study
it
need
the
to
to
study
see
your
keep
how
to
of
be
your
a
list
then
do
it
your
appropriately
is
known)
information
wrote
came
this
from.
comparative
of
referenced
and
the
to
source”.
artwork.
who
where
from
and
own
that
detail
and
must
information
reader
the
references
will
in
is
study
this
include
telling
they
all
them
case
comparative
date
reference
when
list
the
artist,
when
way
elsewhere.
states:
within
title,
applies
citation
from
guide
references
compile
your
has
come
original
The
sources
study.
so
that
sources
you
will
screen.
this.
Assessment criteria for the comparative study
Part
1:
Comparative
A
Analysis
of
B
Interpretation
study
formal
C
Evaluation
D
Making
of
E
Presentation
F
(HL
of
function
cultural
comparisons
and
Marks
qualities
and
purpose
6
signicance
and
Total
6
6
connections
subject-specic
30
6
language
6
only)
12
Making
connections
to
own
art-making
Diploma
42
practice
Programme
Visual
arts
guide,
page
39
Section 3
39
T H E
C O M P A R A T I V E
S T U D Y
Tip
Properly citing your sources
shows that you have
researched thoroughly and that
you know how to distinguish
between other people’s
ideas and your own original
comment. If you don’t do this,
then you are committing
plagiarism (copying). The IB
can disqualify your work and
remove your cer ticate or
diploma. Simply listing your
references on the sources
screen does not mean that you
can then copy the words freely
into your study. You must still
use quotations and citation at
the point of use as described in
this section.
“Soft Construction with Boiled Beans (Premonition of Civil War)”, Salvador Dali (1936)
Case study
Kierlan
is
in
has
their
“Though
it
for
Kierlan
good
information
Here
is
Dalí
unconscious
studies
found
collection.
likely
mind,
Soft
that
a
volatile
Construction
makes
these
prepared
for
the
●
He
changed
the
title
●
Spain
And
she
in
records
a
changed
notes
He
part
climate
with
●
was
is
state
so
of
where
title
after
social
visual
it
in
would
this:
the
military
1935,
Museum
website
about
the
Dali
painting
that
text.
political
arts
1935,
and
read
and
Beans
in
social
she
the
her
that
Philadelphia
museum
of
painting
the
the
Boiled
in
from
of
coup
struggle
sketching
to
had
the
add
to
existed
the
in
hideously
seemingly
the
country
deformed
prophetic
power
for
Dalí
years.
anatomy
of
the
of
his
began
colossal
his
creature.”
journal:
before
seem
political
the
that
civil
he
war.
had
anticipated
the
war.
struggle.
Education:
Philadelphia
Museum
of
Art
http://www.philamuseum.
org/collections/permanent/51315.html.
This
is
where
“Dali
there
the
it
the
began
was
has
knowledge
came
the
going
painting
She
40
new
from.
painting
to
still
put
in
be
a
in
civil
reects
information.
Section 3
a
to
This
the
her
is
1935
war
.
by
will
however
she
writes
sketching
(Education:
suffering
reference
She
and
what
so
of
we
also
the
on
this
decides
her
people
where
the
reference
to
use
this
comparative
deformed
Philadelphia
Spanish
know
put
the
she
gure,
but
Museum
at
this
ideas
onto
of
he
information
study
changed
Art)
she
must
tell
the
reader
as
he
screen.
the
However
,
I
title
to
think
make
that
it
seem
even
though
if
he
knew
did
this
time.”
came
her
from
sources
and
then
screen.
made
a
personal
response
to
S E C T I O N
3
Introducing quotations
Simply
adding
understood
then
quotations
their
respond
by
to
relevance
your
to
expanding
screens
your
or
study.
explaining
will
not
Instead
the
show
that
introduce
you
have
them
and
ideas.
Case study
Kierlan
Beans”
direct
“Dali
into
nds
on
described
monstrous
2015)
of
We
surrealist
she
“The
auto
see
stone
“Soft
Construction
website.
She
with
can
Boiled
make
a
can
of
both
painting
as
of
being
arms
this
like
from
forms
the
in
‘a
and
vast
legs
(Education
way
the
the
feet
body
at
one
Philadelphia
limbs
and
human
tearing
transform
hands
breaking
another
Museum
from
creating
a
soft
out
in
of
a
Art,
esh
nightmare
vision.”
paraphrase:
monstrous
ideas
of
Museum
strangulation.’
human
strangulation.
typical
In
this
excrescences
auto
can
gnarled
Or
description
Philadelphia
quote:
delirium
to
Dali’s
the
his
‘paranoiac
cases
with
she
her
forms
(Education
has
own
according
to
Dali
Philadelphia
critical’
linked
break
Museum
out
of
into
Art,
a
delirium
2015),
of
which
is
method.”
and
developed
Dali’s
words
to
other
comment.
(Kas) (Kingdon)
List of Sources.
Africa Remix: Contemporary Ar t of a Continent Johanesburg Ar t Gallery
Bibliography
Education: Philadelphia Museum of Ar t
Africa Remix: Contemporary Ar t of a Continent Johanesburg Ar t
http://www.philamuseum.org/collections/permanent/51315.html)
Gallery. (n.d.). Johanesburg.
(Education)
Chevalier, H. M. (1942). The Secret Life of Salvador Dali. New York:
Dial Press.
(Africa Remix: Contemporary Ar t of a Continent Johanesburg Ar t Gallery)
Education. (n.d.). Retrieved December 25, 2015, from Philaadelphia
Museum of Ar t: http://www.philamuseum.org/collections/
Britannica School
permanent/51315.html)
Kas, S. L. (n.d.). Makonde . Retrieved March 2016, from Grove Ar t
•
Salvador Dalí. (2016). In Encyclopædia Britannica. Retrieved
Online.Oxford Ar t Online. Oxford University Press.: <http://www.
fromhttp://school.eb.co.uk/levels/intermediate/ar ticle/273904
oxfordar tonline.com/subscriber/ar ticle/grove/ar t/T053338>.
•
MAKONDE CARVINGS UNDER THREAT. (2001). African Business, (27
1), 38.
•
Stock Photo - SPANISH CIVIL WAR (19361939) Anarchist ghters from the
Making of Makonde Spirit Carvings. Retrieved from Google Books:
National Confederation of Labour in Barcelona in July 1936
https://books.google.co.uk/
Kingdon, Z. (n.d.). A Host of Devils:The History and Context of the
•
•
Stock Photo - Makonde car vers with ebony car ving in Dar es Salaam T
anzania
Fiona Bradley. "Dalí, Salvador." Grove Ar t Online. Oxford Ar t Online. Oxford
University Press. Web.22 Mar. 2016. <http://www.oxfordar tonline.com/
subscriber/ar ticle/grove/ar t/T02
1196>.
Twentieth Century Painting and Sculpture in the Philadelphia Museum of Ar t
(2000), p. 76. Look up proper details
Note:
1) Salvador Dalí, The Secret Life of Salvador Dalí, translated by Haakon M.
Chevalier (New York: Dial Press, 1942), p. 357
.
(Chevalier, 1942)
This is Kierlan’s list of sources which she will upload with her completed comparative study. She used the citation tool in
Microsoft Word to compile her references as she went along. This helps to ensure academic consistency in her list. Remember to
cite the illustrations too.
Section 3
41
T H E
C O M P A R A T I V E
S T U D Y
Using the visual ar ts journal to record research
Presenting
assimilate
●
mind
●
ow
information
ideas
and
in
make
different
ways
important
in
your
journal
connections.
maps
●
timelines
charts
●
annotated
You
will
could
help
you
to
try:
sketches.
Case study
Kierlan
has
painting
image
the
mapped
she
in
main
has
the
centre
related
the
important
the
artist’s
realizes
relationship
of
the
in
a
20th
of
This
interrelationship
Kierlan
of
of
sheet
that
she
the
the
century.
so
a
related
and
her
then
and
to
to
the
placed
Dali
the
added
then
links
assess
with
the
events.
there
is
Dali’s
She
can
She
concepts,
time
helped
between
timeline
ideas
studying.
contextual
ideas
life.
out
been
a
very
work
decides
relate
it
close
and
to
to
the
record
the
history
this
Makonde
carving.
Kierlan uses a simple line drawing of the painting to link
her research ideas to evidence so that when she writes
in her comparative study she will be able to relate the
context of the painting to specic detail such as the man
in the background that might represent Sigmund Freud.
42
Section 3
S E C T I O N
3
This student has used concept maps to build two possible themes for her study: rstly she explores the purposes
of por traiture and then takes the idea into a study of self-por traits by women.
Section 3
43
T H E
C O M P A R A T I V E
S T U D Y
This student has made careful annotation on her watercolour drawing of a Kimono.
44
Section 3
S E C T I O N
3
Visiting museums, exhibitions and galleries
We
understand
The
unfamiliar
differently,
in
value
we
than
or
gallery
You
of
art
of
a
more
in
real
study
or
if
this
life
and
and
space
at
This
seeing
visit
differently
or
gallery
we
from
makes
tend
a
us
to
give
of
the
reproduction.
look
them
at
a
objects
different
elsewhere.
important.
perhaps
organize
real
way,
placed
time
is
in
museum
focused
would
visit,
could
a
a
Experiencing
comparative
work
context
an
least
one
might
be
artwork
yourself,
or
works
through
displayed
make
it
part
a
in
of
for
school
a
a
your
museum
public
holiday
space.
trip.
We become accustomed to
Or
you
might
be
lucky
enough
to
visit
an
artist’s
studio.
viewing ar tworks as reproductions.
Wherever
and
experiences
however
carefully.
you
It
is
see
art
possible
it
to
is
important
see
a
lot
of
to
record
However, the experience of seeing
your
art
in
a
going
to
leave
short
time
the original ar twork in a museum,
by
such as this painting by Chuck
wandering
through
a
museum,
but
if
you
are
with
really
Close, is quite dierent. We can
useful
material
for
your
comparative
study
it
is
important
to
slow
down.
properly understand the impact of
An
hour
of
focused
rst-hand
observations
in
front
of
one
work
of
art
scale or the handling of media.
will
provide
invaluable
material
for
you
to
use
later.
Prepare your visit
Arrive
with
selection
is
on
in
arrive
if
that
Then
your
research
objective.
works
display!
notes
you
an
of
still
arts
are
been
museum/gallery
you
want
information
journal.
inspired
have
the
think
download
visual
you
will
Scan
you
by
You
to
see.
and
might
something
website
Check
make
change
new,
some
your
but
to
that
make
the
preliminary
mind
this
a
work
when
preliminary
useful.
Record your obser vations
Your
visual
seeing
(except
the
on
for
the
is
in
of
tempting
that
by
is
exhibit
order
to
you
doing
journal
in
label.
If
moving
to
rely
achieve
or
be
to
the
so
give
work
around
on
vital
context.
exhibitions)
displayed,
properly
one
will
artworks
special
artwork
experience
It
arts
original
just
an
in-depth
more
of
●
a
schematic
●
a
written
description
●
a
focused
drawing.
the
drawing
recording
your
museums
your
sense
is
your
understand
use
a
the
for
Most
of
camera
scale
experiences
allow
to
and
record
to
three-dimensional
when
photography
the
way
note
the
details
record
the
kinetic
work.
electronic
artworks
response.
record
you
will
Change
to
refer
need
the
to
pace
to
later,
slow
of
but
down
your
so
looking
following:
with
annotations
Key terms
Schematic: as in a diagram,
like the simplied gures of a
In
the
example
journal
by
to
to
make
Anthony
record
journal
on
next
careful
Gormley.
the
page
the
shapes
shows
page,
notes
Notice
and
a
during
the
and
a
clear
distinctive
quick
student
visit
has
to
an
drawing
features
effective
note
used
of
their
visual
exhibition
style,
the
which
of
sculptures
has
sculptures.
arts
helped
The
man or woman on the doors of
bathrooms in public places or
the characters in the television
show South Park.
taking.
Section 3
45
T H E
C O M P A R A T I V E
S T U D Y
Clear line drawings and notes make this a really eective record of looking at Antony Gormley’s
sculptures.
46
Section 3
S E C T I O N
3
Consider the cultural and architectural contex t of the work
We
look
the
expectation
this
objects
special
evenly
and
and
lit
a
and
a
new
we
to
of
see
traditional
an
art
modern
distractions.
or
the
same
place
of
Even
gallery
The
gallery
The
you
the
we
that
They
put
is
you
are
arrive
help
neutral
audience
respect
worship.
if
because
surroundings
to
white
with
create
space
sometimes
is
subdued
might
expect
full
expectation
everyday
of
objects
in
of
this
differently.
gallery,
wall
a
sensibility.
them
in
experience.
In
show
shrine
heightened
expensive
a
devoid
tend
visiting
context
differently
of
atmosphere.
visitors
those
In
at
the
coverings
rich
help
surroundings,
to
create
a
ornate
sense
of
frames,
gold
and
value.
How to make formal analysis of ar t in a gallery
Describe
in
this
the
Materials
the
I
and
artist
make
formal
technique:
start?
Another
a
copy
of
need?
Take
a
the
need
Curation:
by
gallery?
could
consider
of
the
Is
be
is
the
the
a
that
in
Presentation:
sculpture.
a
the
or
the
seven
will
The
formal
of
With
points
from
earlier
or
you
lack
of
has
processes
you
did
would
can
worked
and
of
How
How
materials
Usually
museum.)
with
this
it;
the
I
would
see
on
artifacts
by
you
construction
other
the
change
in
the
architecture
Consider
the
between
it
What
sculptures
consider
present
made.
ask:
or
on.
Why
Would
was
to
artist
Consider
dialogue
to
is
start?
the
of
so
the
I
work
this
surfaces.
that
and
here?
want
framing
might
the
exhibited?
differently.
too.
at
combination
(And
the
would
surfaces
casting
Why
you
how
answering
painting.
work
time
How
look
deliberate
displayed
factors
of
of
Where
raw
room.
curator.
there
component
a
edges
How
Consider
close
and
modelling
decoration
made
using
way
work?
really
the
to
reduction,
are
this
underpainting
examining
will
qualities
guide.
exhibits?
the
relation
pedestal
differently?
the
works
decisions
of
art
Ask
meaning?
to
or
your
lack
Who
and
in
the
how
it
These
exhibition
of
one
made
for
these
Key terms
choices
or
and
previous
why?
Not
owner.
Or
necessarily
perhaps
it
the
is
in
artist,
the
but
perhaps
original
frame
a
gallerist
designed
by
Provenance: this is the term
the
artist.
used to describe the history of
Provenance:
it
come
will
to
help
be
What
is
its
exhibited
consider
the
provenance?
here
and
contextual
in
In
this
other
way?
words,
how
Answering
and
this
why
did
question
who has owned an ar tifact or
work of ar t.
meaning.
Tip
You will nd information about the provenance of an ar twork on the
museum label or on its website. For example, the provenance for Dali’s “Soft
Construction with Boiled Beans” is given as:
“With Julien Levy Gallery, New York, by 1937 (on consignment from Peter
Watson?); Stendahl Ar t Galleries, Los Angeles, purchased from the ar tist,
November 4, 1937; sold to Louise and Walter C. Arensberg, Los Angeles, 1937;
gift to PMA, 1950.” (Education Philadelphia Museum of Ar t, 2015)
Section 3
47
T H E
C O M P A R A T I V E
S T U D Y
This student was excited by William Pye’s fountain during a visit to the Yorkshire Sculpture Park. She used this experience as a
star ting point for her comparative study that compared modern with Baroque fountains. Notice how the rst two paragraphs are
entirely based on her personal experience of the work in context. This is reinforced by her photographs and gives an authenticity
to her later comments on Pye’s intentions.
TOK
Consider these questions in relation to a museum experience:
•
Why are some objects treated as ar t?
•
Why do we put ar tifacts into museums?
•
How does an object’s function and signicance change when it is exhibited in a
special place?
•
How does the cultural value change?
•
How is cultural power exer ted by the museums of past empires, such as the
Louvre in Paris or the British Museum in London?
•
Do ethnographic museums preserve past cultures or destroy them by taking
ar tifacts away from their true context?
Duchamp believed that the urinal became a work of ar t because it was presented
as such by the ar tist. It is more accurate to suggest, however, that the urinal
becomes a work of ar t when it is successfully exhibited in an ar t gallery/museum.
48
Section 3
S E C T I O N
3
Sophie has thought very carefully
before placing the lines which analyse
composition onto the images. Read
her text as a ne example of formal
analysis and comparison. Her choice
of images with their linking theme
of the sea makes this especially
meaningful.
In
I
order
like”
the
to
move
approach,
artworks
between
the
you
how
and
and
then
course
The
Secondly,
purpose.
form,
formal
as
have
it
their
things
they
study.
have
why.
made
content,
You
the
it
to
taste,
art
describing
critical
was
nally
for
is
their
can
the
see
rst
context,
and
formal
contextual
artworks
what
about
divided
we
of
know
write
be
what
the
“I
to
can
analysis
made
consider
the
skills
for
function
their
although
of
interrelated.
section
will
your
is
and
always
needed
for
is
of
thinking
Analysing
Firstly,
why
approach
art
apply
selected.
the
of
expressions
to
was
are
are
selected
need
analysing
good
elements
comparative
you
A
for
these
analysis,
how
simple
will
that
understanding
qualities.
beyond
you
for
gave
both
now
you
your
need
to
comparative
the
tools
process
apply
to
make
portfolio
this
a
and
analysis
to
formal
the
the
works
study.
This is a really eective practical
Jessica was excited by Alexander
exploration of the formal qualities in
McQueen’s culture collaging in fashion.
architecture. Even without the text
On this screen she explores how
we have a clear understanding of
Nick Knight has photographed one of
how cantilevers, mass and space
McQueen’s creations to emphasize
are evident in modernist building.
the negative and positive shapes. She
Think about creative practical ways of
has cleverly used collage to juxtapose
showing formal qualities in the works
Ukiyo-e prints. This eectively
you are exploring.
meets the ‘creative’ descriptor for
presentation too.
Section 3
49
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Qualities
Formal
Comparing
ytilauq
a
fo
thgil
thgil
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but
flehs
enifed
era
sekam
Section 3
50
S T U D Y
C O M P A R A T I V E
T H E
sah
seod
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de
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S E C T I O N
51
Section 3
T H E
C O M P A R A T I V E
S T U D Y
Ella used annotation to consider the formal qualities of Ukiyo-e prints. This is a very eective
method as it allows her to make each point clearly and then suppor t it by directly showing
an example in the image.
This screen is the companion to Ella’s analysis of formal qualities in the prints of Utagawa
Yoshitora. Here she has used her watercolours to act as a background to comments about
the use of colour in Ukiyo-e prints. Notice the colour samplers that are an eective way to
capture an ar tist’s palette.
52
Section 3
S E C T I O N
3
How to interpret function and purpose
“Looking
Victor
is
not
indifferent.
Burgin
There
can
never
be
any
question
of
‘just
looking’.”
(1982)
Key terms
Your
next
task
is
to
investigate
the
function
and
purpose
of
the
works,
Ambiguous: having more than
although
you
will
have
begun
to
open
out
ideas
as
you
described
the
one possible interpretation. The
formal
qualities.
meanings of most works of ar t
Many
pieces
will
fulll
more
than
one
function,
for
example,
a
wedding
are ambiguous.
dress
is:
symbolic
beautiful
All
art
is
and
at
made
both
the
for
of
a
same
a
culture
time
reason.
a
The
and
of
practical
aim
of
a
rite
item
this
of
of
passage;
aesthetically
clothing.
section
is
to
help
you
Tip
consider
study.
the
But
“why
and
remember,
what
art
for?”
rarely
of
has
the
a
artworks
you
straightforward
have
chosen
purpose.
to
Artists
You will nd the highlighted
often
make
their
work
deliberately
ambiguous
and
rather
than
giving
words useful tools in your
denitive
answers,
consider
the
multiple
functions
that
your
artwork
analysis of meaning; they are
may
have.
dened in the glossary.
Questions to ask
You
will
was
created.
When
then
need
you
you
to
rst
Refer
have
will
research
to
read
be
the
the
research
about
equipped
the
to
cultural
context
section
this
history
answer
in
and
these
in
which
chapter
context
of
to
the
artwork
guide
your
you.
Tip
artworks,
questions.
Evaluation of cultural
signicance
Why was this ar twork made?
Some
possible
It is impor tant to comment
answers:
on the cultural signicance
For
status:
to
enhance
the
power
or
social
standing
of
the
owner.
of your selected ar tworks. In
To
display
wealth
(through
the
use
of
precious
materials,
skilled
order to do this well you will
craftsmanship
or
For
a
the
creative
originality
of
the
artist).
need to understand the original
ask
ritual:
for
attain
as
part
forgiveness,
spiritual
of
as
a
religious
an
icon
to
celebration,
worship,
to
or
as
a
votive
alleviate
offering
suffering
or
to
to
cultural contex t in which they
were made. However, before
enlightenment.
you star t the task, it is wor th
pausing to consider your own
For
education:
to
teach.
For
example,
religious
works
which
tell
a
story
cultural contex t, as we are
or
have
a
narrative.
Images
are
especially
important
when
much
of
a
of
Renaissance
all inuenced by the values
population
are
illiterate,
such
as
the
Christian
frescos
the
and beliefs with which we
or
the
political
murals
of
the
Mexican
revolutionary
artists.
have grown up. Think about
To
of
understand
abstract
concepts
metaphor
the
a
legacy
ssure
the
and
of
and
colonialism
works
For
the
Modern
example,
shown
through
of
condition:
feelings.
allegory.
running
existential
human
by
oor
the
representation
art
this
by
the
Doris
of
through
the
does
9/11
memorial
Salcedo’s
Tate
means
in
New
“Shibboleth”
Modern
in
your cultural identity and
of
what makes you dierent to
York,
(2007),
London,
or
the
Giacometti.
others. Remember that these
dierences inuence the way
you interpret the world, the ar t
that you are interested in and
the judgments that you will
As
propaganda:
art
that
contains
a
strong
polemical
(one-sided)
make about it. Awareness of
message
aimed
to
distort
the
truth
for
political
advantage.
our personal viewpoint can help
As
documentary:
to
record
an
event.
For
example,
Goya’s
etchings
of
us to be more objective in our
the
atrocities
of
the
Napoleonic
wars,
or
the
work
of
war
photographers
opinions, less prejudiced and
such
as
Don
McCullen.
Similarly,
social
realism
seeks
to
use
art
to
such
as
the
FSA
more international-minded.
show
the
lives
photographers
and
in
suffering
1930s
of
ordinary
America
aiming
people,
to
promote
change.
Section 3
53
T H E
C O M P A R A T I V E
S T U D Y
TOK
L’ART EST INUTILE, RENTREZ CHEZ VOUS
Jean Vautrier
This translates as “Ar t is useless go home”. Vautrier makes use of irony to
question the value of making ar t. In utilitarian terms the statement is correct.
Yet humankind has expended considerable energy and resources in the
making of cultural ar tifacts. Consider what justications there could be for
this. When the Taliban destroyed the ancient Buddhist sculptures at Banyan
they claimed that the act was par tly in protest at the money being paid for the
statue’s upkeep, which could have been better spent on the starving people of
the region. What do you think?
L TA
Social skills: dening our cultural identities
In pairs draw a Venn diagram. Write each of your names in an oval. Now
ll your ovals with all the aspects of your life that dene your culture. Any
aspects you share with your par tner go in the middle, where the ovals overlap.
Here are some suggestions:
•
Personal details: religion/beliefs, ethnicity, nationality, gender, age
•
Signiers: dress, make-up, hairstyle, music, dance, food, language,
customs, rites of passage (how do you celebrate bir th, coming of age,
marriage and death?)
When you have nished, discuss with other students. Perhaps you can divide
Tip
into dierent cultural groups within the class.
The introduction
Which aspects of cultural identity do you think are most impor tant in relation
Your rst screen will introduce
to your judgments of visual ar t? Perhaps gender and religious belief?
your study. Make the content
very clear by including:
• a title
To
question:
in
the
past
art
wa s
us e d
wi thi n
the
cons t ra i nt s
of
• illustrations of the main
strict
convention ,
but
in
modern
so ci e ti es
the
ro le
of
a rt
is
o ft e n
works you will analyse
to
subvert
accepte d
w a ys
of
d oi ng
th in g s ,
or
to
m ak e
us
s ee
wi t h
• explain any linking theme or
fresh
eyes.
Irony
is
often
used
to
s ub v e r t
co nve ntion :
by
ch oo si n g
framework.
a
disjuncture
normally
such as mentioning where
inappropriate
you have seen the works or
soft
and
what attracted you to them,
For
example,
can make your work more
reef,
interesting.
ironic
in
fo r
a
its
by
purp o s e
Appropriati o n
of
usi ng
ha r d
is
is
contemp o r a r y
the
conte xt ;
to
and
a nd,
of
or de r
an
c ou r se ,
p ro je c t
into
the
wa y
by
the
in
whi c h
re c yc li n g
to
s uc h
by
to
 uffy
no t
u si n g
and
wa ys
a r tis t s
new
as
c r oc he t
i ma g er y.
s u gg e st
w or ld .
woul d
u n e xpe c t e d
s tyle ,
c o nve n t io n al
i ma ge s
of
that
us in g
of
g ro up
we t
di sr up t
cul ture
imagery
by
i na p pr opr ia t e
a ct,
a nothe r
juxta p o s i tio n
establi s he d
an
We r the i m’s
the
values
the
juxtaposing
sa me
g r ue s ome
Marg a r e t
world.
on
by
the
med i a ;
gentle
and
disrupt
Section 3
sca l e ;
seen
“transforming
relies
54
be
of
Adding a personal touch,
of
or
bei n g
hu m o ur.
a
dr y” ,
c or a l
t h is
s ee i ng
q ue s t io n
Mos t
is
the
the
c o ll ag e
me an i n gs ,
or
to
S E C T I O N
For
self-expression:
this
is
are
in
considered
fact
few
are
nancially
for
an
better
for
who
personal
understand
the
this
is
called
18th
was
ideas
the
Futurists
for
example);
of
early
life
of
of
our
the
many
For
on
the
to
or
idea
that
our
feelings
the
spectator
of
the
our
daily
are
now
as
a
to
see
a
death
in
release
curve
(the
the
is
sometimes
function
gleam
of
and
(the
in
to
the
be
challenged
classical
there
ideas
are
aesthetic,
(this
a
car
is
that
what
bonnet,
white
late
to
die.
surfaces
20th
century
all
serve
to
primary
patterns
true
of
give
variety
function
on
the
of
ceramics
original
and
many
to
the
purpose
of
museums.
of
powerful
violence
through
of
and
terror
as
by
us
styles).
the
from
help
principal
also
forms
Munch
art
movement
as
there
they
working
beauty;
the
if
suffer
aesthetic
aesthetic
texture
be
live,
context
and
Even
their
such
has
the
pure
same
from
images
method
and
the
art
machine
is
to
culture
opposing
lives,
and
is
cultural
postmodern
colour,
it
Although
audience,
Edvard
through
Romantic
Consider
artist.
always
and
emotions
the
sensual
will
aesthetic
The
on
Decoration
aggression
is
Rome;
completely
trainers,
its
the
modern
Gogh
what
modern
aesthetic
pattern,
that
Some
the
they
western
beautiful.
–
–
of
a
themselves.
trauma
for
depends
by
for
Van
considering
and
modern
in
your
of
is
surroundings.
catharsis:
images
this,
what
as
pleasing.
beauty.
combining
objects
Greek
In
aspired
artifacts
stripes
sake”.
Greece
decoration:
to
art’s
modernism)
fashion
For
art
Aesthetics
of
rare,
condition
enjoy
than
ancient
is
such
psychological
aesthetically
beautiful.
from
for
which
purely
to
changed
powerful
the
different
is,
be
century
more
of
“art
to
expression
motivation
art
artists
human
contemplati on :
art
create
However,
their
personal
main
independent,
For
of
the
artist’s
artists
audience.
examining
the
3
art
emotions.
helps
rather
achieving
this.
us
than
Think
This
is
to
control
in
action.
also
of
an
or
ancient
release
Shocking
gothic
lm
and
destruction.
Who paid for this ar twork?
Consider
who
is
paying
may
have
been
made
may
have
been
a
pays
for
or
an
group,
contracts
wage
the
for
state,
their
a
contract
artwork).
with
for
to
The
or
their
a
in
materials
order,
drawn
up
patron
may
wealthy
artists.
artists
the
specic
by
and
that
the
have
private
for
a
artist’s
set
labour.
commissioned.
patron
(the
been
religious
a
individual.
Contemporary
exchange
the
is,
gallerists
number
Art
person
piece
who
individual
dealers
provide
of
The
There
arrange
studios
and
a
artworks.
Where was it created for?
Art
or
is
often
private
few
made
space.
privileged
secular
for
Was
people
building.
Was
a
specic
the
or
it
place.
work
for
made
many
designed
to
for
Consider
for
the
admire?
a
whether
private
specic
this
was
a
public
contemplation
Perhaps
for
a
architectural
of
religious
a
or
a
setting?
Who is looking?
Consider
the
considers
consider
audience,
how
them
artwork?
you
in
What
the
might
relation
are
the
viewer,
present
to
ways
the
function.
in
spectator.
answers
which
to
Who
we
The
these
are
we
regard
next
section
questions,
when
the
but
looking
rst
at
this
gures?
Section 3
55
T H E
C O M P A R A T I V E
S T U D Y
Freya has eectively combined an analysis of formal qualities with careful consideration of cultural signicance.
Her combination of word processed text and handwritten comments are very eective.
56
Section 3
S E C T I O N
useful
use
the
how
we
gaze
of
Laura
way
of
considering
concept
look
the
at
has
when
you
a
the
a
this
gaze:
gurative
viewer
Mulvey,
Elkins
of
at
an
described
the
is
the
image,
image
feminist
question
this
lm
of
a
modern
art
particularly
a
person.
theorist.
different
for
word
It
More
types
of
the
was
use
spectator’s
a
term
recently
gaze
audience
historians
you
rst
the
art
might
is
to
to
L TA
A
refer
gaze,
used
Thinking skills
to
the
by
critic
3
Consider these views on "the
gaze". What do you think of the
James
speakers' opinions?
experience
“In adver tising males gaze, and
look
at
a
gurative
painting
in
a
gallery:
females are gazed at.” (Fowles,
“You,
the
looking
painting
at
the
who
painting,
look
at
one
gures
in
another
,
the
painting
gures
in
the
who
look
painting
out
who
at
you,
look
at
gures
objects
in
1996)
or
“ The gaze signies a
stare
off
into
space
or
have
their
eyes
closed.
In
addition
there
is
often
the
museum
psychological relationship of
guard,
who
may
be
looking
at
the
back
of
your
or
at
head,
and
the
other
people
in
power, in which the gazer is
the
gallery,
who
may
be
looking
at
you
the
painting.
There
are
imaginary
superior to the object of the
observers,
too:
the
artist,
who
was
once
looking
at
this
painting,
the
models
for
the
gaze.” (Schroeder, 1998).
gures
in
the
people
who
painting,
who
may
once
have
seen
themselves
there,
and
all
the
other
In Ways of Seeing (1972) John
have
seen
the
painting
–
the
buyers,
the
museum
ofcials,
and
so
forth.
Berger obser ved that:
And
it
nally,
only
there
from
are
also
people
reproductions...
or
who
from
have
never
seen
descriptions.”
the
painting:
(Elkins,
they
may
know
1996)
“… according to usage and
conventions which are at last
The
gaze
is
a
way
of
considering
the
social
power
relationships
between
being questioned but have by no
the
observer
and
the
observed
that
are
implied
by
gurative
images,
means been overcome – men
especially
with
respect
to
the
male
gaze
and
the
female
gaze:
men
gaze
act and women appear. Men
at
women;
women
gaze
at
themselves;
women
gaze
at
other
women;
look at women. Women watch
and
the
effects
of
these
ways
of
seeing.
Consider
these
ideas
in
relation
themselves being looked at.”
to
contemporary
media.
Is
this
statement
still
true?
Berger argues that in European
ar t from the Renaissance
Tip
onwards women were depicted
Be careful with the word “simple”. You can describe works as being “simple”,
as being:
meaning straightfor ward or direct and uncomplicated, for example, Van Gogh’s
“aware of being seen by a
sunowers have a simple composition. However, avoid saying “simplistic”
[male] spectator. … Women
unless you intend to suggest that what you are describing lacks meaning.
are depicted in a dierent way
to men – because the ‘ideal’
of
status.
From
Prince
“dragon
the
the
exhibition
with
robes”.
modern
the
if
inhabitant
Yellow
Silk:
the
pale
silk
yellow
actually
and
the
only
fu
and
fact
this
for
for
use
it
is
colours
coffin
his
wear
have
imperial
in
the
And
family
essence,
that,
simply
eerie
Huang
of
Lu’s
actually
other
clothing
not
an
old
quality
and
of
been
also
only
of
sold
had
six
Dragon
in
Robe
buried.
feeling
–
as
robes.
years
and
originally
robe
with
item
or
evokes
all
600
this
along
expensive
in
and
embroidery.
were,
that
Lu,
inherited
durability
would
the
an
out
of
been
around
sheer
the
found
this
as
a
has
the
copyrighted
I
found
yellow,
yellow
sign
not
silk.
bright
silk
of
their
for
the
out
with
a
was
authority
highest
society.
these
pattern,
tigers,
robes
that
its
I
Huang
such
have
to
robe
Symbols:
person
symbols
six
going
thread
of
of
Prince
clearly
would
shows
for
superiority
Imperial
the
is
reserved
echelons
the
it
catalogue,
T
an,
was
necessity
disintegrated
that
It
world
Also,
the
Zhu
there
who
were
axe,
water
was
could
the
two
also
wear
sun,
a
law
in
garment
moon,
sacrificial
weed,
a
stars,
cups
place
with
and
grain.
did
this
complex
the
the
emperor
twelve
mountains,
were
fire
that
was
imperial
dragon,
representations
pheasant,
of
to be male and the image of the
woman is designed to atter
him.”
ta
in
buried
ehT
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dna
details
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4102
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:morf
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robe
ehT
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gniM
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ytsanyD
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noitibihxE
Purpose
the
hsitirB
and
In
lmths.yrotsihklis/ltra/moc.daor-klis.www//:ptth
Status:
noitamrofnI
spectator is always assumed
Function
monkeys
Jessica shows her textiles skills on
this screen. Machine-embroidering
a copy of the silk patterns as well
Long
sleeves:
becoming
sleeves
the
colour
to
only
the
product
suggest
for
empire.
of
only
high-end
used
reserved
of
a
Not
the
They
earth,
of
wealth
statues
emperor,
would
his
wear
outside
of
in
the
the
and
palace,
a
garment
so
It
used
extremely
inside
and
this
add
to
impractically
period.
and
silk
in
class,
Ming
family
white
silk
I
long
drew
front
people
silk,
would
as distressing fabric to create an
be
notable
yellow
robe
to
it
the
have
the
sketch
me.
silk
mas
been
this
of
This
justice.
made
In
from
showing
why
delicacy
made
in
the
British
however,
the
silk
the
Museum
does
museum,
worms
quality
of
that
the
not
I
do
learnt
fed
on
with
the
the
robe
intricacies
that
the
silk
in
of
garment
is
so
appropriate background has helped
was
her to understand the relationship
mulberry,
high
The
between materials and meaning.
worn
only
on
public
occasions.
accurately,
Exclusive:
the
robe
is
given
high
value
simply
by
association
with
Human
power
can
This
nature
suggests
over
have.
God-like
his
The
completely
presumably
that
people,
robe
with
indicating
also
contrasting
status
grants
the
distances
day-to-day
his
the
we
instinctively
emperor
strength
the
that
Emperor
clothing.
foreignness,
an
want
This
leading
to
extra
a
did
the
from
his
of
embroidered
the
sample
draw
and
record
Notice how a gallery sketch has
embroidery.
(left)
in
the
style
of
the
dragon
been presented on a nal screen,
gives
I
enjoyed
the
hue
of
the
embroidery
against
the
of
colour
clothing
people,
separation
an
gold
to
the
element
piece
difficult
as
robe.
forbidden.
robe
the
I
emperor.
the
the
with
him
a
of
real
the
robe
distressed
in
the
material,
British
in
Museum
a
similar
contrast
of
making this much more personal
exhibition.
than simply pasting in a photograph
idolisation
of the robe.
Section 3
57
model.
McFee
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Section 3
58
that
screen
one
onto
the
using
art
Makonde
and
Dali
together
research
her
of
much
both
for
audience
the
considers
brought
has
Kierlan
S T U D Y
C O M P A R A T I V E
T H E
Case study
+
+
3
S E C T I O N
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suggested by Donald Rodney’s piece. Notice how she reects on our response to the use of skin. She has used her
In this student’s work the simple act of photographing her hand and that of her grandmother illuminates the meanings
own feelings about the work to explore function and purpose rather than reading the ideas of others.
59
Section 3
T H E
C O M P A R A T I V E
S T U D Y
What do we mean by context and audience?
We
have
link
considered
those
ideas
the
artworks,
that
the
audience.
A
conceptual
cultural
with
is,
signicance
and
function
and
purpose
the
and
place
useful
time
way
framework
of
doing
that
this
is
the
to
viewer;
explore
they
to
use
now
the
were
June
you
context
created
King
and
McFee’s
(1978).
AUDIENCE’S
ARTIST’S
AUDIENCE
ARTWORK
ARTIST
WORLD
The
in
WORLD
audience’s
world
is
a
which
The
context
events
Events
significance
to
as
be
of
the
bring
need
impact
way
are
collectives
of
on
of
An
be
of
particular
age
be
can
a
place
well
for
as
as
or
time
The
the
from
The
the
practice
can
be
by
any
styles,
The
the
is
artist’s
association
size.
and
used
The
to
intent
considered.
of
artist
work
An
beliefs,
be
religions,
that
the
the
collective
place
be
but
be
of
age
a
or
may
deeply
also
personal
experiences.
in,
Events
time
informed
can
particular
of
significance
place.
audience
artist
experience
considered.
for
the
and
are
of
occur.
of
the
outside
same
in
significance
technical
processes
world
events
Events
or
movements.
meaning
artist’s
context
significance
with
schools
a
which
mood,
signs
symbols
is
of
informed
formal
convey
are
its
name,
qualities,
can
by
work.
medium
and
and
created
and
of
ideas
artworks
title,
artwork.
the
the
a
values,
impact
of
their
audience
place
rituals,
concepts
is
artist
author
the
existence
cultural
an
was
audience’s
as
it
entity.
creator’s
contemporary
to
also
described
the
to
sole
any
The
experience
world
world
The
a
identified
different
is
as
understanding
collective
place
who
artwork
considered
and
understood.
or
The
and
experiences
the
artworks
valued
can
discreet
individuals
researched
they
audience
comprise
significance
occur.
can
of
to
be
as
they
impact
can
the
way
or
are
created.
uninformed.
need
researched
cultural
on
artworks
The
beliefs,
and
values,
religions,
also
rituals,
ideas
way
concepts
are
impact
understood.
an
the
artist
and
also
way
creates.
Visual ar ts teacher suppor t material
To
for
complete
whom
the
the
table,
you
artworks
will
were
need
a
good
understanding
of
why
made.
Dali
‘Soft
Boiled
Construction
Beans’
with
1935
www.alamy.com
Comparison
between
Unknown
Makonde
Sculpture
and
Dali
Painting
artist
African
Distorted
Member
of
forms
the
Anthropomorphic
Makonde
people.
Sculpture
in
Dream
like
Famous
artist
black
Use
positive
and
European
ebony
negative
shapes
Member
Smooth
of
the
sculptural
Figures
stand
on
a
surrealists.
forms
solid
base
Painting
Simplified
in
oil
on
form
Combine
abstract
and
canvas
Flowing
and
balanced
realistic
elements
Heightened
realist
composition
Forms
viewed
in
colour
silhouette
Strong
chiaroscuro
Precise
TANZANIA
60
Section 3
East
Africa
ebony
wooden
www.
Alamy.com
Makonde
sculpture
detail
Complex
and
S E C T I O N
3
How to make comparisons
This
component
expected
keep
A
in
is
called
compare
are
straightforward
way
to
the
the
can
similarities
be
rather
obvious
pigeon
well,
in
and
that
where
are
shown.
the
works
important
is
irrelevant
to
evidence
details
at
some
from
Remember
the
for
you
have
nd
it
chosen
hard
to
draw
to
to
to
this
not
at
as
is
a
your
the
start
All
than
of
only
up
in
thematic
chapter
your
this
so
been
as
out
and
done
differences
that
connect
and
works
time,
will
these,
painting
have
exercise
This
on
pointing
this
that
are
Always
artists.
diagram.
themes
the
you
it
is
really
perhaps
need
to
by
be
concentrate
on
lists.
this
choose
the
comparisons,
same
themes,
meaningful
or
not
rely
duck
on
reason:
cultures!
end
here
listing
works.
at
you
common
a
Venn
you
technical
rather
the
when
a
don’t
concentrate
support
but
use
But
there
a
artworks,
diagrams
stylistic,
comment
links
lack
as
different
suggestion
thematic
is
the
for
different
simplistic:
see
treating
point,
insightful
such
better
than
use
and
can
important
much
developing
look
You
this
study
from
differences.
reductive
one!
art
comparing
start
and
rather
juxtaposing
compared
the
It
comparative
connect
you
they
mind
the
and
that
clarify
a
to
is
comparisons.
was
artworks.
where
The
that
If
you
very
you
the
will
best
works
now
studies
Ming
Anime
Highly
skilled
Dynasty
Vase
Animated
of
films
team
Films
craftsmen/
Digitally
manipulated
drawings
technicians
Chinese
to
High
art
for
an
elite
Strong
audience.
make
colour
themes
Expensive
materials.
and
harmonies
Carefully
Religious
Spiritual
and
significance
Decorative
use
Saturated
space
colour
of
designed
form
and
st
21
Flowing
All
forms
use
rhythm
century
and
Contemporary
Busy
composition
movement
to
excite
Pop
Complex
use
of
signs
culture
visually.
Japanese
and
symbols
Mass
Sense
of
cultural
appeal
identity
Fun
Very
expensive
Dynamic
Playful
Childlike
Appeals
Post
Modernist
Created
gallery
for
a
to
all
aesthetic
modern
art
audience
International
Murakami
Section 3
61
T H E
C O M P A R A T I V E
S T U D Y
start
comparing
the
artworks
from
the
introduction,
pointing
out
the
Tip
key
the
thematic
same
as
links
you
when
would
the
in
a
artworks
good
are
essay
rst
that
mentioned.
develops
a
This
is
just
convincing
Be careful not to simply repeat
argument
by
adding
evidence
as
the
ideas
are
explained.
So
in
fact
your
information from earlier screens
comparison
should
be
something
that
develops
and
ows
across
all
the
when making comparisons;
screens,
rather
than
just
an
isolated
activity
towards
the
end.
this will not gain you any
new marks. Instead aim to
synthesize your research,
developing the themes of your
As
an
essay
you
different
in
parts
to
comparisons
will
make
rather
need
a
than
to
synthesize
coherent
whole.
repeating
earlier
–
bring
Try
to
together
make
–
the
meaningful
information.
comparisons into new insights.
You
●
●
●
might
compare
the
Formal
qualities:
colour,
ways
Style
and
of
such
technique:
manipulation
the
different
of
ways
and
differently?
as
the
representing
the
Function
following.
for
meaning:
How
are
light
in
landscapes,
illusion
of
of
depth.
example,
media,
fabric
use
the
is
the
transformed
how
they
comparing
nishing
are
of
in
handling
surfaces
in
of
in
paint,
sculpture
or
dress.
overarching
culturally
the
expression
themes
interpreted
dependent?
Freya has compared these paintings mainly for their formal qualities, but then she has added focused paragraphs on
function and cultural signicance. This is a discussion of dierences, rather than a simple bullet point list and this is what
places it at a higher level.
62
Section 3
3
S E C T I O N
.secneidua tnereid no sesucof nosirapmoc sihT
63
Section 3
T H E
C O M P A R A T I V E
S T U D Y
Gaudi’s
‘La
wealthy
Milà
Buildings
class
a
and
Casa
had
to
been
seen
have
keep
the
colour
cast
iron
of
the
due
to
is
my
the
photograph
flowing
art
taken
nouveau
from
the
forms
roof
of
inspired
the
by
house
and
it
The
balustrades,
flowing
an
is
lot
of
that
their
a
Gaudi
famous
wealth
it
house
This student has made eective
use of graphics to compare the
visual forms in the architecture
of three dierent buildings as
well as developing the contrasts
in her text.
64
Section 3
that
windows
balconies.
to
The
consideration,
up
of
curved
forming
the
façade
abstract
the
but
structure,
and
variable
plan.
below
is
my
AutoCAD
drawing
of
the
façade
nature.
This student has used their freehand sketches together with drawing to make a very coherent and well-
presented sequence of pages.
and
follows
made
roof
period
similar
functionality,
small
in
their
develop
expensive
only
upper
asked
parabolas,
shaped
to
was
include
Not
a
Milà
important
brick
includes
irregular
to
For
as
need
façade
waves.
an
the
nothing
good
seen
countries
and
a
the
showing
Gaudi
he
expose
with
of
as
family
assumed
also
labels,
out.
edge,
clearly
is
house
stand
could
house
cool
as
way
because
tones.
the
it
by
(1906-10).
allowed
cutting
is
is
interior
scheme
also
a
hotter
lighter
ground
analyse
This
with
shape
they
which
in
make
a
before. The
so
houses
to
as
this
house,
moreover
factor
considered
was
their
includes.
Above
style
commissioned
Barcelona
houses
architect,
a
was
in
success,
Milà
build
be
their
different
La
family
can
use
wealth
Pedrera’
to
S E C T I O N
3
How to present your comparative study
Your
work
clear,
will
be
coherent,
uploaded
support
for
awarded
engaging
assessment
animations
planning
these.
or
You
marks
and
as
a
well
slide
wish
®
The
good
Avoid
than
of
Never
●
Consider
good
look
your
save
to
style
that
Some
as
of
long
●
Do
–
●
not
this
a
of
so
be
study
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system
don’t
such
waste
as
be
does
not
time
Microsoft’s
a
being
McQueen
that
than
not
are
pages
your
that
considered
and
in
image.
students
have
the
text
must
small
be
text
read
or
than
continuous
on
web
a
lines
page).
for
your
each
to
show
screens.
these
For
your
choose
will
look
rarely
this
is
personal
to
the
colour
example,
Warhol
are
besides
appropriate
but
This
one.
a
visual
works
skills.
you
schemes
gothic
print,
a
visual
but
font
could
are
and
is
not
be
for
an
this
to
visuals
to
book
read
are
this
are
to
illegible
be
clear
is
show
a
information
balance
scanned
a
by
or
and
and
effectively
more
between
sketchbook
perfectly
This
even
then
acceptable
the
two.
pages
way
–
to
a
typed
transcript
presentation.
comparisons,
annotation.
means
to
provide
coherent
communicate
simple
appealing
sketches
can
achieve
study.
can
are
to
templates;
Andy
Try
engaging.
they
photography,
an
supported
study
so
online
and
pointers.
backgrounds,
magazine
visually
words.
easy
images
words,
well-
or
dress.
examples
when
are
graphics
just
text
other
other
presented,
expected
about
that
really
museums,
combine
extra
design
artworks.
text
at
ways
illustrations.
the
for
Look
major
ways
easier
in
pre-designed
are
the
prescribed
some
redesigning
artwork
you
In
are
consistent
time
no
choice.
distracting
(as
across
are
fonts.
and
screen
comparative
screens
clearly.
of
you
are
enhance
Juxtaposing
Make
show
here
decoration,
they
especially
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should
The
software
effectively
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transitions,
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and
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text
split
it
book
show
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for
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study
pages,
examples
made
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your
web
magazines,
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or
presenting
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presentation.
document
animated
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and
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design
collage,
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Section 3
65
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evah
dna
taht
.t neve
eht
I
noƟisopmoc
deneponu
no
allerbmu
esilobmys
e hT
gnoH
ni
.KU
mlac
I
,g noK
a
ym
allerbmu
-onu
koob
lartue n
swohs
ni
weiv
eht
si
snoƟ
sa
dedulc
ot
.laer
ekam
yehT
tniop
ruoloc
sihT
saedi
si
fo
ym
eht
owt
yek
.egami
lacƟilop
I
dah
dewolla
ton
enibmoc
em
:noƟceŇeR
ot
dekool
os
evah
,serugĮ
yrd
flesym
nacixeM
e hT
e hT
oƩoiG
stsƟra
ecneserp
taht
dna
sevlesmeht
meht
desu
eht
detresni
moƩob
ssentiw
flesym
:Ōel
fo
otni
htiw
eht
eh t
siht
ni
erom
ot
lanosrep
esisahpme
rieht
I
areiviR
evah
fo
.tnirp
yranoƟulover
eht
I
dna
ehT
ekam
ta
ynam
denibmoc
tnereīid
eht
a
rieh t
dlob
tnirp
skrow
stnemele
I
dna
hcihw
tcerid
sah
dluow
fo
eht
saw
.stsƟra
:tsƟra
deiduts
semƟemos
-isopmoc
-ni
hcus
ta hw
a
ton
lausiv
gnorts
seƟilauq
cilobmys
y rgna
ylgnorts
dworc
decneuŇni
sa
I
stnemele
detnaw
hcus
–
ot
sa
fo
evah
yas
eht
evƟarran
deredisnoc
nacixeM
.egassem
ti
eht
sorieuqiS
elyts
.seod
eh t
eht—sg aŇ
I
elbissop
emas
ot
stsƟra
he has told us how the composition style has aected his own work.
snaem
on
deliated
owT
deĮil pmiS
sepyt
namuh
fo
desu
smrof
:serugĮ
ot
ecnatrop
wohs
- mi
si h t
hcus
eht
htped
noƟroporp
sa
emas
htiw
-moc
-asoP
stĮ
desu
etaretilli
htiw
-upop
I
KH
saedi
tuoba
allerbmu
detnaw
gnorts
ot
- or p
ym
morf
nwo
eht
Section 3
66
S T U D Y
C O M P A R A T I V E
T H E
Revolution. His research suggested to him how he could respond in the studio to events that were important in his life using
Anson was interested in the student protests in his home city of Hong Kong. This led him to research the art of the Mexican
language of these artists.
a similar approach to that taken by the artists he had read about. He did not use painting but print to explore the visual
by placing the Siqueiros mural next to his print so that we can readily see the similarities. However, this is not a copy. Instead
Notice how Anson has agged up the connections with his paragraph headings. He has made the visual connection very clear
S E C T I O N
3
How to make connections to your own art
Tip
If
you
are
taking
this
course
at
HL
your
comparative
study
will
conclude
There are three aspects to
with
three
to
ve
screens
that
analyse
and
reect
on
how
the
study
address on these nal screens:
has
inuenced
connections
and
your
When
and
not
being
one
creative
are
to
way
for
which
that
assessed
or
as
more
an
of
artist.
the
You
works
will
that
need
you
to
have
show
studied
•
work.
assessed
extent
meaningful
development
between
own
you
the
your
is
this
you
as
task
have
being
here,
it
looked
you
is
your
linked
will
at.
understanding
processes
The
and
quality
probably
have
of
of
the
practices
the
ideas
in
artworks
included
these
•
exhibition
or
process
portfolio
where
they
will
be
assessed
identify connections between
one or more of the ar tworks
a
and your own ar t-making
is
in
•
your
reect on the outcomes of
your investigation
for
explain how these inuenced
the
your development.
skill
and
ideas;
rather
it
is
how
you
have
made
meaningful
and
informed
Many students forget to reect
connections
that
matters.
So
the
writing
here
has
a
different
purpose
on the outcomes of their studies
to
your
exhibition
text
even
though
you
will
be
describing
some
of
the
of the ar tworks. But the most
same
works.
common mistake is to discuss
To
prepare
for
these
screens,
reect
and
review
what
you
have
already
creative ideas and process on
written
about
other
artworks.
Your
visual
arts
journal
will
be
useful
in
these screens without making
this
task.
You
may
well
want
to
take
key
points
that
you
have
made
explicit connections (with
about
other
artists
from
earlier
screens
to
now
directly
link
to
your
work.
words) to the ar tworks studied.
To
help
own
start
your
practice
reection
might
have
consider
been
these
three
ways
in
which
This is a dierent task to the
your
descriptors that are included
inuenced.
in your process por tfolio and
1.
Formal
qualities:
Refer
back
to
the
formal
qualities
section
of
this
exhibition, so don’t use the
guide
and
apply
these
to
your
artwork.
Are
there
connections
in
same text! And remember to
the
approach
to
colour,
light,
form
and
texture?
Look
for
specic
include images of your ar tsimilarities
that
you
can
demonstrate.
Perhaps,
for
example,
you
making to suppor t the links.
started
using
vibrant
2.
painter
Technique
their
you
saturated
and
working
were
Perhaps
that
you
were
media:
methods
triggered
you
colours
began
for
are
seeing
to
change
to
use
rst
time
in
response
to
a
studying.
Artists
by
the
scale,
paint
frequently
what
others
format
more
or
freely.
inspired
have
to
Or
to
done.
try
a
change
Perhaps
new
maybe
medium.
you
Tip
were
Here are some key points to
encouraged
to
be
more
accurate
and
attentive
to
detail.
Again
look
consider for your connections
for
evidence.
screens.
3.
Concepts:
How
does
the
function
and
purpose
of
the
works
you
Making connections: Have you
studied
connect
with
your
creative
idea
development?
There
might
been able to make meaningful
be
a
strong
political
or
social
connection.
Are
there
cultural
links?
links?
You
might
you
have
have
taken
applied
aspects
different
of
cultural
cultural
style
insights
to
to
develop.
the
context
Perhaps
of
your
art.
Development: Have you
demonstrated how your thinking/
4.
Presentation:
You
will
need
to
explain
connections
visually
by
approach has changed over time?
juxtaposing
your
artwork
These
don’t
need
to
Often
cropping
with
examples
that
you
have
studied.
the
links
are
Reection: Have you paused to
be
large,
just
clear
so
that
obvious.
consider what you have learned?
elsewhere
longer
in
details
the
written
is
study,
passages
the
most
effective
annotation
to
show
and
your
way
lists
can
thought
of
showing
be
just
process.
as
this.
As
effective
as
Analysis: Is there precision to
your comments? Have you
shown detail and depth?
Section 3
67
T H E
C O M P A R A T I V E
S T U D Y
Julia compared dierent ar tists’ por trayal of the story of Adam and Eve in her comparative study. This is one of her
connections slides. She has taken a more straightforward approach than the other examples by using bullet points, but this
is eective. Her sculpture is really original; she is not attempting to copy style or technique. Instead she has been inspired
by the ideas of the ar tists, especially the way they have used symbolism.
Tip
Signal the connections between the artworks and your work clearly by using the names of the artists and the titles of
the artworks studied. Then give clear evidence in words and images of the link. Trigger phrases such as these will help.
•
I was inuenced by …
•
The aspects of the ar tworks I studied that most aected my development were the way that …
•
As I developed my ideas I considered how the ar tworks that I had studied …
•
The ideas from this ar tist that are most evident in my work are …
•
This inuence is evident in my use of …
•
My choice of colour/forms shows how I was inuenced by …
•
I then developed the concepts I had researched into …
•
The inuence can be seen in the way that I …
L TA
Communication skills
In pairs, explain how your personal ar tworks have been inuenced by other ar tists. Are these descriptions
convincing? Suggest to each other ways that the ideas could be more clearly communicated.
68
Section 3
S E C T I O N
3
Brianna has made a thematic
Making
Connections
to
Francis
comparative study that considers
Bacon
several artists’ responses to conict
My
painting
Francis
Figures
Bacon
at
the
from
including Goya, Francis Bacon
My
‘Three
base
of
Figures
Crucifixion’ 1945
The
left
Chalk
Francis
a
drawing
Bacon
at
the
from
and Marina Abramovic. Here in her
‘Three
base
of
a
nal connections slides she has
Crucifixion’ 1945
panel
The
right
concentrated on her response to
panel
Francis Bacon’s “Three Figures at the
Base of a Crucixion”. The screens
Francis
Bacon
the
differences
to
include her painted copies of the
my
I
art
use
work:
textiles,
sculpture
work, which give a good sense of her
and
performance.
exploration of his style, but she has
then reinterpreted the painting in new
Francis
Bacon
similarities
to

Shocks
the

Distorted
the
my
forms. She clearly explains how it is in
work:
audience
Reflection:
I
the
the
holocaust
to
expressive
language.
I
photographs
of
found
inspiration
in
her nal painting that the inuence of
forms
develop

Influenced

Responding
by
an
have
these artists has become assimilated
surrealism.
used
Bacon’s
mixture
of
paint
handling
into a personal work of art rather than
to
and
the
violent
strong
mark
formal
making
as
well
compositions.
as
his
However
holocaust.
my

Use
of
second
work
is
also
photographic
sources
Me
and
my
soft
‘Balkan
Expressive
paint
of
by
the
Marina Abromvitch’s
use of bullet points to reinforce the
Baroque’ 1997
main links between her work and
My

influenced
hand
performances
being just a transcription. Notice the
work
is
more
interactive
and
kinetic
handling
sculpture
in
the
whereas
Francis
traditional
churchyard.
Bacon
format
of
relies
easel
on
the
Bacon’s. These slides are also legible,
painting.’
visually appropriate and engaging
with their sombre olive green and
blood red theme.
Section 3
69
The process portfolio
4
What is the process portfolio?
Tip
The
process
portfolio
task
is
the
largest
externally
assessed
component
The process por tfolio does not
of
the
so
it
visual
arts
course,
worth
40%
of
your
total
mark
for
visual
arts,
exist! The process por tfolio
puts
a
high
value
on
the
art-making
processes
you
engage
in
as
a
is not a physical object. It
part
of
your
practice
as
a
developing
artist.
It
is
uploaded
to
the
IB
for
is a digital record of your
assessment
as
a
single
portable
document
le
(PDF).
development as an ar tist.
In
the
process
portfolio
you
need
to
show
evidence
of
an
art-making
It should be considered
process
that
demonstrates:
as a collation of evidence
to be viewed on screen by
●
that
an external examiner. This
you
media
should guide your selection of
have
and
experimented
techniques,
and
techniques
that
your
that
and
are
with
and
selected
appropriate
manipulated
art-making
to
your
a
variety
materials,
artistic
of
media
intentions
evidence when you curate your
●
art-making
practice
has
been
informed
by
critical
investigation
process por tfolio submission
of
artists,
these
●
how
Key terms
you
Medium (singular)/media
artworks
have
your
have
chosen
and
inuenced
initial
made
media
artistic
and
ideas
impacted
and
ideas
and
wish
to
own
have
between
you
provides
your
intentions
connections
and
genres
the
evidence
of
how
and
how
artwork
been
formed
techniques
employed,
the
communicate
(plural): refers to the more
●
how
you
review
and
rene
your
ideas,
skills,
processes
and
specic materials used in
techniques,
and
reection
on
your
development
as
a
visual
artist.
an ar t-making practice such
as watercolour, charcoal and
In
plaster. In the ar t-making forms
presented
addition,
the
with
screens
uent
you
use
submit
of
must
be
clearly
subject-specic
and
coherently
language.
table, these are listed after the
To
compile
your
process
portfolio
you
will
need
to
critically
review
all
given forms.
the
Technical and material
practice: refers to the aspects
of an ar tist’s ar t-making
practice that is concerned
work
select
you
the
an
your
undertaken
materials
manipulation
as
have
artist.
and
You
which
conceptual
document
renement
will
also
throughout
of
need
practice
as
your
your
the
course
show
an
artist.
carefully
experimentation,
technical
to
and
the
and
exploration,
material
development
of
practice
your
ideas
in
with the form of the work:
You
do
not
have
to
represent
all
of
the
artwork
that
you
produce
specically, the choices and
throughout
the
course
in
the
process
portfolio.
This
should
be
documented
decisions made about media
in
your
visual
arts
journal.
Here
select
the
evidence
that
demonstrates
and materials, as well as
most
clearly
that
you
have
met
the
course
requirements
against
the
assessment
and
shows
your
technique and application.
strongest
achievements
criteria.
This
evidence
Conceptual practice: refers
could
be
drawn
from
your
visual
arts
journal
as
well
as
other
sketchbooks,
to the aspects of an ar tist’s
notebooks,
and
so
on,
but
could
also
include
photos
of
preliminary
work
ar t-making practice that is
such
as
sketches,
maquettes
and
other
incomplete
or
unresolved
pieces
concerned with intent, and the
that
may
have
been
signicant
in
the
development
of
other
pieces
in
your
visual communication of ideas.
body
both
so
of
resolved
that
The
work.
you
most
probably
arts
70
Section 4
Ideally,
and
can
journal
source
your
as
a
examples
unresolved
achieve
useful
be
these
visual
the
of
evidence
arts
potential
works
highest
and
for
so
have
they
levels
journal,
process
should
of
use
portfolio
should
the
in
treat
led
to
be
the
carefully
assessment
your
every
screen.
process
entry
creation
in
of
selected
criteria.
portfolio
your
will
visual
S E C T I O N
4
What are the requirements of the process portfolio?
Key terms
The
process
portfolio
does
not
exist
as
a
physical
object;
it
is
not
a
Forms: in ar t-making, the broad,
notebook,
workbook,
sketchbook
or
your
visual
arts
journal,
but
all
of
generalized categories of
these
things
can
be
used
to
contribute
an
artist
through
material
to
it.
It
needs
to
show
your
creative endeavours such as
development
as
ongoing
investigation
into
other
artists
painting, drawing and sculpture.
and
artworks,
into
a
variety
of
forms
and
media,
and
provide
evidence
of
In the ar t-making forms table,
how
you
develop
a
body
of
work,
from
initial
ideas
through
to
realization,
forms are denoted by bold text.
and
it
is
worth
a
substantial
40%
of
your
total
assessment
in
visual
arts.
Process: in ar t-making,
Such
a
signicant
task
must
have
some
specic
requirements.
process refers to the means
In
any
same
assessment
scope
usually
or
apply
sometimes
if
task,
requirements
boundaries
if
a
student
they
within
fails
exceed
it,
to
are
which
meet
such
as
set
to
give
all
complete
the
going
to
the
minimum
over
a
candidates
task.
the
requirement,
word
limit
to the end (or product). It is
Penalties
in
an
and
essay.
an operation that involves a
range of cognitive (or thinking)
and practical methods or
techniques that are employed
While
the
process
portfolio
is,
by
design,
an
open-ended
task
to
cater
when you are engaged in an ar tfor
a
wide
range
of
art-making
practices,
the
Diploma
Programme
making activity.
Visual
arts
Failing
to
guide
does
meet
these
ultimately
receive
requirements
art-making
(SL)
and
and
some
specic
requirements
for
this
keep
practice.
higher
state
these
The
level
task,
so
in
will
negatively
a
good
place
the
back
of
requirements
(HL)
requirements
are
to
your
for
the
impact
start
is
mind
different
the
to
as
for
task.
mark
you
identify
you
start
standard
the
your
level
students.
Formal requirements of the task—SL
SL
students
submit
9–18
screens
which
evidence
their
sustained
TOK
experimentation,
of
art-making
inat
least
exploration,
activities.
two
For
art-making
manipulation
SL
students
forms,
each
the
and
renement
submitted
from
separate
of
work
a
variety
must
columns
of
be
Process versus product
the
In pairs, small groups or as a
art-making
forms
table.
class, debate the question,
“Is process more impor tant
Formal requirements of the task—HL
than product in the visual
HL
students
submit
13–25
screens
which
evidence
their
sustained
ar ts?” Choose an armative
experimentation,
exploration,
manipulation
and
renement
of
a
variety
of
position (that is, “process is
art-making
activities.
For
HL
students
the
submitted
work
must
have
been
more impor tant”) or a negative
created
in
at
least
three
art-making
forms,
selected
from
a
minimum
of
two
position (that is, “product is
columns
of
the
art-making
forms
table.
more impor tant”) and in your
Diploma Programme Visual ar ts guide, page 45
argument, consider examples
from ar t history that suppor t
The number of screens
The
number
for
HL.
the
SL
This
similar
the
(PDF)
work
of
is
120
portfolio,
assessment
As
screens
difference
course
process
of
of
criteria
quality.
process
with
that
below
is
unlikely
consider
No
the
and
and
HL
portfolio
over
or
direct
to
any
screens
le
penalty
achieve
a
size
are
high
of
the
is
of
in
of
range:
the
is
just
as
20
is
single
to
for
while
excess
this.
is
A
it
of
the
hours.
to
to
are
In
same
to
le
upload
number
portfolio
that
self-limiting
not
work
more.
required
maximum
the
the
produce
possible
be
13–25
level:
document
process
likely
examiners
of
is
the
SL;
each
produce
portable
range
for
against
expected
megabytes,
screens
at
240
judged
expected
a
9–18
course
course
work
specied
level,
are
HL
a
therefore
applied
number
that
the
students’
are
as
length
uploaded
under
minimum
given
the
students
is
is
while
HL
students
maximum
falls
screens.
is
a
reects
hours,
SL
your position.
required
and
permitted
number
of
to
screens.
Section 4
71
T H E
P R O C E S S
P O R T F O L I O
The number of ar t-making forms
Tip
The
course
has
been
designed
to
encourage
visual
arts
students
to
From the outset, plan to submit
experience
a
broad
range
of
art-making
forms,
and
you
must
give
the maximum number of
evidence
of
this
evidence
of
work
in
your
process
portfolio.
At
SL,
students
submit
screens permissible for the
created
in
at
least
two
art-making
forms,
each
from
process por tfolio at your level.
separate
columns
of
the
art-making
forms
table,
while
at
HL,
students
Any less and you are likely
submit
evidence
of
work
created
in
at
least
three
art-making
forms,
art-making
forms
to be selling your ar t-making
selected
from
a
minimum
of
two
columns
of
the
table.
practice shor t. Remember, your
Students
that
fail
to
do
this
can
only
receive
a
maximum
of
3
marks
examiner is not familiar with
from
a
possible
12
under
assessment
criterion
A
for
the
process
portfolio.
your work in the same way
This
is
a
substantial
penalty,
so
it
is
important
that
you
understand
the
that you and your teacher are,
art-making
forms
table.
so you need to be informative
It
is
of
critical
importance
that
there
is
enough
visual
evidence
of
and clearly ar ticulate
your
engagement
with
the
minimum
number
of
art-making
forms
for
your intentions, ideas and
you
to
achieve
higher
than
3
marks
for
this
component.
Sketches
of
processes, as well as justifying
a
proposed
sculpture
are
not
sufcient
evidence
of
having
worked
in
the ar tistic decisions you make
three-dimensional
forms.
Similarly
if
you
work
in
lens-based,
electronic
throughout the course.
and
screen-based
involvement
sheets,
based
test
in
forms,
the
strips,
work
improvised
in
you
process.
darkroom
to
include
need
to
sufcient
provide
experimentation,
development,
lighting
need
You
photographs
or
evidence
of
evidence
of
proof
screenshots
of
screen-
diagrams
of
studio
or
set-ups.
The ar t-making forms table
Two-dimensional
forms
Three-dimensional
forms
Lens-based,
electronic
screen-based
●
Drawing:
pencil,
such
ink,
as
charcoal,
●
collage
Carved
carved
sculpture:
wood,
such
stone,
●
as
block
Time-based
art:
such
digital
●
Painting:
such
watercolour,
as
acrylic,
oil,
●
murals
Modelled
wax,
sculpture:
polymer
such
Printmaking:
such
as
relief,
●
●
clays
Lens
animation,
media:
Constructed
planographic,
chine
such
collé
as
wood,
assemblage,
plastic,
Graphics:
and
such
design,
as
illustration
graphic
●
novel,
video
art
such
(wet)
as
photography,
paper,
Cast
sculpture:
wax,
bronze,
●
glass
such
paper,
photography,
montage
bricolage,
Lens-less
as
●
sequential
sculpture:
digital
intaglio,
and
stop-motion,
as
analogue
●
as
and
forms
as
media:
such
photogram/rayograph,
plaster,
plastic,
scenography,
pinhole
photography,
cyanotype,
glass
storyboard
●
Ceramics:
forms,
such
thrown
as
hand-built
vessels,
salted
mould●
made
Digital/screen
Designed
fashion,
interior
●
objects:
such
architectural
design,
as
graphics,
such
and
software
painting,
design
illustration
jewellery
specic/ephemeral:
such
as
land
vector
developed
models,
Site
performance
●
based:
objects
as
●
paper
art,
installation,
art
Textiles:
such
weaving,
constructed
as
bre,
textiles
Diploma Programme Visual ar ts guide, page 45
72
Section 4
S E C T I O N
To
satisfy
required
The
list
your
on
the
of
media
teacher
the
requirement,
number
table
if
to
of
is
you
forms
not
will
in
to
in
to
ensure
that
you
cover
bold),
not
just
different
exhaustive,
but
you
should
include
which
need
terms
considered
want
decide
you
(the
any
category
medium
and
that
form
it
does
best
the
media.
talk
not
4
to
appear
ts.
Case Study
A student example: Scarlett
Scarlett, Abstracted Face (blind
Scarlett, Reclining Nude (blind contour
contour drawing), felt tip pen on
drawing), felt tip pen on Fabriano paper,
Fabriano paper, 22 cm x 20 cm
22 cm x 20 cm
Scarlett, Mask no 2,
Scarlett, Reclining Upper Torso – Prole, felt tip
aluminium wire, 170 mm x
pen and water on fabriano paper,
250 mm x 100 mm
47 cm x 52 cm
In
Scarlett’s
had
a
came
across
Sklarsky,
form.
the
In
interest
the
who
is
used
at
the
the
subject,
of
train
surface
off
uses
classes.
to
continuous
of
blind
the
as
the
an
artist,
human
she
form.
Brooklyn-based
contour
artist
quickly
In
her
to
explore
teacher,
drawing
herself
Blind
contour
drawing
is
eye
upon
hand
and
which
and
as
moves
hand
you
your
in
to
are
work
a
drawing,
eye
slowly
sync.
you
traces
synchronization
she
a
of
never
with
human
series
of
take
eye
try
life
that
looking
your
contour
the
to
of
drawing
Instead
the
she
Ian
resolved
during
technique
in
that
artist
the
Scarlett
contour
the
realized
investigations,
contemporary
drawings
with
her
blind
subject,
your
in
work
discussing
technique
drawing
eye
development
strong
in
of
a
the
single
line.
+
Section 4
73
T H E
P R O C E S S
P O R T F O L I O
+
Initially,
pencil
black
felt
decided
and
tip
an
in
These
Scarlett
felt
two
making
in
●
●
tip
if
of
at
could
with
are
scribe,
well
the
to
to
as
forms,
was
one
this
in
one
a
biting
of
white
ideas
but
by
the
HL
a
the
charcoal,
using
and
very
don’t
so
I
quick
end
up
the
were
wire
her
process,
some
by
she
successful
more
more
wire
started
form
works,
drawings,
than
broadly
drawings
with
some
as
they
where
form.
have
wire
no
other
contour
the
a
properties
Worth,
more
sculptors
starting
having
from
her
these
with
As
the
Inuenced
Gavin
of
wire
with
undertaking
artist
would
sculpture,
each
an
HL
already
created
form
separate
at
candidate,
She
least
two
range
the
of
more
etching
contour
plate
at
in
satised
work
masks,
in
the
drawing,
completing
columns
forms,
wire
and
of
the
at
art-
open
(bulb)
exhaustive,
with
requirement
of
minimum
two
of
and
any
working
of
at
of
these
an
a
oil
and
ground
edition
of
with
the
photogram
paper
in
of
a
(lens-based,
necessarily
ideas,
media)
front
room
on
(lens-
media).
inclusion
three
class
the
photographic
dark
they
for
least
the
onto
drawing
a
an
intaglio)
lens-based
would
one
columns
in
into
drawing
cyanotype
line
enough
in
life
forms:
create
sculpture.
painting)
produce
or
shutter
forms:
oil
producing
to
to
and
drawings
printmaking:
(two-
include:
directly
paper
nor
sophisticated
a
create
minimum
needs
drawing
might
into
continuous
screen-based
than
but
to
the
columns
forms),
life
need
satised
painting:
screen-based
an
be
that
drawings
with
would
table’s
other
plate
acid
a
not
the
drawing
draw
are
she
already
successful
to
might
of
forms,
torch
and
has
three-dimensional
photography
experimenting
Section 4
she
ways
electronic
electronic
her
some
blind
a
the
one
that
the
form
blind
and
from
is
drawings.
wire.
medium,
additional
of
black
camera
to
represent
forms.
and
using
a
of
requirement,
(two-dimensional
using
lead
beginning,
candidate,
from
forms
least
a
line
armature
consistent
used
different
forms
do
and
investigated
pre-ground
work
It
sometimes
experiment
three-dimensional,
table
as
the
she
similar
is
SL
Scarlett
in
In
as
and
versions
taking
These
contour
as
began
completing,
medium.
works
contemporary
(two-dimensional
based,
74
by
painting
print
●
this
such
she
table.
completing
●
line
pen,
developing
a
was
of
folio
discover
wire
uent
are
an
forms
terms
She
but
forms
dimensional
in
saw
art-making
work
work
I
the
design,
sculptures
and
was
However,
more
of
media,
teacher,
of
aluminium
drawings.
more
line,
a
of
increasingly
art-making
least
her
drawings
some
her
making
continuous
black
the
drawing
by
exploration
up
with
wire,
became
become
explore
built
Scarlett
contour
masks.
If
the
element
began
drawings
one
liked
helped
work
forms
blind
“I
life
encouraged
although
quickly
as
quickly
to
do,
contour
line
and
pens.
continue
to
sculptural
wire
conventional
but,
successful”.
Scarlett
blind
used
conté
to
easy
being
of
she
and
in
result
the
in
a
exhibition,
Scarlett
would
satisfy
art-making
forms,
selected
art-making
forms
table.
S E C T I O N
4
Avoiding duplication of work
The
nal
requirement
duplication
that
is
of
work.
sometimes
“double
for
referred
dipping”.
It
or
component
subject
or
component.
screens
not
contain
as
a
part
of
portfolio,
arts
submitted
images
the
as
in
journal
The
for
It
of
as
for
portfolio
form
or
a
concerns
academic
student’s
and
for
selected
and
in
artwork
This
pages
is
or
from
are
in
must
the
the
students
exhibition
one
another
submitted
from
portfolio
or
in
portfolio
important
extracts
process
the
for
that
sketchbooks,
their
assessed
process
works
the
misconduct
“recycling”
work
assessed
the
nished
component.
screens
of
“self-plagiarism”,
notebooks
resolved
a
assessment
to
as
is
submitted
resolved
other
artworks
inclusion
process
when
also
exhibition
preliminary
is
of
is
addition
and
preliminary
to
occurs
subject
The
the
Duplication
process
visual
can
submit
submission.
might
be
mistaken
work.
permissible
to
show
the
entire
process
of
a
work
that
is
included
Tip
in
the
exhibition,
of
the
work
the
that
exhibition.
duplication
of
components.
a
long
the
This
as
image
is
an
prevents
or
it
is
is
stated
the
between
resolved
honesty
the
examiners
practice
alongside
nal
academic
assessment
It
preliminary
as
reproduction
work
as
included
requirement
process
from
the
portfolio
mistakenly
to
in
While the format for a screen is
prevent
and
not prescribed, it is impor tant
exhibition
assuming
a
work
is
piece.
to think about the end user:
the examiner. Most examiners
will mark the process por tfolio
on a laptop or home computer.
It
is
also
critically
important
that
you
include
full
citations
next
to
any
Ensure each screen is oriented
image
of
your
own
artworks
in
the
same
way
you
would
acknowledge
correctly (the right way up)
the
work
of
another
artist.
This
helps
examiners
distinguish
between
throughout the submission.
your
work
and
other
artists’
media
you
have
worked
works,
but
also
makes
very
clear
the
form
Most computer monitors are
and
in
(to
satisfy
the
minimum
requirements)
oriented horizontally, so it
as
well
as
giving
the
examiner
a
sense
of
the
scale
in
which
you
are
might be wor th presenting your
working.
Do
not
work”
“my
use
your
own
name.
Use
the
phrase
“Candidate’s
own
screens horizontally. Most
or
own
work”
as
the
authenticity
of
the
assessment
process
monitors use a widescreen
requires
student
identity
to
be
anonymous.
format, so try working
An
example
of
suitable
organization
of
citation
lines
is:
with a 1600 x 900 pixel
format. This will ensure your
My
own
work
process por tfolio will ll your
Title
of
work
examiner ’s screen.
Medium
(for
Size
example,
(for
example,
Oil
120 cm
on
×
canvas)
60 cm)
Assessment criteria for the process portfolio
The
assessment
specic
content
for
to
you
criteria
criteria
of
show
the
for
task,
specic
concentrate
the
although
kinds
more
process
on
of
the
portfolio
some
content
generic
may
do
not
refer
knowledge
skills
that
refer
to
the
and
you
to
need
skills.
are
the
The
expected
to
demonstrate.
Criteria
that
number
greater
of
are
considered
achievement
weighting
processes
with
a
is
to
be
levels.
given
to
maximum
more
In
the
criterion
of
12
important
case
A:
marks
of
the
skills,
are
given
process
techniques
available.
a
greater
portfolio,
and
Criterion
B:
critical
Section 4
75
T H E
P R O C E S S
P O R T F O L I O
investigation;
criterion
C:
communication
of
ideas
and
intentions;
and
Tip
criterion
Criterion A : skills, techniques
and processes is a big deal.
D:
maximum
language
reviewing,
rening
of
6
marks
has
a
maximum
each.
and
reecting
Criterion
of
4
E:
marks
each
attract
presentation
a
and
possible
subject-specic
available.
Criterion A is wor th the most
Each
assessment
criterion
has
level
descriptors
describing
specic
levels
out of all of the process
of
achievement
together
with
an
appropriate
range
of
marks.
The
level
por tfolio criteria, over 35% of
descriptors
concentrate
on
positive
achievement,
although
for
the
lower
your total process por tfolio
levels
failure
to
achieve
may
essential
to
refer
the
be
included
in
the
description.
mark . This is twice as much
It
is
to
assessment
criteria
when
compiling
your
as criterion B, C or D and three
process
portfolio
submission
to
ensure
that
your
efforts
are
awarded
times as much as criterion
with
the
highest
with
the
descriptors
mark
possible,
but
it
is
equally
important
to
be
familiar
E. Therefore, it makes good
throughout
the
course
so
that
you
are
mindful
of
sense to include an equivalent
expectations
as
you
undertake
your
work.
propor tion of your process
por tfolio screens to suciently
cover the requirements of
criterion A. Assuming that
criterion E: presentation and
subject-specic language
The
examiner
works,
your
how
marking
well
intentions.
making
works
Rather,
practice,
of
your
resolved
the
work
they
the
will
are
not
examiner
processes
be
interested
technically,
that
is
you
or
how
interested
were
in
in
individual
well
your
engaged
in
they
convey
overall
to
art-
develop
your
art.
will be demonstrated on each
screen, a good guide is up to
Understanding criterion A : skills, techniques and process
eight screens in an SL process
The
descriptors
will
be
in
each
criterion
reect
the
qualities
in
your
work
that
por tfolio and ten screens in an
assessed.
Criterion
A
requires
you
to
provide
evidence
that
you
HL process por tfolio.
have
purposefully
Remember
have
to
that
engaged
meet
making
the
for
from
a
SL;
at
of
of
forms
only
you
selection
best
use
choice,
least
three
will
penalize
you
3
marks
to
is
available
show
need
to
materials;
the
has
if
media
need
had
work
of
the
in
at
art-making
you
have
of
a
forms.
show
that
sufcient
least
art-making
art-making
out
to
and
not
12,
this,
so
art-
selected
table).
done
possible
two
forms
forms,
forms
you
breadth
This
making
covering
a
crucial.
how
processes
you
the
of
you
(creating
of
need
for
at
that
columns
columns
media
of
in
range
criterion,
two
and
Finally
and
separate
creating
of
and
techniques
intentions.
the
HL,
the
practice
requirements
from
criterion
Additionally,
skills,
each
with
assessment
art-making
minimum
maximum
range
this
an
minimum
assessment
a
in
in
forms,
table
experimented
work
you
you
have
manipulated
have
used
to
realize
evidence
of
sensitivity
show
that
you
the
are
materials
used
the
your
are
various
artistic
to
the
appropriate,
or
undertaking.
Choosing your evidence
There
and
is
a
range
of
manipulation
appropriate
and
evidence
of
skills,
consistent
that
can
be
techniques
with
your
used
and
to
show
processes
artistic
experimentation
which
intentions.
are
These
could
include:
●
single
pages
scanned
directly
from
your
visual
arts
journal
●
single
pages
scanned
directly
from
your
visual
arts
journal,
with
the
annotations
process
portfolio
connections
76
Section 4
added
to
other
to
(possibly
further
screens
in
electronically)
clarify,
the
update,
while
reect
submission
but
compiling
or
make
S E C T I O N
●
compilations
of
smaller
extracts
scanned
directly
from
your
4
visual
Tip
arts
journal
particular
●
then
aspect
screenshots
making
of
compiled
of
“work
platforms,
in
your
being
done
slides
completely
in
correlate
art-making
progress”
with
each
to
and
why
each
to
illustrate
a
Using your smar tphone smar tly
from
a
annotations
it
other
practice
taken
additional
shot
with
is
being
range
of
digital
explaining
art-
what
Most students today have
is
some form of smar t device with
done
them at all times. Whether this
is a phone or an MP3 device,
®
●
developed
using
programs
like
Microsoft
most have a digital camera of
®
PowerPoint
that
photographs
of
use
images,
graphics
and
text
a reasonable quality. If your
●
preliminary
work
that
you
have
undertaken
such
school’s policies permit it, use
as
designs,
cartoons,
sketches,
artist’s
proofs,
maquettes
and
other
your device to photograph your
mock-ups
with
annotations
such
as
title,
media
and
size
work regularly at various stages.
●
photographs
but
of
resolved
nonetheless
were
works
an
that
were
important
part
not
of
included
the
in
the
art-making
You can even ask friends to
exhibition,
photograph you working on your
process.
work . If you print these images
If
a
student
has
failed
to
meet
the
minimum
requirements
(such
as
and include them in your visual
in
the
selection
of
a
sufcient
range
of
forms
and
media),
the
process
ar ts journal with annotations,
portfolio
will
only
reach
the
lowest
achievement
level
for
this
criterion.
they can be used as evidence
The
lowest
level
will
also
be
awarded
if
the
process
portfolio
is
in your process por tfolio of your
“incoherent”.
An
incoherent
submission
means
little
thought
has
been
involvement in the ar t-making
given
in
the
selection
and
assembly
of
evidence
so
that
there
is
little
process, your experimentation
apparent
correlation
coherent
process
between
one
screen
and
the
next.
To
develop
a
with materials, or even to
portfolio,
it
is
important
the
evidence
you
assemble
explain the process involved in
justies
your
choice
of
media,
techniques
and
processes
and
that
you
producing an ar twork .
clearly
articulate
Criterion
the
direction
and
purpose
of
the
work
A
undertaken.
Possible
evidence
descriptors
Two-dimensional
Three-dimensional
forms
forms
Experimentation
Research-based
and
in
of
manipulation
media
and
investigation
techniques.
Research-based
in
media
and
Lens-based,
and
investigation
techniques.
electronic
screen-based
Research-based
in
media
and
forms
investigation
techniques.
skills,
Drawing:
techniques
pages
from
Sculpture
(all
pages
visual
Time-based
forms):
and
and
the
visual
arts
journal
from
arts
journal
sequential
art:
screenshots
processes
showing
the
comparisons
expressive
various
of
qualities
drawing
of
showing
of
photographic
record
of
work
from
method
a
in
range
art-making
media
Annotated
photographs
annotated
photographs
of
colour
palettes
Lens
objects:
visual
arts
mood-board
Printmaking:
annotated
consideration
photographs
of
artist’s
surface
proofs
various
various
proofs,
annotated
of
pages
preliminary
from
from
showing
graphic
visual
arts
annotated
failures
and
photographic
photographic
record
of
site
pages
or
survey
from
journal
with
Digital/screen
screenshots
based:
work
progress
taken
range
digital
of
platforms,
fabric
of
from
in
a
art-making
annotated
renderings
and
process
visual
showing
bre
of
journal
visual
arts
and
specic/ephemeral:
Textiles:
journal
alternative
media:
interesting
documentation
photographs
designs,
Lens-less
experiments,
pages
arts
of
treatments
papers
Graphics:
sheets
strips
style
inks
Site
annotated
contact
journal
test
showing
and
media:
proofs,
media
using
with
annotations
pages
and
from
paint
digital
platforms,
maquettes
experiments
Designed
with
of
taken
of
additional
Painting:
progress
with
additional
swatches,
annotations
dye
samples
and
so
on
Section 4
77
T H E
P R O C E S S
P O R T F O L I O
Selection
of
Across
all
forms
materials
Your
appropriate
process
portfolio
should
include
evidence
that
for
to
artwork,
you
have
each
concept
you
are
trying
to
to
give
visual
and
physical
form
as
an
considered
what
form
and
intentions
medium
words,
if
it
the
is
most
spend
was
likely
to
enable
time
in
your
developed
as
a
choice
that
you
you
planning
painting,
or
to
realize
the
considering
a
best
what
sculpture,
or
a
outcome
the
for
outcome
series
of
the
of
work.
the
In
work
photographs,
other
might
then
be
justify
make.
Any
documentation
in
the
process
portfolio
should
include
visual
TOK
examples
work,
that
with
demonstrate
examples
of
your
direct
involvement
developmental
processes,
with
the
technical
actual
efforts,
Originality in ar t: when
and
reection
on
both
formal
and
expressive
qualities,
as
this
begins
to
does “inspiration” become
address
other
assessment
criteria,
while
adding
value
to
criterion
A.
plagiarism?
In small groups, investigate the
Understanding criterion B: critical investigation
terms “appropriation”, “parody”
and “pastiche”. Discuss how
impor tant originality is in ar t.
At what point does taking
inspiration from another ar tist
or ar twork become plagiarism?
When
of
a
do
not
world
way
or
you
long
make
you
of
art
inside
by
a
visual
practices,
sophistication
bubble.
in
to
your
native
a
work
live
will
and
work,
in
that
the
you
of
other
your
greatly
21st
artists
part
You
and
you
your
and
your
giving
visual
art
is
to
live
“read”
are
in
the
a
same
conscious
of
it
art-making.
consciously
expands
enrich
in
make
perceive
own
uency
as
conventions.
century
informs
conceptually,
and
you
and
Whether
culture
inform
This
practice,
traditions
tongue.
visual
to
technically
To
imagery
the
practices
vocabulary.
both
art-making
art-making
your
immersion
and
an
visual
investigating
work
in
various
comprehend
your
Critically
and
engaged
bombarded
not,
their
are
history
your
own
allowing
repertoire
art-making
greater
depth
and
communication.
Where do I begin?
Knowing
you
where
want
initially,
to
before
something
Art
journal
ideas
to
it
that
museums
arts
to
begin
with
and
like
a
or
galleries
you
journal
(or
critical
art.
becomes
you
with
your
start
making
cerebral
are
are
a
at
one,
drawn
to
fantastic
smaller
later).
investigation
Looking
art
so
is
is
the
is
a
challenge
visual
being
able
when
experience
to
browse
for
important.
resources.
companion
Record
a
date
of
Always
notebook
your
take
and
visit.
your
visual
transfer
Browse
the
Ullens Centre for Contemporary Ar t,
collection
until
you
nd
works
that
make
you
want
to
stop
and
consider
Beijing, China. A student makes the
them
further.
When
you
do
this,
record
the
details
of
the
work
from
the
most of a museum eld trip, making
wall
text.
Always
include
the
artist’s
name,
their
nationality,
date
of
birth
a detailed study of the exhibited
ar twork.
to
date
and
of
the
made
have
death,
size.
you
seen
stop
in
a
at
to
have
could
the
If
78
Section 4
same
you
on
starting
nd
do
have
art
can
also
styles,
and
as
be
you
of
work,
the
Was
before?
what
From
works
or
the
by
the
it
the
about
has
date
Then
familiar
Was
here
the
work.
it
something
exactly
period
of
work.
it
point.
other
not
this
Was
articulate
a
title
sketches
textbook
representation?
Try
the
Make
to
same
can
you
visual
your
do
artist,
completion,
start
subject
the
captured
you
of
or
–
a
work
matter
the
of
attention.
medium
upon
you
or
qualities
further
by
the
reecting
style
the
Now
artists
of
work?
you
investigation.
other
what
may
You
working
in
style.
ready
useful.
nd
access
Start
work
to
galleries
with
that
and
general
appeals
to
museums,
books
you,
that
good
cover
narrow
a
your
quality
broad
books
range
search.
of
S E C T I O N
Broadly
artists
speaking,
can
there
inform
your
are
three
own
areas
in
which
the
work
of
4
other
art-making.
Representation
Representation
around
to
them.
refers
You
to
may
use
in
your
Styles
of
representation
●
own
naturalistic,
describe
●
of
–
capture
to
through
stylized
–
to
on
a
particular
conform
where
●
expressionistic
–
concerned
abstract
started
–
literally
with
a
●
is
a
the
refers
to
reduction,
the
represents
style
the
of
visual
the
of
or
light
visual
world
representation
is
on
or
practice
of
to
nature
Impressionists
their
but
subject
today
response
are
to
matter,
includes
a
subject
distorted
or
aesthetic
of
emotion,
such
as
often
colour
representation
matter,
or
terms
true
reduced
qualities,
distortion
these
or
qualities
style
conveying
subject
of
personal
detail
the
all
brushstrokes,
or
of
–
realistic
19th-century
particular
with
particular
are
effects
short
level
recognizable
simplication,
version
of
in
forms
to
–
exaggeration
that
subjective
simplication
●
artist
particular
objective
eeting
●
the
a
referencing
the
painting
based
where
embellished
mimetic,
literally
quick
representations
an
for
representation
who
sought
that
include:
gurative,
forms
way
looking
art-making.
impressionistic
often
●
the
be
but
through
exaggeration,
a
or
line
that
a
through
has
process
of
schematized
produced
non-objective
elements,
–
such
usually
as
concerned
geometric
with
shapes,
the
rather
arrangement
than
the
of
visual
representation
of
objects.
Material/technical
Material
or
routinely
becomes
technical
employs
a
recognizable
is
you
likely
how
most
they
Conceptual
the
they
used
practice
the
with
media
ways
in
“artistic
an
in
and
in
which
their
tools
When
material
what
of
a
particular
art-making
voice”.
artist’s
interested
to
refers
their
matter
choose
exploring
be
or
to
media
or
forms
that
so
your
it
critical
technical
the
artist
that
artist
practice
has
used
and
form.
practice
through
subject
to
refers
and
style
concerned
have
Conceptual
explores
practice
materials
investigation
are
practice
they
work,
world
the
choose
or
issues
to
ideas
art-making.
it
or
to
could
and
concepts
that
an
artist
simple
or
concrete
can
be
as
represent,
or
the
be
This
more
abstract
genre
within
themes
and
as
which
ideas
philosophy.
What will this look like in my process por tfolio?
For
criterion
with
the
form
your
of
success
clearly
B,
work
own
of
the
need
other
art-making.
your
demonstrate
that
Two
investigation:
relates
biographical
to
to
artists
investigation
Reproducing
connection
you
of
their
own
has
used
descriptors
the
to
depth
your
information
work
genuine
been
will
get
of
own
about
only
are
critical
to
help
used
the
to
engagement
shape
judge
investigation
and
the
level
and
how
art-making.
artists
the
with
lowest
little
level
or
of
no
achievement.
Section 4
79
T H E
P R O C E S S
P O R T F O L I O
To
achieve
engage
helping
then
the
to
other
artist
developing
might
available
the
your
visually.
lines
of
that
for
title
artwork
●
medium
●
size
●
source
(where
speaking,
to
of
death
of
you
not
a
consider
the
likely
be
to
comparative
study,
to
from
could
When
have
(line,
used
colour,
(emphasis,
shape,
When
interpreting,
mood
Does
of
or
the
work
phrases
not
aware
is
such
reect
that
also
tell
by
that
are
which
model
to
you
use
involves
specic
journal
the
do
works
is
pages,
not
extracts
portfolio
an
artwork.
make
inspiring
or
of
to
record
biography
interpreting
reproduction
the
of
of
any
your
an
marks
and
evaluating
and
informing
from
successful
submission.
an
image
artwork.
Include
is
Make
with
it
an
a
good
appropriate
a
as
“this
suggest
unsure
of
in
how
be
a
an
to
death)
date
you
of
develop.
created
choose
works
birth
It
their
artists
for
work,
the
investigate
and
…”
work
need
might
or
is
and
equally
your
critical
acknowledge
the
design
the
text
effect.
Is
that
a
the
particular
perception
differently.
suggests
and
design
interpretations
implying
it
You
accomplished?
their
aspects
of
of
symbols
this
to
to
qualities
in
viewer.
discussing
Rather,
for
visual
what
and
brings
see
work.
elements
to
the
“possibly
possible
to
signs
when
point
the
principles
and
to
that
interpretation.
and
point)
How
artwork
for
the
the
focal
work?
arrows
interpret
formal
various
and
to
colour
meaning
yourself.
sure
artist
to
consider
the
encouraged,
Just
of
and
habit
and/or
space)
the
are
an
connected
speculative
at
the
another
for
experiences
and
of
rhythm,
convey
interpretations
research.
date
nationality
come
should
used
looks
might
are
to
good
which
consider
looking
Be
that
birth
contexts.
and
in
a
analyse
texture,
to
is
you
are
to
You
are
it
two
that
established
their
you
least
to
artist’s
but
balance,
story?
of
image).
the
cultural
work.
are
date
within
analysis
work
appropriate,
informed
a
arts
While
work
process
when
work)
need
you
of
other
at
these
the
all
that
a
to
works
completion)
boxes
for
Everyone
artwork
visual
interpreting
context
value,
how
in
your
necessity,
unity,
atmosphere
artworks.
that
It
used
of
the
the
variety,
describe
has
in
you
in
boxes
artist
in
nationality,
where
colour
analysing,
been
specify
approach
criteria
the
Successful
helpful
(text
features
one
need
practice,
evaluating
analysing,
selected
different
call-outs
use
any
and
your
how
acknowledging
is
also
use
not
artworks.
on
of
retrieved
you
drawn
so
assessment
and
the
(year
but
be
use
Annotating
helps
is
use
(artist’s
Strictly
will
whose
include:
●
of
you
artists
art-making
does
work,
and
focus
analysing
name
signicant
Section 4
selected
artist’s
date
the
practice.
way
guide
work,
art-making
●
Then
80
interesting,
reproduction
citation
of
artists
terms
work
colour
body
other
so
Try
own
B,
of
acceptable.
in
be
your
the
criterion
number
interpreting
it,
can
of
a
arts
knowing
pages,
efcient
Visual
particularly
own
to
a
into
be
for
work,
The
be
of
inuence
investigating
will
investigations
levels
work
deconstructing,
artists
While
mark
the
or
upon.
critically
analysing,
with
inform
reect
when
higher
critically
that
that
…”
of
Using
does
you
are
valid.
investigation
sources
of
to
your
be
S E C T I O N
research
using
when
the
Another
sound
engagement
arts
of
often
the
gures
when
results
to
painted
can
be
make
style
the
in
the
and
the
between
of
and
hours
works
of
to
your
and
clearly
process
the
galleries
of
the
masters,
how
the
your
devices
work
the
of
the
of
of
work
artist
to
that
the
the
the
might
drawing
Matisse,
or
of
your
Mapplethorpe.
are
you
in
museums
emulating
your
your
you
practical
imagery
Henri
Robert
for
that
or
is
training
and
own
Kiefer,
style
demonstrate
and
portfolio
Traditional
in
annotated
artist’s
work
understanding
college.
Anselm
in
framing
the
or
the
Explore
style
your
technique.
simplied
photographed
images
for
or
the
artist.
to
school
many
copying
using
comparisons
connections
your
analysis
artist’s
of
stylized
reference
of
of
spending
style
when
contributed
style
faithfully
and
when
Include
an
included
photography
The
have
method
with
world
technique
develop
they
referencing
4
process
portfolio.
emulating
examiner
are
the
exploring.
In this image, Coralie has investigated
the work of contemporary Portuguese
artist Duarte Vitória. She has included
two images sourced from the artist’s
website (note the references) and
has then cropped the areas that have
interested her and attempted to paint
in Vitória’s style. The annotations she
has included reect Coralie's response
to the work in a personal manner, but
would have been a stronger submission
if the commentary had included more
critical language that justied or
explained why she found the images to
be beautiful.
Section 4
81
T H E
P R O C E S S
P O R T F O L I O
This image represents a screen from
Understanding criterion C: communication of ideas and
Ella's process portfolio submission
that gives some insight into the
development of an idea relating to
human skin and textiles, and how she
intentions
Coming
for
up
with
students.
It
one
can
“big
be
idea”
the
or
cause
theme
of
a
can
great
be
deal
a
of
huge
stumbling
procrastination
block
and
made choices about the materials
consternation
in
the
art
studio,
so
it
is
important
for
you
to
realize
two
she used. The screen includes
creatively
liberating
points.
reproductions of four pages from a
visual arts journal. This many pages on
Firstly,
one screen is normally not advisable,
work
but the size of the handwriting on each
there
to
needs
be
to
is
no
linked
develop
compulsion
together
in
much
by
the
in
the
one
visual
arts
common
same
way
course
idea
that
an
or
for
your
theme.
artwork
An
body
idea
needs
to
of
often
develop.
page remains legible. The selected
Secondly,
there
is
no
such
thing
as
a
bad
idea,
all
ideas
are
worth
pages outline her interest in human
exploring.
Some
ideas
will
result
in
successful
artworks;
others
might
skin, which she has documented
photographically, include experiments
result
in
interesting
with a range of media and some
contribute
brainstorming of potential ideas for
that
lead
to
to
a
failures
solid
more
or
process
successful
complete
portfolio.
artworks
dead-ends,
In
fact,
often
later
on.
show
the
but
it
is
all
will
the
early
failures
a more resolved artwork in the form
In
the
process
portfolio,
you
need
to
whole
process
of
your
art-
of a textile-like bodice to be crafted in
making
practice,
from
various
stages
development
the
development
of
your
initial
ideas
through
some of the more successful media
of
up
to
a
point
of
realization.
experiments. In the annotation at the
bottom of the page she discusses
Criterion
C
is
principally
concerned
with
how
well
initial
idea
or
you
are
able
to
some of the reasoning behind her
articulate
how
you
arrived
at
your
intention
for
your
material choices.
work,
82
Section 4
and
then
how
well
you
have
married
your
exploration
of
the
S E C T I O N
technical
skills
and
media
with
the
realization
of
your
intention
or
4
the
TOK
communication
If
you
explore
outcomes
level
where
as
is
ideas.
concrete
you
there
develop
of
will
only
limited
your
fail
of
literal
reach
evidence
technical
artworks
representations
and
to
of
skills
move
ideas
the
or
ideas
lowest
ideas
and
far
with
predictable
level
being
of
beyond
achievement.
reviewed
conceptual
and
At
experiments
or
something” to be meaningful?
this
permitted
understandings
media
Does an ar twork have to “say
art-making
to
develop,
literal
In your class, organize a debate
on the question, “Does an
ar twork have to ‘say something’
concepts.
to be meaningful?” Organize
yourselves into two sides of
If
you
demonstrate
original
ideas
that
are
a
springboard
for
the
further
the argument: the government,
development
of
more
sophisticated
ideas
or
divergent
ideas
that
take
you
suppor ting the idea that an
in
new
directions
that
challenge
and
extend
you,
you
will
be
reaching
ar twork has to say something
the
highest
levels
of
achievement.
At
this
level
there
is
evidence
of
to be meaningful; and the
skilful
and
intelligent
application
of
media
to
realize
your
artistic
opposition, suppor ting the
intention
that
communicates
ideas
to
an
audience.
idea that an ar twork does not
Purposes of ar t
Thinking
for
your
about
own
artworks
●
fall
Artistic
the
have to say something to be
the
art-making.
into
ve
of
art
Ceremonial:
cultural
or
of
It
the
where
emotions,
where
the
spiritual
can
help
be
to
helpful
when
simplify
the
developing
purpose
into
ideas
which
French
art
is
art
is
practice
call
about
feelings
or
created
or
meaningful. Both sides should
nd examples of ar t to use to
suppor t their position.
categories.
what
itself;
art
may
broad
expression:
sake
communicating
●
purpose
“art
pour
l’art”
expressing
or
art
yourself
for
and
ideas.
as
a
part
undertaken
as
of,
or
an
act
to
support,
of
a
devotion
or
worship.
●
Functional:
as
●
product
Narrative:
stories
●
where
can
be
Persuasive:
or
where
design;
art
is
art
tells
mythical,
where
created
decoration
art
a
is
story
fantasy
to
or
or
promotes
serve
also
a
a
utilitarian
describes
historical
a
function,
such
function.
events
and
particular
or
are
idea,
experiences;
often
belief,
the
allegorical.
philosophy
product.
Some guiding questions for considering ideas and intentions
The
for,
●
following
in
your
Why
are
you
complete
●
What
questions
visual
do
message
you
Why
●
What
lasting
●
What
visual
this
What
and
●
be
to
to
you
helpful
when
work?
11
(The
consider,
begin
answer
a
and
new
is
not
write
answers
artwork.
“because
I
need
to
artworks”.)
share
like
to
you
with
the
your
audience?
completed
work
to
What
idea/theme/
convey?
important?
impact
and
communicate
●
this
8
want
would
may
journal
doing
between
●
is
arts
imagery
do
formal
your
will
you
qualities
ideas
you
want
and
use
the
will
work
you
to
use
have?
to
effectively
intentions?
to
effectively
communicate
your
ideas
intentions?
What
form
achieve
my
and
medium/media
would
be
the
most
suitable
to
intentions?
Section 4
83
T H E
P R O C E S S
P O R T F O L I O
L TA
Tip
Thinking skills
A pitfall for immature ar tists is
There are many strategies and techniques that can be useful to visual arts
underestimating their audience
students when developing and selecting ideas for art-making. The following can
and making the meaning
be used individually as starting points, but often are more powerful if combined.
behind an ar twork too literal or
Brainstorming using sticky notes: Using a pad of sticky notes, write down
obvious. This usually happens
every possible ar t-making idea that comes into your head. The ideas can range
when students try to produce
from single words to phrases, but limit each sticky note to a single idea. As
persuasive ar tworks on issues
each idea is written on a sticky note, stick the note on a desk, window or wall.
that they are passionate about.
Stop after 20 minutes or when the desk, window or wall is covered in sticky
Meaning can be developed
notes. Then spend 15 minutes reviewing what you have written on each sticky
through layers and with
note. You can group common or related ideas together by simply rearranging
subtlety. To avoid overly literal
the notes and eliminate ideas that are too crazy or just plain silly by removing
work or work that relies on
the sticky note. Then take up to three of the most viable ideas and transfer
visual clichés, think about
them to your visual ar ts journal where you can esh them out fur ther, perhaps
your concept from a range of
with mind maps or concept webs, or by doodling and sketching.
perspectives and try to raise
Brain dumping: Brain dumping is a similar process to brainstorming in that
questions, rather than draw
it aims to transfer ideas from the brain to another storage system such as
conclusions.
your visual ar ts journal. Brain dumping might begin as a list of ideas that you
star t to make in your visual ar ts journal, but becomes a bit more organic and
uid as you star t making the list of ideas and you get other ideas or make a
list of related tasks which you jot down as you go. It is a good idea to set a
time limit to do your initial brain dump. When the time runs out, nish writing
the last point, then star t to organize and evaluate the points. It may be useful
to categorize the ideas into “concepts” and “medium/techniques” or “now ”,
“maybe later ” and “probably not”.
Concept webs and mind maps: Concept webs and mind maps are visual/written
techniques used to expand upon ideas. After brainstorming or brain dumping,
they are a powerful way to take key ideas and esh them out. With either concept
webs or mind maps, place the key idea at the centre or bottom of the page, and
esh out or develop the idea further with branches that are used to explore it
from various points of view. Mind maps most often result in a tree or root-like
image, while concept webs take on a web or starburst shape. When developing
ideas for art-making using concept webs or mind maps, it is a good idea to add
sketches, cartoons and doodles to the page so your brain is already beginning to
give visual form to your ideas. This is also more interesting for the examiner.
Communication of ideas and intentions: satisfying the whole
criterion
So
far
down
this
the
we
really
level
“listing”
in
the
The
only
the
in
the
highest
you
part
into
a
of
level
the
for
communicate
to
or
to
of
6
of
1
or
2
help
dene,
your
art-making,
criterion
C.
ideas
marks)
requires
skills
intentions
your
to
in
to
The
and
narrow
rst
intents
“clearly
but
part
of
from
articulating”
marks).
technical
this.
explore
communicating
descriptors
and
documentation
approaches
aspect
(worth
level
ideas
rst
5
incorporated
your
of
want
with
(worth
Thorough
you
range
you
the
deals
lowest
level
have
at
ideas
addresses
descriptors
materials
Section 4
looked
rene
second
how
84
have
and
to
and
develop
art-making
Using
your
you
use
to
of
your
process
visual
arts
communicate
media
is
and
work
the
journal,
further.
best
way
annotate
S E C T I O N
a
range
of
experiments,
reworked
why
you
convey
to
are
your
various
go
back
what
your
points
Don’t
why
a
to
change
of
alter
the
pages
pages
of
in
were,
an
particularly
if
how
visual
see
is
it
develops,
explanations
helps
your
how
work
image,
composition
your
earlier
notes.
or
Simply
You
can
also
visual
arts
journal.
it
arts
helpful
the
your
it
artwork,
to
it
as
clear
you
of
better
audience.
your
and
work
with
and
your
Sometimes
changes.
in
to
development
pages,
your
doing,
intentions
the
of
diagrams
are
intentions
old
made
recent
you
developing.
or
and
formative
reworking
you
more
in
original
is
what
and
these
or
annotations
as
ideas
to
developed
such
doing
photographs
sketches
is
your
to
cross
has
Evaluating and reecting upon
your own ar t-making practice
directions,
change
in
media.
them,
explaining
references
Thinking skills: Reection
revisit
additional
changed
a
practice
to
work
add
update
make
good
journal
L TA
At
planning
4
to
the
can occur at any stage during
the ar t-making process, not
just at the end. A simple routine
you can use is asking yourself
these questions and answering
the questions in your visual
When
it
is
time
to
start
assembling
your
process
portfolio,
you
will
have
ar ts journal:
built
you
up
a
have
with
wealth
evidence
assimilated
your
which
of
material
addresses
your
and
the
in
your
visual
conceptual
technical
second
practice
practice
aspect
of
arts
journal
(your
(your
criterion
that
ideas
shows
and
art-making
how
concepts)
practice),
What’s working? (What are the
strengths in your work?)
C.
What’s not working? (What
are the weaknesses or what’s
Understanding criterion D: reviewing, rening and reecting
Many
a
given
by
an
rst-year
student
lecturers
artwork
that
before
if
they
at
art
the
college
student
has
can
been
frustrated
visualize
the
start
it,
then
there
is
no
point
How
do
you
begin
to
make
before
you
start?
by
nal
in
the
advice
outcome
beginning
of
it.
not going as well as you had
hoped?)
What have I learned about
myself as an ar tist? (Has your
work revealed some things that
What
does
that
know
what
mean?
an
image
if
you
don’t
you are good at, or some things
the
image
is
that you need to develop?)
Art-making
and
growth
development
You
and
are
begin
Your
not
to
create
brain
evaluates
it
gives
your
the
is
same
a
your
work,
Your
hands
you
accumulate
to
your
Each
have
more
your
For
work
as
selected
and
D,
of
of
will
resolved
of
the
artist.
in
develop
the
task
in
a
set
of
of
you
as
art-making.
outcome
of
your
soon
it
as
as
an
body
your
As
you
artist.
continually
as
conceived
engage
representation,
involves
technical.
As
your
were
It
skills
thinking
that
as
and
yesterday.
directing
concepts
skills
discipline.
intellectual
were
high-order
and
a
developing
and
rening
as
an
you
skills,
skills
to
your
your
artist
ideas
be
and
it
a
in
ngers
you
work,
rendering
endeavours
or
you
or
own
work
and
and
give
to
up
will
more
practices
disciplines
more,
failure,
understandings
diverse
critical
planning,
some
success
more
are
and
reecting
skills
or
submit
and
adopt
making,
rening
trying.
you
have
will
become
sharply
honed.
reecting
in
order
to
practice.
to
show
processes
and
research
satisfaction
outcome,
your
need
involve
reworking,
Your
art-making
ideas,
acquisition
are
physical
make
develop
is
an
growth
criterion
you
is
intentions.
you
your
as
skills
the
to
artist
simultaneously
ideas
motor
seek
sophisticated
improve
the
an
personal,
you
repertoire
regardless
grown
your
art
problem-solving,
Reviewing
on
a
you
artwork
However,
ne
is
engaged
undertake
artistic
reecting,
until
to
as
of
being
today
while
to
of
that
artist
work
form
and
modelling
practice
constantly
visual
mind.
the
your
and
that
you
can
techniques,
development
as
a
review
and
and
reect
visual
rene
on
the
artist.
Section 4
85
T H E
P R O C E S S
P O R T F O L I O
TOK: Caught in the act of reviewing and rening: Picasso’s Les Demoiselles d’Avignon – a case study
Look at Picasso’s Les Demoiselles d’Avignon. This is considered one the most
signicant images of modern western ar t, cer tainly in the development of the
style known as Cubism. What do you notice? Do you think the work is unied?
Does the work look nished? Compare the three gures on the left of the
canvas to the two gures on the right. Look specically at how their faces are
represented. How do they dier?
Daniel-Henry Kahnweiler was a contemporary ar t dealer to Picasso, and one
of the rst champions of the emerging style of Cubism. Kahnweiler perceived
Les Demoiselles d’Avignon as the beginning of Cubism. He recognized the
incongruent representations between the left- and right-hand sides of the
painting. In his book The Rise of Cubism (1920) Kahnweiler writes:
Early in 1907 Picasso began a strange large painting depicting women, fruit
and drapery, which he left unnished. It cannot be called other than unnished,
Pablo Picasso (Spanish, 1881–1973),
Self-Portrait with Palette (1906)
even though it represents a long period of work. Begun in the spirit of the works
of 1906, it contains in one section the endeavors of 1907 and thus never
constitutes a unied whole.
The nudes, with large, quiet eyes, stand rigid, like mannequins. Their sti, round
bodies are esh-colored, black and white. That is the style of 1906.
In the foreground, however, alien to the style of the rest of the painting, appear a
crouching gure and a bowl of fruit. These forms are drawn angularly, not roundly
modeled in chiaroscuro. The colors are luscious blue, strident yellow, next to pure
black and white. This is the beginning of Cubism, the rst upsurge, a desperate
titanic clash with all of the problems at once.
What Kahnweiler observes as unnished in Picasso’s piece is in fact evidence
of an ar tist in the midst of reviewing and rening their work from a style of
Pablo Picasso (Spanish,
1881–1973), Les Demoiselles
representation as seen in his Self-Por trait with Palette (1906) to the more angular
and fractured style that was to become recognizable as Analytical Cubism.
d’Avignon (1907)
Showing evidence of reviewing and rening your work
At
the
lowest
usually
level
limited
work
once
a
been
completed
evidence
of
is
that
reviewing
the
Working
out
ways
or
your
and
If
about
ways
a
the
and
idea
to
a
or
perhaps
and
are
imagery.
not
You
inform
to
laws
or
can
and
of
is
has
is
enrich
the
a
that
of.
you
prevent
learn
be
part
art-making
of
your
you
you
an
the
good
think
the
work.
drawing
these
as
with
a
process
which
cannot
Perhaps
against
to
in
subsequent
particular
you
can
ongoing
important
up
you
an
techniques
satised
medium
that
there
physics
how
is
sense
achievement,
an
of
Coming
compel
use
of
there
a
what
includes
is
D,
is
of
ashamed
completely
and
There
conclusion
be
them
criterion
independent
and
better
the
form.
form
work
level
limitations
the
around
your
to
the
sculptural
started,
practice
work
nothing
with
different
rene
or
is
is
of
rening.
processes
work
your
aspect
or
highest
skills,
Coming
work
work
through
review
make
ambitious
work
the
previous
idea
this
art-making
enough
medium,
nish
working
to
an
nding
you
original
at
ideas,
artist.
for
reviewing
another
while
in
to
an
familiar
painting
realizing
as
any
student’s
failures
not
of
rening
and
were
Section 4
before,
successes
realize
achievement
“nished”,
and
development
86
of
evidence
from
problems
artist.
outcome,
strategy
differently
forms
table
as
a
S E C T I O N
resource
for
this.
Take
a
painting,
for
example,
and
think
about
how
4
you
Tip
could
represent
Documenting
way
to
aspect
work
at
process.
them
the
that
As
start
you
you
D.
of
will
you
go,
get
into
you
attention
to
with
and
explain
you
having
to
divert
scanned
or
photographed
be
and
in
evaluate
the
from
of
arts
or
a
your
the
end.
image,
Do
the
that
especially
in
a
photos
explain
your
the
and
process
rst
of
When you review your work ,
your
your teacher are impor tant, but
pasting
why.
to
your opinions and those of
the
your classmates may be your
photograph,
be
greatest untapped resource.
Pay
A class critique can be very
where
solution
plans.
The more opinions the better
best
throughout
process
the
and
the
each
needed
if
is
photo
this
Annotate
and
designs
go
address
take
art-making
challenge
inclusion
you
to
camera,
journal.
original
for
at
your
solution,
as
evidence
a
printing
each
through
problem
to
again
visual
points
a
sufcient
habit
done
art-making
access
and
the
your
have
own
have
have
lesson
into
sculpturally.
your
the
what
presented
If
idea
of
thoughtfully
particular
same
process
criterion
describing
were
the
ensure
of
the
you
useful as other students
resolved,
resulted
These
pages
portfolio.
identify what they like and don’t
in
like about a work , and pose
can
You
questions like:
do
“Have you thought of …” or
not
need
to
include
demonstrates
your
misconstrued
as
images
of
you
involvement
the
work
of
working
in
a
on
complex
someone
else
your
work,
project
and
not
that
your
unless
may
this
really
otherwise
“Are you familiar with the work
be
of …”
own.
Dierent perspectives can
Reecting on your work and your development as an ar tist
help you determine how well
At
the
lowest
level
of
achievement
for
this
aspect
of
criterion
D,
your work is progressing and
reection
is
supercial
described
outcomes
and
descriptive
or
completely
unrealistic;
how close you are getting to
are
not
reected
in
the
evidence.
At
the
highest
level
realizing your intent.
of
achievement,
the
including
realistic
and
It
is
a
skills,
considered
mistake
to
think
considers
ideas,
aspects
techniques
evaluation
that
all
of
reection
is
and
of
their
processes,
successes
part
of
and
the
art-making
and
makes
L TA
practice
student
failures.
art-making
practice
Social skills
that
Par ticipating in a group critique
can
only
be
done
at
the
end
of
the
process
when
the
artwork
is
nished.
can be quite uncomfor table.
You
should
be
reecting
on
your
processes
and
your
own
development
as
Giving and receiving
an
artist
throughout
your
course,
so
make
a
habit
of
doing
this
regularly
in
constructive criticism requires
your
visual
arts
journal.
You
can
always
add
to
these
with
additional
text
a reasonable level of emotional
boxes
when
you
select
the
nal
evidence
for
your
process
portfolio.
intelligence. It is impor tant that
Reection
does
higher-order
is
to
about
not
thinking
thinking).
include
acquired
come
To
skills
meet
meaningful
and
your
easily
and
to
everyone.
known
the
as
development
levels
reection
as
ts
into
metacognition
highest
assured
It
an
of
a
(or
criterion
upon
the
range
of
thinking
D,
skills
you
you
the group establishes some
that
need
have
artist.
ground rules that help to make
everyone feel more comfor table
and at ease. Bookending
negative feedback with two
positive armations can be a
The
following
questions
can
be
used
to
help
promote
your
reective
good way to do this.
thinking:
●
What
●
How
●
What
are
●
What
strengths
do
●
What
problems
have
●
What
are
●
How
●
Who/what
●
What
are
you
well
did
you
your
your
have
has
trying
you
has
been
to
achieve
achieve
strengths
you
see
an
in
as
to
inuenced
your
work?
artist?
your
work?
faced?
limitations
attempted
your
it?
as
you
in
an
artist?
overcome
you
greatest
and
area
perceived
weaknesses?
why?
of
growth
as
an
artist?
Section 4
87
T H E
P R O C E S S
P O R T F O L I O
Understanding criterion E: presentation and subjectTip
specic language
Most students are familiar with
Criterion
E
carries
the
smallest
weighting
of
all
of
the
assessment
criteria
an assor tment of adjectives
with
a
maximum
mark
of
4.
This
shows
that
the
content
of
your
process
A
D,
that might be appropriate when
portfolio,
that
is,
the
content
that
is
assessed
against
criteria
to
is
used in informal conversation
of
more
signicance
than
how
you
present
your
work
and
the
language
with peers, but should cer tainly
that
you
use
to
do
it.
But
as
a
visual
course,
presentation
is
important
not be used in submitted
enough
to
give
a
mark
value
to,
and
as
one
of
the
learner
prole
works or examinations. When
attributes
is
to
be
communicators,
value
is
also
placed
on
the
subject-
reecting upon and evaluating
specic
language
we
use
to
describe
visual
arts.
your own work , you can add
to that list of adjectives words
While
like “nice” and “good”. When
consideration
you evaluate the success of an
is
aspect of your work , or justify
time
a choice you have made, use
communicated
full sentences that ar ticulate
likely
the
likely
in
value
to
be
this
your
it
criterion
process
evident
getting
to
of
in
on
is
smaller,
portfolio.
every
screen
right
will
ensure
clearly
and
effectively
positively
impact
your
It
you
that
it
is
nonetheless
one
include
your
in
is
the
an
ideas
and
and
engaging
assessment
against
an
criterion
important
that
investing
processes
manner,
the
other
are
which
is
criteria.
the eect or impact of what you
Presentation: what constitutes a “screen”?
have done to the work .
The
term
“screen”
is
used
in
both
the
comparative
Visual
arts
guide
study
and
process
For example: “I decided to keep
portfolio
task
outlines.
The
does
not
specify
the
the sculpture white, rather than
orientation
of
a
screen
(landscape
or
portrait),
the
size
and
resolution,
applying the dierent nishes
nor
the
number
plan, and it resulted in a more
The
use
unied form.”
that
this
of
words
included
on
a
screen.
as I had intended in my original
be
of
the
task
viewed
word
“screen”
has
to
the
examiner
by
be
is
intentional.
submitted
on
a
It
is
electronically.
computer
a
constant
Your
screen.
reminder
submission
The
screens
will
are
not
This is better than: “I decided
uploaded
individually,
but
combined
into
a
single
portable
document
to leave the sculpture white
le
(PDF)
with
a
maximum
le
size
of
20
megabytes.
(Note
that
exam
session
the
IB
because it looked nice.”
Assessment
session.
Centre
Your
teacher
annually
published
Students
studying
submit
13–25
art-making
need
animations,
hyperlinks
without
and
IB
majority
them
to
does
be
a
that
to
not
of
submit
involves
of
They
codes.
It
in
prescribe
how
the
pages
PDF
out
from
the
of
which
range
a
of
can
Adobe
that
effective.
focus
end
Section 4
be
combination
process
88
such
and
in
It
document.
as
products
of
all
of
suits
PDF
these
that
publishing
is
to
text.
the
to
effective
arts
read
of
Screens
of
screen
For
working
like
then
to
use
Apple
also
the
will
be
®
crafted
will
need
art-making
practice
portfolio
to
be
does
to
presentation
Keynote
Photoshop.
will
be
assemble
and
and
like
or
®
can
You
working
les
each
journal,
or
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process
students
sustained
elements
produced.
®
your
your
be
way
students
possible.
a
projects.
audio)
possible
Other
les.
way
or
read
PowerPoint
including
your
important
that
itself.
Microsoft
saved
best
is
as
dynamic
(video
®
programmes
HL
of
art-making
to
visual
the
experimentation,
of
are
in
to
Programme .)
while
evidence
be
screens
most
requirements
Diploma
screens,
include
media
should
the
show
variety
cannot
and
for
research,
a
from
updated
9–18
must
embedded
zoom
most
procedures
screens
students,
single
requirement
the
of
must
The
static.
photograph
as
SL
this
check
renement
QR
having
vast
or
at
transitions,
The
scan
can
screens.
and
adjust
Handbook
practice
manipulation
Screens
may
is
One
choose
the
most
your
not
,
both
with
a
or
the
time
main
become
an
S E C T I O N
4
Presentation: Making the most of the “screen”
The
key
terms
criterion
in
mind
start
E
are
in
the
whenever
assembling
Clear
top
level
explained
you
your
if
be
work
the
you
an
how
visual
in
are
the
and
using
integrated
part
document
to
to
you
a
might
Visually
Avoid
appropriate
journal,
work
you
If
a
nd
your
but
text
than
cursive
to
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black
pen
and
of
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are
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body
text
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in
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of
size
An
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and
of
to
text,
a
you
technically
working
be
who
is
accurate.
about
in.
helpful
art,
Explain
too,
both
looking
any
may
not
you
are
what
to
for
Write
but
you
in
annotations
necessarily
doing
organizing
evidence
of
and
your
how
you
vital
and
have
your
to
and
if
you
the
and
but
a
when
is
the
the
the
lay
a
choose
of
you
of
“see
your
and
pages
doing
when
screen
your
out.
9
you
colour
start
…”.
visual
arts
Avoid
read
to
this,
for
writing.
to
that
assemble
the
In
in
work
challenge
font
person
digitally
working
of
coherent
When
order
your
a
a
artwork.
these
direction
of
as
most
sort
example,
When
you
more
digitally,
add
for
the
time.
particular
textures.
it
are
same
always
changing
be
rearrange
of
can
authentically
always
references,
mind
easily,
visual
can
if
be
your
text
journal
in
size
of
sketchbook
arts
on
is
screen.
also
being
process
perhaps
to
smaller
is
sizes
platform
and
when
you
are
font
better
for
for
not
pen
scanner
Also,
the
writing
These
on
screen.
scheme
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and
or
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of
it
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it
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for
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to
you
for
portfolio
you
box
and
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each
page.
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Keep
so
easier
but
the
screen
screen,
size
need
margin
the
ornate.
Your
entire
average
that
exposure
text
fonts
another
too
best,
the
leaving
number
and
only
usually
process
with
the
reasonable
adjust
your
is
usually
photograph
citations.
the
to
your
size
reproduces
may
something
up
size,
Printing
cover
or
the
and
consider
scan
limit
take
in
assemble
headings
than
format
zoom
always
you
portfolio,
against
annotations
can
you
footnotes
will
letter
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a
can
digitally,
process
suspicious.
using.
when
or
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looking
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read,
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font
Keep
drawing,
you
portfolio
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important.
cropped
using
standard
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drawing.
hard
is
your
Examiners
pencil
program
your
journal
smaller.
graphite
the
arts
something
Contrast
a
the
visual
smaller
out
use
You
portfolio
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citations
but
at
sense
cross
your
spirals,
your
marking
good
and
not
true
development
add
rotate
process
look
your
particularly
narrative.
in
might
development
the
can
it
presentation.
citations
avoid
is
in
backgrounds
like
within
appropriately
practice,
makes
screen
can
your
simple
process
not
portfolio
overdecorate
highlight
citations.
you
use
and
body.
For
your
body
will
be
some
opened
reduction
occur.
Do
All
are
can
journal
the
handwriting
to
points,
wherever
text.
forms
wash
text
electronic
text.
a
writing.
creating
will
of
terms
something
examiner
This
you
busy
of
consistently,
12
in
or
annotate
your
page
engaging
and
over
the
pen
you
gaps
will
and
arts
usually
Unless
black
use
it
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pages
at
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artworks
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form
read.
of
from
is
carefully
If
that
handwriting
of
and
using
transcribe
these
when
informal,
who
art-making
the
look
side
up
PDF
the
references
nd
and
headings
also
throughout
handwriting
computer
journal,
writing
visual
couple
constructing
are
keep
friend
Using
but
some
the
book
them
you
it.
portfolio,
keep
a
your
curvilinear
in
are
use
a
putting
around
to
your
of
narrative
assembling
aspect
should
criterion.
pick
have
process
create
your
ideas,
If
are
presentation
arts
particular
doing
each
you
of
writing
addressed
your
Engaging
your
the
You
portfolio.
expert
needs
Legible
below.
register
you
for
table
in
are
thoughts
Coherent
descriptor
the
process
Keep
as
in
more
possible,
images
Always
is
interesting
pages
important
use
should
consider
a
be
good
with
content
image
layout
can
of
accompanied
your
for
the
reader.
irrelevant
and
an
by
be
a
good
way
illustration
some
how
Use
a
good
embellishments.
in
of
you
place
breaking
the
explanation,
balance
Using
place
as
images
of
well
and
of
visuals
coloured
up
copious
as
text
information,
any
amounts
necessary
text.
Section 4
89
T H E
P R O C E S S
P O R T F O L I O
L TA
Using subject-specic language
Self-management skills:
Every
eld
of
human
endeavour
has
its
own
vocabulary
or
jargon.
This
organization
is
sometimes
describe
referred
to
as
metalanguage
–
language
that
is
used
to
language.
Review some pages that you
have completed in your visual
ar ts journal. What can you see
that would be good evidence
of your ar t-making practice
and could be included in the
Within
the
visual
arts,
when
refer
to
the
fundamental
such
as
the
elements
to
when
and
we
value,
engage
that
and
principles
and
discuss
consider
or
we
aspects
principles
like
critically
work
of
design.
elements
rhythm,
with
together
This
like
variety,
artworks
to
is
make
what
colour,
balance
we
line,
and
an
we
might
artwork
are
referring
shape,
texture
emphasis.
process por tfolio? What is
We
use
a
range
of
nouns
to
associate
artists
and
artworks
to
particular
missing? What could you add to
styles,
schools
and
movements
in
art
history
such
as
Realism,
a page to make your processes
Impressionism,
Cubism
and
Pop.
We
also
use
a
range
of
terminology
that
or intent clearer to an examiner
describes
particular
conventions,
techniques
and
processes
encompassed
who knows nothing about you
within
the
various
forms
of
art-making
that
artists
engage
in.
or your ar t-making practice?
All
of
these
embrace
aspects
and
seriously.
use
As
form
a
uently
you
begin
rich
as
subject-specic
you
working
begin
in
a
to
take
new
language
your
form,
that
you
art-making
make
a
should
practice
vocabulary
Key terms
list
of
all
the
new
Intent: refers to authorial intent
independent
or, in other words, what the
visual
ar tist hopes to accomplish,
and
arts
terms
research.
journal,
include
a
it
you
are
When
is
a
taught
you
good
use
idea
to
or
come
across
the
terms
for
highlight
or
in
the
your
rst
own
time
underline
the
in
your
term
denition.
achieve or communicate
When
describing
your
art-making,
get
into
the
habit
of
using
hue
colour
through a work of ar t. An intent
names
to
describe
your
use
of
colour.
can be specic, concrete and
literal or open-ended and
abstract.
For
example:
white
This
for
is
make
Also
“Here
base
better
a
skin
use
white
my
ultramarine
have
than:
used
India
red
and
raw
sienna
with
titanium
tone.”
“I
used
a
red-brown
and
brown-orange
with
white
to
colour.”
technical
mixed
I
skin
with
blue
terms
a
to
small
paint
describe
amount
in
the
your
of
process:
Naples
foreground
“I
yellow
to
scumbled
over
emphasize
the
the
some
titanium
thickly
impasted
texture.”
Assembling your process portfolio
The
IB
your
does
students
to
not
process
will
assemble
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their
consideration
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for
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arts
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logical
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propose
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shows
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students
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portfolio
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mathematical
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contents
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the
art-making
Secondly,
90
at
columns
selection
be
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on
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The
process
selection
art-making
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students
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with
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criteria
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When compiling your process
students
por tfolio, your visual ar ts teacher
submit
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resources. Your teacher can give
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feedback is most useful as it can
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candidate,
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you feedback on a single draft
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from.
highlight any criteria that have not
type
been addressed or where more
When
clarication is required such as
identifying
images
that
are
your
own
work,
labels
such
as
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own
annotations or additional visual
photograph”
or
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artwork”
work
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title
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work,
evidence.
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notes,
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A,
likely
the
best
note
more
you
select
attempt
sticky
narrowing
criterion
expected
content.
your
process
the
of
be
that
sticky
essentially
address
a
your
each
pages
visual
also
Given
on
each
maximum
through
start
are
to
is
criteria
for
to
assessment
the
time
focus
should
coloured
give
is
35%
screen
select
can
or
likely
a
work
portfolio.
against
content
just
page
into
is
it
to
available
it
the
language
going
marks
will
criterion
selected
assembled
as
Now
include
to
process
are
different
pages
guide,
basics,
coloured
address
artwork
criterion
E,
of
assessed.
the
one
notes,
screens
12
20%
notes
and
size
the
are
of
corresponding
best
sticky
that
and
four
than
uncommon
Once
C
by
we
screen
criteria.
sticky
more
the
B,
in
achievement
criterion
40%
the
being
subject-specic
maximum
discount
around
be
the
a
put
screens,
your
worth
is
covered
to
demonstrate
is
and
work
PDF
or
scanned
document.
Some
and
scanners
Section 4
91
T H E
P R O C E S S
P O R T F O L I O
have
a
then
be
function
Acrobat
those
that
assembled
Pro.
Such
created
by
will
into
scan
the
programs
a
digital
images
desired
will
directly
order
also
camera,
take
and
to
using
PDF
les.
software
separate
combine
jpeg
them
These
such
les,
into
a
as
can
Adobe
such
single
as
PDF
document.
Review
and
every
that
ensure
the
that
the
clarication
more
The
last
be
or
on
review
Suitable
ensure
is
to
the
your
as
the
This
to
evidence
is
you
in
sides
add
or
Also,
logical
can
of
a
and
edges
have
proofread
coherent.
additional
document.
way
should
maximum
work
no
text
le
Most
of
20
sure
before
the
(per
you
You
of
from
a
particular
form
4–7
screens
will
feel
to
to
further
include
upload
give
total
to
nevertheless,
always
it.
Recommended
number
–
two
the
the
adversely
total
two
you
on
sufciently
without
(per
of
HL
artwork
of
from
two
5–10
screens
for
minimum
work
columns)
into
you
viewing
SL
artwork
forms
for
should,
screens
for
minimum
research
cropped
document
boxes
document
Recommended
of
it
megabytes
document.
total
or
If
programs
optimizes
compress
size
your
be
that
number
Technical
been
the
needed.
le
quality
that
appropriate.
order
save
the
screen.
the
is
required,
save
under
affecting
Criterion
is
step
to
to
screen
information
option
web
page
exposure
–
three
at
least
columns)
screens
medium
(2–3
Experimentation
Evidence
of
with
screens
per
work)
(2–3
screens
per
work)
media
considered
and
purposeful
A
manipulation
of
Evaluation
the
media
for
of
the
Justication
Critical
styles,
media
to
the
and
of
the
outcome
media
investigations
artworks
intentions
appropriateness
intended
of
suit
of
used
other
2–4
artists,
screens
(1–2
Annotated
Critical
copies
to
Art-making
imagery,
artist
or
their
Section 4
or
copies
artworks
gallery
using
technique
of
works
written
between
own
Comparisons
of
and
experiments
artist;
connections
92
artists’
of
visits
the
a
particular
style
particular
work
museum
style
Producing
and
other
analysis
Responses
B
of
an
“after”
a
reections
on
investigated
the
artist
work
of
artists
own
that
total
3–5
screens
total
artifacts
art-making
have
been
with
the
investigated
screens
per
work)
(1–2
screens
per
work)
S E C T I O N
Concept
maps
Annotated
visual
arts
of
ideas
and
brainstorming
2–4
themes
pages
screens
(1–2
from
total
screens
per
3–5
work)
4
screens
(1–2
total
screens
per
work)
journal
Statement
of
artistic
intent;
planning
of
C
imagery
how
the
with
annotations
meaning
might
be
considering
conveyed
through
work
Preliminary
drawing,
thumbnails,
designs
Various
trials
of
arrangements
sketching,
2–4
compositional
with
screens
(1–2
Reworking
imagery
techniques
or
Mediating
3–5
screens
total
employing
screens
per
work)
(1–2
screens
screens
Maximum
per
work)
different
media
original
alternative
total
annotations
outcomes
choices
in
forms,
through
media
and
materials
D
Reections
and
throughout
the
resulting
changes
or
in
technique
Examples
levels
of
of
evaluations
progress
and
artworks
on
own
made
a
work,
direction,
reasons
resolution
Reection
in
of
given
with
imagery
for
this
developing
evident
development
as
an
artist
Maximum
of
18
of
25
screens
L TA
Thinking skills: Higher order thinking
There are an enormous range of models and routines that can be used to critically analyse a work of art. Among these, Edmund
Burke Feldman’s critical analysis model from Varieties of Visual Experience (1987) has been successfully used by high school
students for over 30 years. The following routine of questions adapts Feldman’s model to suit the purposes of the process portfolio:
Describe What is the form? (painting, sculpture, mural, advertisement).
What is the format? (scroll, easel painting, magazine image).
What is the medium? (charcoal, acrylic, oils, etching).
What is the subject matter? (Non-objective or gurative, ie: landscape, portrait, nude, still life etc.)
Is there a narrative? Does the image tell a story?
What culture? (European, ancient, modernist, postmodernist, tribal, Chinese).
Analyse How have the elements of design (line, colour, tonal value, texture, shape etc) been used ?
How have the principles of design (rhythm, balance, focal point, emphasis etc) been used?
What techniques and methods (conventional or non-conventional, direct or indirect) have been used?
What is the style of representation (impressionistic, expressionistic, abstract, simplied, stylized etc)?
Interpret Does the work evoke a mood or emotion? What is the mood or emotion and how is it created?
Identify and interpret any signs, symbols or codes that are used in the work to convey meaning?
If the work has a narrative, explain how the story is conveyed. Does it have an allegorical signicance?
Relevance What relevance or what connections can you make to your own work?
Section 4
93
The exhibition
5
What is the exhibition?
It’s
time
now
culmination
well
So,
as
is
an
artwork
art
areas
for
arts).
will
to
through
considered
arts,
you
explain
a
the
will
how
an
own
In
and
works
work
your
in
event
that
that
it
is
exhibition
created
all
arts
is
is
the
a
practical
celebration
traditionally
is
a
during
three
you
and
and
arts
have
purpose,
the
and
(visual
a
collection
the
course
as
space
of
and
arts
in
the
you
for
context).
and
With
how
best
you
in
should
your
also
have
creating
your
artworks
will
also
communicating
works
core
communicating
considered
for
You
visual
exhibitions
selecting
As
resolved
connected.
the
and
intentions
evaluation,
“exhibition”.
present
to
ideas
will
of
methods
responses
artworks
are
event
terms,
Your
have
visual
reection
of
an
general
art.
you
methods,
of
select
course,
formulate
meaning
nature
the
to
the
audience.
reect
you
arts
process
art
context,
your
visual
to
example,
communicates
of the paint in the tube or tub is often
not the best (or most appropriate)
will
the
to
exhibition.
encounters
in
enable
displaying
variation in paint. The original colour
colour, and paint–mixing will enable
For
arts
the
exhibition?
display
arts
attention
visual
from
exhibited
visited
art
art
selected
(visual
regard
Tessa is experimenting with tonal
your
your
statement:
an
visual
and
turn
audience
assembled
The
of
visual
what
where
to
have
visual
exhibition
be
and
discussing
you to nd a colour that is more
how
artistic
judgments
impact
the
overall
presentation.
At
HL
you
relevant to your intentions.
also
be
These three exhibition views demonstrate some of
the approaches taken by dierent students, with
examples of work displayed on walls and panels,
easels and tables.
94
Section 5
explaining
the
impact
of
your
art
on
different
audiences.
will
S E C T I O N
5
Assessment
Unlike
most
art
components
assessed
and
internal
sample
exhibitions,
the
DP
component.
exhibition
arts
of
of
provided
your
and
arts
means
this
assessment
students
by
This
submit
yours
visual
mark
will
that
(out
moderators
may
teacher
not
assessed
The
your
of
to
the
review
the
match
as
one
exhibition
teacher
30)
will
moderate
does
be
course.
mark
the
will
IB.
the
if
of
visual
submitted
feel
of
three
internally
your
team
les
quality
the
the
mark
A
they
of
is
the
that
for
the
work
a
mark
itself.
Starting points
To
begin
good
with
starting
exhibition
we
will
point
artwork
journal
is
an
journal
are
consider
would
will
essential
illustrated
be
evolve:
part
of
some
to
exhibition
consider
the
your
the
visual
arts
creative
starting
place
points,
where
journal.
process,
ideas
The
and
and
for
visual
some
one
your
arts
uses
of
the
here.
Coralie has made a straight forward
visual study of her trainers.
Tessa’s approach to the idea of
self-portrait
involves looking at a collection of objects that have particular relevance to the student.
Section 5
95
T H E
E X H I B I T I O N
The impor tance of process and the journal
Key terms
Throughout
Resolved: generally “resolved”
means that an artwork is
everything
be
the
will
course
be
documented
in
you
will
plan
successful
or
the
arts
visual
and
create
resolved,
but
different
much
of
artworks.
this
Not
process
will
journal.
complete and/or nished.
Some
parts
of
this
process
will
be
submitted
at
the
end
of
the
course
in
However, it is not a simple idea.
the
process
portfolio
while
other
parts
will
lead
to
outcomes
that
will
be
Sometimes an artist will say that
selected
for
inclusion
in
your
exhibition.
You
will
explore
a
number
of
their artwork is complete when
techniques
as
not
show
you
develop
ideas
and
artworks,
but
your
exhibition
does
it still looks unnished to an
have
to
more
than
one
technique
(although
it
can
if
you
wish).
audience. Ultimately the question
Bear
in
mind
that
any
images
of
resolved
artwork
submitted
for
your
any
time
of how resolved your work is
exhibition
should
not
also
appear
in
the
process
portfolio.
could come down to a discussion
with your teacher and peers.
The
starting
throughout
to
TOK
lead
point
that
to
of
points
the
resolved
a
great
come
to
for
two
the
years
nal
artworks
of
pieces.
exhibition
you,
the
using
But
artwork,
your
you
show
course,
visual
and
may
may
almost
any
so
should
you
arts
occur
not
idea
journal
can
jot
to
at
initially
be
the
down
record
seem
likely
starting
any
ideas
ideas.
Questions related to TOK that
a visual ar ts student might
consider include the following.
It
important
because
of
•
is
the
some
to
of
resolved
refer
your
to
stage
as
an
explorations
of
process
artwork
this
that
represents
art-making
the
will
nal
starting
lead
stage
to
of
point,
the
the
creation
creative
To what extent is ar tistic
process.
knowledge something which
•
cannot be expressed in any
Processes
other way?
assigned
Are ways of knowing
employed in radically
will
by
be
explored
your
important
that
directions
to
teacher,
you
in
different
others
discuss
your
in
contexts,
response
ideas
with
to
for
example,
your
your
own
teacher
some
ideas.
and
It
is
identify
follow.
dierent ways in the ar ts
It’s
also
important
that
you
understand
the
link
between
process
and
than in other areas of
nal
outcomes
(resolved
work).
Process
by
its
nature
tends
to
be
knowledge?
exploratory
•
To what extent does
linked
to
and
the
experimental,
success
(or
but
the
otherwise)
of
learning
the
that
resolved
occurs
is
closely
work.
imagination play a special
It
is
also
important
that
you
review
your
output
throughout
the
course,
role in the visual ar ts?
and
•
identify
ways
to
improve
your
collection
of
work.
You
need
to
What moral responsibilities
evaluate
and
critique
your
explorations
and
the
outcomes.
do ar tists have?
How can the subjective
viewpoint of an individual
L TA
•
Self-management skills
contribute to knowledge in
Ar t may be the most time-intensive of all courses, so time management will
the ar ts?
be one of the most impor tant skills you develop.
•
What are the standards by
Time is needed for you to acquire the knowledge, skills and understanding to
which we judge ar tworks?
make the works. Also allow time to review and monitor progress.
•
Why might we be more
If you decide to create a large-scale or complex piece of ar t, make sure you
concerned with process
allow yourself enough time!
rather than product in the
search for knowledge?
•
Do the ar ts have a social
function?
•
To what extent is truth
dierent in the ar ts,
mathematics and ethics?
From Visual ar ts guide, page 8
96
Section 5
S E C T I O N
5
These two
journal pages
show Charlotte
star ting to plan
a self-por trait.
Her two pages
combine
some relevant
drawings
with a written
explanation/
comment.
Section 5
97
T H E
E X H I B I T I O N
Visiting exhibitions and ar t galleries
In
the
and
art
section
on
museums
exhibitions
You
will
course,
course
be
so
to
the
to
as
part
putting
you
see
comparative
study
work
of
on
should
a
your
of
study
other
we
of
your
advantage
how
other
looked
artists.
preparation
display
take
examples
of
It
for
is
your
artwork
of
any
at
also
visiting
vital
own
towards
art
is
you
visit
exhibition.
the
opportunities
people’s
galleries
that
end
of
during
the
the
displayed.
Exhibitions: layout and display
As
we
your
have
journal
and
a
already
experiences
to
to
record
the
greater
at
seen,
your
gallery
your
journal
exhibitions
you
responses
experience
understanding
of
to
itself.
the
is
have
the
All
issues
the
art
of
ideal
visited.
place
You
encountered
this
when
will
you
to
in
enable
put
document
should
on
use
the
you
your
the
gallery
to
have
own
exhibition.
The
images
London
here
It’s vital that you as a student visit as many examples of
dierent art exhibitions as possible. This is partly because
you
will be assembling and presenting an exhibition of your
own work, and the more experience you have of dierent
approaches to layout, lighting, the impact of size and scale,
considerations of media (including 3-D and digital/lens-based
art) when art is displayed etc., the better. It’s also important
that you see
real
art, rather than (for
images on a monitor screen.
98
Section 5
show
galleries.
example) just seeing
views
of
how
artworks
are
arranged
in
two
S E C T I O N
Of
course,
most
schools
do
have
the
wall
whatever
not
the
space
space
and
lighting
of
5
major
Key terms
metropolitan
school,
it
galleries,
can
still
be
but
extremely
valuable
to
and
visit
light
available
exhibitions
and
in
your
evaluate
Curatorial documentation:
these
aspects
as
well
as
the
artworks
on
display.
text explaining how and why
Similarly,
available
impact.
Are
the
has
layout
an
Look
some
at
and
impact,
how
layouts
arrangement
and
rearranging
artworks
better
of
than
are
artworks
the
displayed
others?
within
display
when
the
might
you
change
visit
the works were selected and
space
displayed in the gallery or
this
exhibitions.
Why?
exhibition space.
Curatorial rationale: at SL this
explains the intentions of the
Think
about
“clusters”
of
artworks
–
it
can
make
sense
to
group
pieces
student and how they have
with
a
similar
style
or
theme
together.
considered the presentation
What
about
any
sculptural
pieces
that
you
encounter?
Can
they
be
of work using curatorial
viewed
in
the
round?
If
you
are
looking
at
a
three-dimensional
artwork,
methodologies. At HL this
examine
the
way
space
is
used.
Is
there
a
particular
viewpoint
that
shows consideration of the
allows
the
viewer
to
best
appreciate
size
and
scale
the
sculptural
qualities?
potential relationship between
Think
no
about
the
restrictions
and
art
on
presentation
obviously
make
it
has
difcult
this
work?
Are
there
size
of
in
the
work
impact
to
your
work
but
to
of
the
artworks
exhibition.
can
help
there
this
Consider
convey
may
scale.
encountered.
be
But
its
how
message.
practical
could
the
There
scale,
media
show
a
lm
that
clip
Refer to relevant sections of the
guide for fur ther detail.
Large-scale
considerations
you
the ar tworks and the viewer.
are
Exhibition tex ts: students are
of
required to include exhibition
text for each piece submitted
for assessment. This outlines
digital
works
being
shown?
What
technology
is
used
and
what
the title, medium, size and
technology
is
available
to
All
experiences
you?
intention of each piece. Where
of
these
with
and
questions
about
art
exhibited
in
real
students are deliberately
galleries
will
provide
you
with
ideas
for
your
own
exhibition
planning.
appropriating another ar tist’s
image, the exhibition text must
Exhibition documents
acknowledge the source of
Also
review
any
available
exhibition
documentation,
including
artists’
the original image. The text
statements
and
the
text
boxes
that
frequently
accompany
artworks
on
should contain reference to any
gallery
walls.
There
may
also
be
curatorial
documentation
sources which have inuenced
Note:
A
curatorial
required
them
in
elements
more
rationale
when
detail
a
you
little
and
put
later
a
on
in
series
your
this
of
exhibition
nal
show,
and
texts
we
the individual piece.
are
will
look
at
chapter.
Ideas
TOK
In
addition
the
to
artworks
the
that
gallery
you
“experience”,
encounter
at
the
consider
gallery.
the
ideas
Consider
contained
the
in
•
Where do ideas come from?
•
Where do your ideas come
following
questions.
from?
●
What
●
Why
is
the
artist
saying
with
his/her
art?
One answer might be
are
these
things
important?
“everywhere”, and your
●
Are
●
What
there
things
that
you
want
to
say
with
your
art?
exhibition does not have to be
“about” anything in par ticular,
inspires
you?
It
may
be
something
unexpected,
for
example,
although in assessment
surface
texture.
terms it should be coherent,
competent and contain
conceptual qualities.
Section 5
99
T H E
E X H I B I T I O N
Developing ideas and intentions
Tip
“Showing
your
art
in
an
exhibition
is
a
little
like
taking
your
clothes
off
in
Audience/viewer experience
public!”
You are part of the audience
You
may
or
that
your
may
not
agree
with
this
quote,
but
the
idea
underlying
it
is
when you visit an art show and
art
tells
your
audience
your
identity,
something
about
you.
It
may
reveal
or
will therefore have an audience
express
aspects
of
your
personality,
your
passions
or
your
or viewer experience. When you
fears.
Whether
you
based
on
they
like
it
or
not,
your
audience
will
form
some
opinions
put on your show, others will be
what
see.
your audience and an important
part of planning your show is to
consider your audience. While
in the gallery, reect on what
works and what does not work.
Of
course,
that
you
envisage
with
you
can
and
show,
but
responses
exactly
your
what
will
the
inuence
to
art
their
are
audience
opinions
subjective,
will
take
through
so
away
it
is
from
the
art
impossible
their
to
encounters
artwork.
Ask others to describe their
response to the ar twork and
the experience, and review their
comments.
Let your ideas evolve
It
would
be
exhibition
However,
a
little
from
you
restrictive
the
start.
should
to
You
always
have
need
have
a
to
xed
be
your
and
open
nal
to
idea
ideas
exhibition
in
about
and
your
inuences.
mind
as
you
go
This type of experience can
through
the
learning
and
art-making
activities
and
exercises
suggested
or
give you ideas about the
provided
by
your
teacher.
arrangement and layout of your
show (although of course it is
unlikely that you will have use
of a large public gallery).
Schools
arts,
and
and
single
be
art
teachers
guiding
route
Towards
will
in
to
the
art
creating
a
end
of
the
displayed
in
your
generated
throughout
on,
towards
others
adopt
great
course
range
you
of
will
and
course.
end
of
towards
approaches
success
to
there
teaching
is
visual
certainly
no
exhibition.
show,
the
the
a
students
be
these
Some
the
rst
selecting
artworks
may
year,
have
and
the
artworks
will
have
been
still
created
others
that
been
in
early
the
second
year.
Ideally
your
you
mind
during
will
have
while
the
some
you
course.
There
represent
something
particular
techniques
You
do
not
need
look
at
this
more
understand
elements.
can
that
to
have
closely
your
contain
a
range
be
want
that
you
a
a
later
exhibition
of
say
are
not
ideas,
your
(ideas,
ideas
to
specic
in
does
about
process
may
you
Coherence
ideas
explore
that
in
exhibition
you
your
work
in.
theme
your
for
can
but
contain
mean
a
it’s
themes
or
on
back
or
of
your
they
there
exhibition.
and
of
media)
because
important
diversity
repetition,
the
and
exhibition,
interested
section,
at
techniques
We
may
be
will
to
ideas
and
exhibition
concepts.
Intentions
The
Visual
that
is,
The
exhibition
could
your
But
also
art
what
Section 5
guide
you
take
and
if
should
to
you
number
of
an
or
your
of
references
accomplish
personal
audience
to
your
through
intentions.
response,
that
intentions,
your
These
is,
the
artwork.
intentions
impact
of
intentions.
just
displaying
“artistic
intentions”
the
a
achieve
reect
account
your
for
makes
hope
beyond
intentions
100
arts
what
enjoy
your
at
making
work
rst,
or
exhibition.
at
art
the
you
and
end
may
have
of
not
the
no
specic
course?
have
a
You
clear
intentions
may
idea
have
about
no
your
S E C T I O N
This
is
not
necessarily
throughout
intentions
to
evolve
develop
the
from
and
a
course.
the
very
develop
further
problem:
In
as
some
start.
the
your
ways
It
is
you
visit
year
you
could
can
usually
course
as
intentions
it
be
a
better
progresses.
exhibitions
that
can
develop
hindrance
to
allow
Your
show
to
and
work
of
xed
ideas
intentions
the
evolve
have
your
5
may
other
artists.
In
the
second
choice
of
media
theme/choice
Your
You
visual
will
work
These
if
on
these
arts
ideas
journal
in
The
visual
the
layout
the
in)
qualities
subject
to
and
describe
visual
as
you
lead
on
arts
your
will
enter
artworks?
that
be
and
from?
How
your
different
rationale
also
could
you
development
intentions
exhibition
This
include
plan
to
the
employ,
or
a
of
artistic
your
ideas
intentions
and
as
art.
you
journal.
work
curatorial
journal
the
explore
to
focus.
matter.
key
your
audience
between
or
do
your
a
formal
is
notes
arts
of
identify
use,
explain
the
evolve
written
will
imagery
intentions
explained
will
of
probably
may
your
you
directions
shown
will
also
and/or
useful
in
when
and
your
techniques,
exhibition,
probably
the
arrangement
What
should
is
inform
exhibition
you
start
to
(and
think
your
artworks.
relationships
need
to
be
be
be
texts.
of
they
but
then
about
Where
established
placed?
Ideas and Intentions: the extravagant hat by
Allegra (opposite) and the ‘raindrops’ painting
by Coralie are both examples of nal pieces
that ended up being very dierent from
their starting points. Letting ideas evolve
frequently allows time for creative diversions
and experiments that ultimately lead to a far
stronger resolution that sticking to the ‘rst
idea’.
Section 5
101
T H E
E X H I B I T I O N
These photographs provide a glimpse of the variety of ideas and processes that students might explore in their creative visual arts
journey. Although all these are resolved, the route each student took to reach this ‘destination’ was frequently long involving many
experiments, some creative accidents and sustained exploration.
102
Section 5
S E C T I O N
5
Tip
When planning your exhibition, think about how you will communicate the meaning and purpose of your ar tworks.
•
How do other ar tists communicate meaning and purpose?
•
Can ar t have no meaning?
•
Can ar t have no purpose?
•
What is the meaning and purpose of your ar t?
•
Is this understood by your audience?
The way ar t communicates is complex, and is fur ther complicated by the fact that your audience consists of
individuals who may each take away something dierent when they see your ar t.
There may be a gap between your ar tistic intentions and what the audience perceives. This is not necessarily a
bad thing: in some ways it is inevitable, and it may be that your ar t is complex and mysterious. In any case, it is not
unusual for ar tists and their work to be sometimes misunderstood by their audience.
There is a case to be made for ar t that is subtle and might take time to decipher, with communication that is subtle
and even subliminal, or even ar t that is impenetrable and open to dierent interpretations. At the other ex treme,
some ar tworks are obvious and predictable: their meaning is immediate and over t. In eect they “shout”.
You need to consider not just the meaning and purpose of your ar t but also ways it might be interpreted. However,
this does not mean that you can ignore your audience!
The journey
The
be
idea
more
and
a
change,
Ideas
about
making
you
of
like
think
It
may
to
say
your
and
your
at
be
work
to
exhibition
throughout
about
that
with
linking
various
through
sometimes
journey,
process
make
least
theme
a
the
early
your
relates
times
nal
on
to.
Or
other
will
the
the
the
your
part
occur
Your
while
have
idea,
exhibition
to
so
it
content
you
an
of
but
have
a
that
you
is
theme
of
can
evolution
journey.
during
will
makes
vision
art-
for
art
you
that
to
at
generated.
of
what
theme
depict
the
include
sense
being
overarching
might
the
evidence
exhibition
course,
course
you
static
as
probably
course.
during
so
a
providing
ideas
collection
in
art,
implies
artworks
your
you
that
all
visual
want
of
arts
journey.
The City is Transparent
consists of transparent
acrylic sheets and was the result of numerous
attempts to capture the experience of walking
through a city, looking up towards the sky and
being surrounded by buildings. In the exhibition
text the student wrote
I created a 3-D sculpture
that took into account the original geometric
elements that combine together to make up a
building and convey the idea of transparency and
density within an architectural landscape. The
hanging sculpture allowed me to explore space.
By shining a light at it, dierent perspectives were
created and further enhanced the idea of people
interacting within a city.
Section 5
103
T H E
E X H I B I T I O N
Developing skills and considering art-making
forms
The
development
with
of
the
course,
poorly
but
depict
also
is
idea
your
one
criteria
It
in
competence
ideas
become
of
the
the
to
skill
for
idea
more
difcult
that
they
of
competence
imaginative
is
technical
and
and
intentions.
compromised
if
skills
Ideas
they
goes
are
are
hand
in
hand
important,
badly
realized
or
depicted.
Technical
to
of
development
an
it
is
important.
artwork,
is
unlikely
exhibition
detail
later
separate
relates
but
to
You
may
have
an
you
have
the
unless
be
successful.
assessment
criteria
incredibly
skills
Technical
(we
will
required
competence
look
at
these
on).
any
discussion
of
skill
from
the
art-making
form
to.
No restrictions in media/techniques
You
may
course,
develop
but
including
a
seen,
is
this
for
the
for
you
For
the
a
and
your
you
to
ways
more
and
order
to
the
process
that
you
can
in
but
not
to
a
a
it
is
techniques
art-making
the
worry
–
as
not
medium
high
about
we
have
required
that
works
level.
feature
communicate
the
during
do
techniques
choose
skills
few)
effectively
skill
and
portfolio,
your
(or
forms
exhibition,
processes
many
to
art-making
your
develop
show
is
it
journal,
(using
you
for
something
decisions
and
may
and
well
develop
your
in
your
ideas
processes
skills
and
refer
or
will
so
to
and
used
one
of
in
and
it
in
conceptual
the
places
art-making
skills
when
or
may
is
be
and
true
still
that
chosen
element).
where
forms
of
the
determine
you
realistically
exploring
of
competence
also
competence
although
one
stronger
this
may
degree
is
technical
others,
a
some
this
become
(although
skills,
on)
outside
three
work
you
are
the
dimensions
video.
learning
express
be
will
example,
skills
have
because
technical
be
developing
metal
what
of
for
you
acquire
you
than
exhibit
developing
translate
about
to
and
that
techniques
terms
that
mistakes,
develop
is
qualities,
example,
Observational
make
likely
in
your
wood,
important
will
choose
strong
journal
explore
is
It
some
other
arts
clay,
You
in
document
to
it
and
course.
not
has
visual
skills
learn.
the
that
that
and
likely
this
and
knowing
visually.
emphasized,
how
Selecting
minimized
or
to
look
and
at
making
distorted
is
also
skill.
There
can
is
almost
work
briey
with
no
and
considering
implications
Section 5
in
need
successful
because
104
in
of
for
forms,
however
experiment
to
pieces
work
a
of
means
work,
artwork
throughout
on
This
variety
work
requirement
developing
freedom
The
a
exhibition.
When
the
variety
exhibition,
intentions,
best
wide
in
selecting
exhibition.
exhibition
your
skills
when
of
limit
in
terms
present
three
working
in
areas:
with
of
your
the
media
nal
collective
lm.
and
show,
but
pieces,
processes
it
may
be
that
you
worth
collaborative
art
and
the
S E C T I O N
5
Collective pieces
Key terms
You
to
may
have
decide
whether
of
some
whether
you
The
decision
have.
For
sense
to
do
this,
You
it
the
may
must
be
in
also
viewed
work
be
you
for
can
by
how
than
of
work
how
not
of
single
be
a
group.
named
A
a
one
pieces
you
diptych
title
of
it
or
It
is
Triptych: a work consisting of
or
any
sort
already
If
in
you
the
Polyptych: a work consisting of
panels that are normally hinged
Diptych: a work consisting of
number
of
two panels, painted or carved,
purposes.
Will
and hinged together.
together.
the
important
maximum
three panels usually painted
four or more painted (or carved)
make
triptych.
work
need
artwork.
might
the
(polyptych).
the
(or
as
artworks
will
artwork,
considered
the
You
triptych
resolved
exceed
grouping
examiner.
as
pieces.
11
into
part
do
a
many
as
Title
you
as
certainly
artworks
assessment
an
best
together
separate
more
stated
that
consider
by
works
have
brackets:
so
work
remain
affected
if
that
matter)
clearly
clear
permitted
to
associated
be
text
this
should
when
that
combine
make
pieces
for
group
them
example,
exhibition
to
the
want
polyptych
artworks
and hinged together.
works
will
details
be
affect
clear
the
size
enough
of
or
them
will
compromised?
Collaborative and group work
You
the
might
work
course,
There
can
principle
and
be
class
and
it
achieved
collaborative
terms
It
is
as
it
may
want
in
work
to
a
learning
assessment
be
that
you
your
valid
artwork
and
of
during
exhibition.
Collaboration
exists
student-directed
are
ideas
well
an
criteria.
what
any
not
course.
potential
clear
discuss
this
how
presents
absolutely
that
in
exchange
in
assessment
and
is
students
demonstrate
projects
“shared”
in
work
and
as
visual
a
arts
through
techniques,
shared.
noted
the
this
individual
be
must
a
collaboratively.
cooperative
are
make
include
for
against
important
to
to
working
complete
is
equipment
must
students
approach
there
assessment
has
an
should
collaborative
other
value
students
and
However,
for
as
critiques,
space
you
great
and
art-making:
with
encouraged
Work
individual
This
can
be
difculties
you
did
collaborative
to
submit
submitted
student
unclear
in
in
assessment
personally.
work
with
your
teacher
‘The Windmill’ is a photographic ‘joiner ’
to
ensure
be
made.
that
if
the
work
is
submitted,
accurate
and
fair
assessments
can
inspired by the photography of David
Hockey. Ana was interested in the
potential of assembling and arranging
Working with lm
many photographs that showed
Film
is
an
exciting
and
still
relatively
new
creative
medium,
and
is
an
the same scene, and created seven
increasingly
popular
choice
as
part
of
submitted
assessment
materials.
or eight preparatory joiners before
If
you
are
considering
making
a
lm
or
animation,
make
sure
that
it
going to the Netherlands to take a
succeeds
arts
so
in
purely
sound
in
visual
any
terms.
lms
Remember
submitted
will
that
not
be
the
course
is
in
visual
set of photographs of her windmill.
assessed.
Ana writes, ‘The joiners represent
the movement our eyes make when
The
Visual
arts
guide
states:
exploring a new environment. The
“Please
must
note
have
clothing
that
been
any
work
made
designed
as
or
part
selected
for
constructed
of
a
by
student’s
nal
the
assessment
student.
study
of
in
For
fashion
the
visual
example,
or
a
a
piece
arts
piece
of
course
joiner shows the windmill from
dierent angles and positions in order
of
to capture detail and to actually show
jewelry
the viewer much more than a single
cannot
be
presented
for
assessment
in
realized
form
if
the
student
did
not
create
it
photograph could. Joiners also explore
themselves.
The
same
principle
must
be
applied
to
the
use
of
additional
elements
time.’
used
any
to
create
audio
music
or
citations
an
atmosphere
component
sound
effects,
provided
or
will
for
have
or
not
a
be
specic
assessed
instance,
been
experience
they
created
in
this
must
by
Diploma
the
be
for
visual
an
audience
course).
copyright
free
If
(even
the
with
though
student
uses
appropriate
student”.
Programme
Visual
arts
guide,
page
11
Section 5
105
T H E
E X H I B I T I O N
Themes, ideas and concepts
Are
In
there
this
particular
section
explored
exhibition.
of
thing
They
you
through
The
that
are
many
for
students
to
but
art-making
nd
purpose
work
in
as
in
all
that
of
in
is
in
these
that
work
to
perfect
these
of
the
is
a
kind
ideas.
course
There
examples
be
the
particular
and
there
tendency
reect
expressed
you?
have
in
illustrate
to
work
can
interest
students
briey
explore.
and
themes
that
presented
response
students
dimensions
of
techniques
themes
these
create
examples
two
of
or
culminating
showing
themes
course
styles
examples
frequently
broad
of
themes,
journal,
presented
other
tendency,
will
the
students
not
are
ideas,
in
that
many
forms.
Responses to work and exhibitions seen
Art
does
one,
not
but
and
the
the
past
be
exist
audience.
20,000
resource
–
in
within
but
a
the
vacuum
and
context
both
Obviously
years,
don’t
so
this
ignore
your
people
is
it!
a
of
art-making
other
have
been
potentially
Student
artists
should
and
making
huge
and
exhibitions
the
artists
past
art
of
ideas
relevant
and
approaches
the
techniques:
that
you
are
as
sense,
part
of
a
of
your
section
of
we
The artworks shown here are
appropriations (sometimes referred
considered
to as homage or transcriptions).
result
in
it
own
is
106
Section 5
A
and
imagery”
will
affected
be
by
and
“complex
communication
of
at
important
of
a
in
a
broader
purpose
culture.
artists
past.
In
in
can
later
the
detail,
lead
understanding
of
in
criteria
“the
the
artistic
signs
such
or
as
to
a
phrases
symbols
intentions”
that
you
informed
that
of
learn
by
other
about
what
artists.
you
art
and
learn.
Artists
it
is
natural
Consider
often
build
that
(referred
that
how
on
a
and
a
consider
art
In
continuation
criteria
looking
others
materials
the
with
the
art.
better
imagery,
stated
is
of
to
C).
important
art
others.
of
effective
criteria
So
is
in
use
art
will
assessment
but
of
is
of
of
art
dialogue
artworks
it
aware
understanding
nature
inspire
explorations
processes,
and
and
art
but
of
creation
successful
your
artworks
also
the
may
media,
least
the
can
in
daunting
artists
Considering
of
at
reect
and
inform
for
recent
and
centuries
new
occur
artworks,
possibly
often
approaches
not
their
the
your
your
work
work
of
S E C T I O N
5
Themes, ideas and concepts: appropriation and homage.
In the two artworks shown here, you can see a student
starting to use art icons as part of her own artistic
development, with some expressive reinterpretations of
well-known paintings by Botticelli and Vermeer.
Key terms
Appropriation: when an image
or an idea is taken from its
original context to be recycled
by an ar tist in order to create
new meanings, or to subver t its
conventional meaning.
You
could
contexts
consider
this
frequently
different
art,
is
using
artistic
conceptual
“Postmodernism
the
notion
that
everything
and
is
for
earlier
and
art
was
best
way
championed
of
of
of
our
and
layers
of
and
and
experience
simplicity;
and
art
is
and
an
ideas:
ironic
media.
or
a
suspicion
more
to
postmodernism
combining
of
or
that
concrete
responding
postmodern
It
abstract
While
embraces
of
challenged
that
individual
than
work
installation
lm.
reason.
truths
reality.
the
include
involving
certainties
advocates
in
approach,
These
particularly
objective
Postmodern
as
conventions
styles
scepticism
understanding
clarity
contradictory
styles
universal
everybody.
postmodern
multimedia,
born
are
new
characterized
popular
and
there
interpretation
the
relatively
sometimes
will
explain
experience
principles
the
complex
and
modernists
and
often
meaning.”
Source:
Tate
website
http://www.tate.org.uk/learn/onlineresources/glossary/p/postmodernism
What
most
the
artworks
work
of
at
through
this
of
process
appear
signs
artistic
documented
in
in
your
from
has
different
your
work
times
been
and
cultures
informed
or
have
been
inuenced
by
artists?
artworks
“imagery,
stated
artists
How
other
Looking
and
or
inuential?
will
help
you
you
will
learn
or
symbols
intentions”
the
journal
with
that
result
(criterion
but
the
the
about
C).
idea
art
in
concept
themes
effective
The
outcomes
of
ideas,
process
because
or
concepts
communication
will
(resolved
normally
artworks)
be
may
exhibition.
Section 5
107
T H E
E X H I B I T I O N
Build
on
skills
acquired
artworks.
How
processes
and
and
it
Simply
your
a
to
the
relationship
the
to
use
in
media
work
why
but
the
of
exploring
process
combining
your
and
of
a
and
art-making?
materials
an
another
more
work
media,
between
Understanding
knowing
of
technique,
responding
relate
through
choosing,
–
to
create
applying
Discuss
what
the
does
it
resolved
media,
application
look
like?
Does
expectations?
copying
learning
you
techniques
manipulation
match
and
are
of
another
processes,
these
artist
artist
useful
media
made
artist.
be
the
work
helpful
may
and
be
far
in
in
terms
questions
of
more
of
assimilating
techniques,
intentions
may
lie
Relevant
materials
and
the
may
element
the
would
and
the
artist.
useful
than
how.
Genres
The
idea
but
these
majority
of
artistic
basic
of
genres
themes
student
art
is
in
some
continue
to
ways
a
feature
rather
in
one
old-fashioned
way
or
one,
another
in
the
exhibitions.
These ar tworks contain multiple depictions of the human form, with some realistic depictions as well as more creative
interpretations.
The human form
The
human
cultures
form
over
the
student
exhibitions.
form
art,
for
in
and
experiments
straightforward
work
108
Section 5
has
that
is
obviously
centuries,
if
There
you
with
are
are
process,
creative
played
a
forms
an
limitless
interested
observation
more
and
a
this
a
focus
conceptual
role
in
important
ways
in
exploring
with
or
huge
to
it
in
in
many
in
many
interpret
could
variety
on
art
part
of
human
a
great
responses,
technical
nature.
the
provide
area
from
competence,
to
S E C T I O N
5
Exploring the human form: in
these four drawings (in felt tip
pens or graphite pencil), Allison
combines experiments in line
and tone with detailed portrait
drawings, working elements
of pattern and abstraction into
each image.
A
great
starting
through
an
the
is
be
class
that
point
external
strong
working
creation
of
In
cultures
some
Please
for
further
to
nal
the
the
be
enough
directly
other
refer
can
a
provider.
to
be
from
may
be
selected
the
model
class,
that
as
the
an
leads
either
work
in
exhibition
to
the
school
or
completed
piece,
during
or
development
it
may
and
artworks.
human
section
discussion
life-drawing
It
of
form,
on
this
particularly
“Sensitive
the
nude,
is
issues/provocative
unacceptable.
art”
(page
117)
theme.
Section 5
109
T H E
E X H I B I T I O N
Working from the nude: students frequently refer to the human form in their work. Sometimes this involves working from the
model. This form of observational drawing is valuable and important, and although it may not be possible to do this in some
cultures, you are encouraged to work from a real human model, clothed or unclothed, wherever possible.
110
Section 5
S E C T I O N
5
Por traits and self-por traits
Both
but
portraits
are
also
traditional,
and
part
of
self-portraits
a
creative,
metaphorical
or
long
or
can
artistic
reective,
link
to
tradition.
and
the
The
might
theme
of
your
treatment
include
can
elements
identity
be
that
are
symbolic.
Section 5
111
T H E
112
E X H I B I T I O N
Section 5
S E C T I O N
5
Landscape/cityscape
Landscape
is
a
traditional
and
fairly
popular
may
want
to
theme
and
often
ties
in
to
The painting ‘Windsor Castle’ was based
concepts
of
identity.
are
and/or
You
record
and
document
where
you
on initial studies and sketches. The
now,
where
you
have
been
previously
(or
even
where
you
two cityscapes used photographs as
would
like
to
go).
This
can
of
course
be
achieved
in
virtually
any
art
a starting point and when working on
medium
more
and
can
traditional
include
lm/photography
art-making
forms.
(lens-based
media)
as
well
as
the artwork combined some of the
architectural ideas of Mies van der Rohe.
Section 5
113
T H E
E X H I B I T I O N
Still-life
Still-life
has
medium.
objects
114
Section 5
It
a
is
long
also
history
not
themselves
just
can
in
art
about
have
and
a
can
be
expressed
collection
meaning
and
of
in
objects
signicance.
virtually
because
any
the
S E C T I O N
5
Narrative and story-telling
Narrative
story
or
evidence
much
were
less
tell
art
as
of
a
of
is
western
based
that
human
in
common
a
art
sequence
story?
tells
of
art
art
before
the
myth,
modern
Your
story,
suggests
religion,
in
a
events
art
either
that
twentieth
it
and
still
a
moment
over
people
history
but
as
unfolding
time.
told
stories
century
So,
an
do
the
earliest
pictures
stories
Obvious
you
ongoing
of
with
depicted
literature.
exists.
in
Some
and
that
narrative
want
your
art
is
to
This painting refers to contemporary
story?
issues and reects a student’s
sociopolitical concerns.
Sociopolitical ideas
Sociopolitical
issues
involve
both
social
and
political
factors
and
can
Tip
include
issues
such
feminism
and
the
rights
of
the
are
inuenced
as
environmental
women’s
conservation
movement,
identity
and
sustainability,
politics,
gender
issues,
It is good practice to
indigenous
people
and
the
impact
of
global
conicts.
All
photograph all your work as
by
both
social
attitudes
and
by
political
policies,
all
can
you go along and keep the
provoke
passionate
debate,
and
all
can
and
do
inspire
artists.
Indeed,
photographs in digital folders.
artists
have
responded
to
issues
for
centuries.
There are a number of reasons
The
image
on
development
series
of
this
of
page
this
drawings
relates
painting
and
ideas
to
the
theme
occurred
about
the
in
of
the
conict.
visual
impact
of
arts
The
planning
journal,
conict.
with
and
a
for this but one is simply as a
precaution: if your ar tworks
get lost or damaged you will
still have a record that could be
submitted if necessary.
Section 5
115
T H E
E X H I B I T I O N
You
of
may
your
issue.
feel
There
importance
visual
by
your
be
does
the
and
art”
you
the
statement
about
impact
outweighs
so
do
not
a
and
or
as
part
certain
perceived
displaces
forget
to
the
refer
to
the
assessed.
contain
about
concerns.
an
may
drought.
and
obvious
message.
environmental
They
or
enough,
the
refer
This
images
to
issues
pollution,
may
and
work,
ideas
but
could
predictable.
your
intentions
criteria
you
aim
in
will
assessment
contain
ideas
can
as
always
and
to
also
for
the
obvious.
so
(page
not
that
should
the
the
that
Sociopolitical
negative,
mean
be
ooding
and
and
if
concerned
assessment
complexity
but
exhibitions
teacher
not
restating
cause
issue
strongly
exhibitions
sustainability,
the
here
exhibited,
those
is
sociopolitical
feel
message
will
are
clichéd
a
you
danger
other)
you
reect
the
if
in
may
mind.
have
put
be
valid
Being
on
a
and
passionate
successful
or
about
even
exhibition.
Conceptually
merely
a
work
message
keep
interesting
subtlety
a
make
artwork
(or
familiar,
although
issue
the
your
artworks
admirable,
an
of
to
sociopolitical
perhaps
having
already
Also,
sometimes
warming,
simply
want
particularly
student
example,
global
you
your
which
Sometimes
and
is
of
qualities
criteria
For
that
exhibition,
You
also
is
of
or
provoke
the
be
do
of
section
not
reward
passionate
your
with
rather
cause
than
about
or
imagery.
reactions,
discuss
on
symbols
justiably
strong
to
sophistication,
and
predictable
important
review
degree
images
may
criteria
familiar
it
some
use
your
“Sensitive
both
ideas
positive
with
and
your
issues/provocative
117).
Culture and identity
Addressing impor tant, contemporary
issues can create moving and
“ ‘Culture’
is
products
and
includes
an
dened
all
as
learned
patterns
of
and
shared
behaviour
beliefs,
created
by
values,
society.
interests,
This
view
attitudes,
of
culture
provocative ar t.
organized
system
production
Culture
global
as
is
and
Culture
which
that
symbols,
humans
dynamic
and
different
subject
can
be
humans
to
seen
as
learn
framework
‘cultural
taught
to
culture.
the
These
organize
to
their
context’,
and
conditions
technological
Section 5
operating
within
include
the
on
in
society.
and
their
many
regional
a
that
overall
their
material
daily
levels
and
in
local,
Culture
which
is
lives.
the
as
well
seen
as
historical,
of
and
the
are
within
appears
visual
political,
and
this
in
arts
inuenced
geographical,
within
emotions
and
specically
tasks
inuence
framework
thoughts,
environment,
assessment
both
course,
by
social
and
factors.”
Diploma
116
manipulate
national,
groups
providing
to
relation
syllabus
and
beliefs
change.
in
refers
create
explanations,
organic,
social
behaviours
the
ideas,
context—international,
among
uid
of
Programme
Visual
arts
guide,
page
9
S E C T I O N
As
you
are
images
the
sense
These
some
following
related
of
ideas
and
the
journey.
in
because
When
hard
arts
strike
may
that
and
play
an
international
form
part
of
programme,
important
and
the
IB
ideas
part
students
art-making
in
and
expressing
have.
process
and
is
in
frequently
your
appear
art
the
may
because
of
starting
be
who
point
inadvertent
you
are
of
this
and
rather
even
than
this.
creating
artworks
between
exhibitions
are
education
can
exhibition.
journal
balance
interpretations:
artworks
often
references
and
a
culture
many
nal
planned
planning
to
images
visual
you
international
own
that
the
Cultural
unintentional,
an
your
identity
appear
Again,
to
5
obvious
the
regularly
and
relating
to
culture
recognizable
include
predictable
a
and
and
number
do
not
it
is
more
of
sometimes
creative
“cultural”
receive
high
marks.
Sensitive issues/provocative art
Art
has
power.
questions.
There
art:
is
beliefs
see
is
to
an
But
no
these
can
this
single
issues
will
be
Art
power
rule
tend
affect
and
for
to
what
shocking.
open
form,
clothed
however,
so
if
discuss
it
engage
with
More
some
the
encounter
you.
In
it’s
not
It
be
that,
as
that
deal
with
ideas
who
see
your
exploration
your
your
of
audience
context
but
An
and
In
this
as
the
visual
arts
to
the
public
or
be
created
be
uploaded
is
perfectly
your
can
for
it
to
be
of
teacher
must
be
will
your
audience.
aware
of
a
to
and
or
what
nude,
not
and
they
with
of
there
schools
the
human
universal,
matter
advise
provocative
values
cultures
images
is
ask
thoughtlessly.
issues
subject
able
you
you
on
should
how
to
manner.
difcult
or
During
controversial
the
(to
some
art
that
creative
topics
that
interest
only
with
important
the
visual
extent)
shocks.
also
be
to
audience,
IB
to
advise
the
in
the
is
the
show
arts
issues
course
surprise
or
However,
on
results
may
be
of
you
live
that
the
artistic
specic
to
and
you
shock
this
challenge
these
is
the
does
of
a
form
being
of
school
sensitive
to
operate.
“exhibition”,
not
in
those
valid
part
and
have
general.
photographs
to
It
of
as
be
will
but
artworks
far
open
should
that
artworks,
“difcult”
version
explore
part
teacher
submitted
potentially
as
and
population
exhibition
ethical
that
art-making
noting
wish
may
your
concerned,
all
you
artworks
scaled-down
your
you
of
school
and
relevant
it
which
worth
This
of
the
approval
aspect
remove
shown.
and
you,
task
should
journey,
provocative
the
culture
available
is
as
be
or
and
the
approach
this
will
of
include
people
person’s
countries
that
your
assessment
the
that
A
acceptable
make
create
celebration
Your
art
to
be
This
in
tackle
of
sensitive
depictions
provocative.
easy
to
make
carelessly
dependent.
sensitive
you
acceptable
a
a
sensitive
may
an
exhibition
still
If
ideas
exhibition
administration.
your
in
used
some
art
They
think,
aim.
part
art.
to
unclothed.
often
is
in
student
examples
should
may
be
consider
interested
artists
ways
constitutes
attitude
topics
be
culturally
teacher.
result
may
some
are
your
generally,
sometimes
and
you
with
what
be
of
people
not
example,
positive
exhibitions
make
must
they
For
supporting
both
shock,
it
when
your
exhibition
at
times
journey.
questions,
codes
of
the
but
IB
and
all
be
you
sensitive
to
Section 5
117
T H E
E X H I B I T I O N
Academic honesty and the artworks you present
There
are
some
key
principles
to
bear
in
mind
with
regards
to
academic
honesty.
●
Any
image
creating
your
exhibition
●
For
in
each
the
taken
artwork
artwork
exhibition
known)
the
●
you
exhibition
explicit
All
In
the
of
use.
your
that
the
work.
by
may
things
someone
able
was
are
text
title,
used
appropriately
as
inspiration
referenced
in
when
the
you
to
another
reference
artist,
date,
details
or
artwork
to
your
medium
you
source
(where
bibliographic
must
of
include
inspiration,
this
information
reference
to
where
viewed.
deliberately
should
must
to
the
be
all
sources
seem
obvious,
is
your
by
work
artworks
The
your
is
artist’s
work
the
to
curatorial
be
the
nal
been
You
process
at
must
or
and
rationale.
version
made
the
make
referenced
teacher.
have
work,
and
appropriation
in
need
and
must
another
original
included
authenticated
submit
the
appropriation.
also
rationale
be
appropriating
acknowledge
can
exhibition
they
dresses
else.
to
included
Section 5
refers
clear
your
that
included
118
be
and
point
conrm
of
that
constructed
you.
This
be
its
curatorial
work
internet
must
providing
references
work
All
that
text
reference
relevant
●
and
artwork
Where
the
text.
acknowledging
is
from
that
This
submit
since
but
designed
is
the
you
had
not
did
been
not
as
students
not
an
make
have
actually
designed
allowed.
design
did
some
but
by
the
However,
artwork,
it.
previously
make.
These
student
but
in
this
case
but
the
piece
submitted
things
made
you
by
would
itself
still
cannot
be
S E C T I O N
Similarly
with
new
technology,
for
example
3-D
printing,
it
is
vital
5
that
TOK
the
intentions
options.
and
process
Remember
that
are
the
clearly
explained
examiner
will
not
in
the
have
available
access
to
text
the
pages
The DP visual ar ts course
of
your
journal
or
the
screens
showing
the
development
of
your
ideas
in
judges your work against
the
process
portfolio.
published assessment criteria.
Many
artists
having
been
include
“found
“constructed”
acknowledged
and
objects”
by
explained
the
in
in
their
student
the
art.
and
relevant
is
This
is
considered
acceptable
exhibition
but
as
must
be
However, other examining
boards use dierent criteria and
there is a lot of debate about
text.
how we judge ar t. For example,
If
your
artworks
reect
the
inuence
of
other
artists
and
artworks,
is the idea behind the ar t as
or
if
the
ideas
or
images
of
anyone
else
have
inuenced
your
work,
impor tant as the techniques
the
source
must
be
included
as
a
bibliography
reference
within
the
used to express the idea?
exhibition
text,
following
the
protocol
of
your
school.
The most central question in
There
is
sometimes
a
ne
line
between
being
informed
and
inuenced,
this context is, “ What are the
and
copying,
and
sometimes
inuences
are
subliminal
rather
than
standards by which we judge
obvious,
but
if
you
are
unsure
about
whether
your
art
and
ideas
have
ar tworks?”
been
inuenced
then
you
should
discuss
this
with
your
teacher.
If
in
Of par ticular relevance in
doubt,
it
is
always
safest
to
acknowledge
an
inuence.
the context of your process
por tfolio and the exhibition
is the relationship between
process and product. So
another consideration related
to TOK is the impor tance of
process versus product in the
search for knowledge.
The illustration below on the left shows a collage of views of a dress designed and
made by the student, Nicole. There are no academic honesty issues here because of
the authenticity of the process of her planning and creating the dress. Similarly the
dress in the exhibition view was also made by the student.
Section 5
119
T H E
E X H I B I T I O N
The impact of your school, your culture,
and your teacher
The
visual
context
of
students,
course
No
course
school,
and
is
the
one;
a
and
there
Your
what
are
teacher
holistic
teachers
their
will
way,
also
useful
Within
own
the
your
ideas.
of
is
learning
be
the
start
can
make
by
art
However,
degree
of
likely
creating
This
you
if
is
way,
on
the
made
of
end
outside
yourself
that
of
class
enough
is
all
by
be
has
teach
artworks
course
to
local
practice.
Therefore
will
be
directions
in
course
been
way.
what
other
some
go
the
you
time
for
this
to
is
part
make
and
ideas,
than
your
will
concepts,
alongside
techniques
this,
so
it
assessed.
exhibition
class
students
a
that
of
a
are
class
collage
ideas
a
and
mind
or
the
assignments.
to
review
as
it
at
that
you
and
least
at
students
similar
to
those
assignment.
an
animation
of
You
the
art
well
that
other
of
that
to
to
you
you
for
a
results
be
and
to
Likewise
subjects
that
you
explore.
techniques
will
be
of
that
that
made
the
you
you
and
creating
and
putting
some
sure
have
you
you.
artwork
make
planning
could
to
include
the
should
as
natural
in
given
the
other.
exploring
decide
some
it,
avenue
exhibition
as
are
familiar
raised
process
you
make
students
each
is
are
creative
might
well
and
and
you
case
from
that
issues
the
how
this
world
and
You
display,
In
different
vital
as
and
culture
through
in
assignment
make
the
and
course.
class
if
asked
over
be
keep
suitable
to
the
areas
concepts,
to
more
assignments
of
it
of
syllabus
developing
ideas,
“right”
arts.
curatorial
your
working
need
individual.
are
can
you
should
for
that
any
contexts
same
teacher’s
and
similar
core
of
the
as
been
cultural
course
terms
has
international
various
and
same
according
the
remember
open-ended
conditions
inspired
as
is
what
that
This
your
is
visual
the
school.
theme.
more
studied
the
make
everyone
far
or
the
and
the
so
each
what
the
in
in
students
particularly
more
be
you
may
to
be
same
Teachers
in
to
ideas
at
you
a
however
learning
in
an
the
of
effectively.
specic
is
be
Other
in
teaching
As
art-making
class,
impractical
freedom
studying.
results
if
a
it
be
peers,
artworks
may
Either
art
to
course
respond
are
that
example,
the
course.
more
your
according
are
would
the
means
made
For
It
of
will
processes.
the
from
assessed
to
in
location
teacher,
exactly
creatively
school.
artists
and
art
ways
interpretation
success
exhibition
art
is
investigated
be
important
You
will
also
your
to
syllabus
and
the
the
identities
variations
one
your
have
the
school
approached
of
will
of
and
different
large
No
the
school
consider
it
one
theoretical,
the
in
routes
art
will
of
students
context
strengths
in
have
around
background
are
context
You
and
This
Section 5
to
structured
made.
explore
techniques
processes.
120
all
art-making,
express
been
the
wherever
implemented,
there
different
exploration
However,
course
and
probably
to
be
and
interpreting
and
choose
to
cultural
implemented
the
has
discretion.
through
is
of
many
circumstances
at
and
interpretation,
taught
tends
the
experience
designed
interpretation
other
in
arts
the
give
select
other
art.
S E C T I O N
5
Assessment criteria for the exhibition
It’s
important
exhibition
the
as
curatorial
exhibition
It
is
but
to
a
that
is
rationale,
not
that
3:
you
necessary
assessment
Part
that
referring
the
your
to
all
teacher
the
submitted
will
be
evidence
artworks,
evaluating
available,
exhibition
your
including
text
and
photographs.
important
it
remember
whole,
of
are
for
the
familiar
you
to
exhibition
Exhibition
Coherent
SL
body
with
the
constantly
is
holistic,
marks
exhibition
refer
to
so
the
SL
is
assessment
them.
In
course
total
HL
the
criteria,
same
way
itself.
marks
HL
total
of
A
9
9
works
B
Technical
competence
9
9
30
C
Conceptual
D
Curatorial
qualities
practice
9
9
3
3
Diploma
You
will
need
exhibition
of
the
to
course,
but
you
may
adjust
you
may
decide
exhibition
There
are
Criterion
the
This
you
should
artworks
to
criteria
nal
create
and
a
Programme
when
selection
keep
it
ideas
as
piece
in
that
the
will
time
is
a
arts
comes
occur
mind
your
Visual
guide,
to
towards
throughout
journey
specic
page
select
the
the
your
end
course:
progresses
expression
56
or
of
your
idea.
four
specically
criterion
study
artworks.
30
B:
to
assessment
the
work
technical
D:
criteria
itself
the
(criterion
competence;
curatorial
for
practice
and
relates
A:
exhibition.
coherent
criterion
to
the
C:
Three
body
of
relate
works;
conceptual
curatorial
qualities).
rationale.
Criterion A : coherent body of works
Coherence is not about repetition or
even similarities between artworks.
Criterion
A
asks
the
question:
“To
what
extent
does
the
submitted
work
Coherence can be about thematic or
communicate
a
coherent
collection
of
works
which
full
stated
artistic
stylistic links between artworks. In
intentions
and
communicate
clear
thematic
or
stylistic
relationships
this sense, artworks might be said to
across
individual
pieces?”
‘talk’ to each other.
Section 5
121
T H E
E X H I B I T I O N
In
general
together
terms,
well.
understand
Coherence
you
must
and
a
The rst photograph shows a view
of Ella’s nal exhibition. In her
rationale, Ella starts to explain the
thematic relationships occurring in
her collection: artwork to do with the
human body, the familiar and the
unfamiliar, and the use of dierent
media and contexts. Ella’s curatorial
rationale states ‘I think that as an
artist the human body presents an
artistic challenge; to capture and
explore something we all hold familiar.
During the process I have aimed to
investigate the human form through
dierent mediums and contexts;
namely the sexualized and objectied
presentation of the body in the media
versus the grotesque, tactile and
intimate experience of the body as
a surface…The other portion of my
exhibition is about the relationship
between family and skin. The Skin I
focused on was the un-photoshopped
skin that is rarely exposed. My textile
piece “Friends and Family” involves
rst hand photographs of my friends'
and family’s skin that is seldom
visible, for example bruises, stretch
marks and scars. The raw colour
palette and detailed images may
evoke the response of disgust, but
the involvement in the idea of “family”
aims to counterbalance this repulsion.
My Paintings “Skinny” and “Fat” are
an attempt to trigger the response of
disgust and fascination in the viewer.’
122
Section 5
does
have
does
visual
not
and
not
arts
want
to
when
could
not
a
something
also
logical
hindrance.
theme
of
It
mean
This
a
repetition
A
single
does
that
your
series
that
Coherence
of
works
coherence,
be
(of
or
a
not
is
or
style
Nor
could
mention
not
all
of
its
parts
easy
t
to
artworks).
exhibition
that
all
well-organized,
similarity.
theme
criterion
assessment.
see
has
to
arrangement
theme.
mean
appear
be
the
it
fact
“theme”,
will
formulaic
look
does
in
mean
be
and
having
successful
and
same!
that
restrictive
in
examiners
a
terms
do
S E C T I O N
5
Themes and styles
Tip
The
rst
part
coherent
stylistic
of
body
the
of
top
work
relationships
level
of
criterion
through
across
A
effective
individual
states:
“The
work
communication
of
forms
a
thematic
or
Ask yourself these questions
when considering the coherence
pieces”.
of your exhibition.
Coherence
in
or
a
be
diversity
the
collection
between
exhibition
that
is
within
artworks
just
is
not
visually
coherence:
rather
achieved
similar
there
than
through
and/or
should
simply
be
similar
visual
conformity,
repetitive.
evidence
of
There
• How do ar tists incorporate
can
themes and styles in their
relationships
work?
artworks.
•
The
relationships
could
be
dynamic
and
surprising,
and
could
How do the styles of dierent
involve
ar tists compare?
ideas
about
but
theme
styles
of
art-making,
or
there
could
be
thematic
relationships
•
a
is
not
required
or
How do ar tists interpret
necessary.
themes, for example, conict
Theme
or love, in dierent times and
It
is
to
true
your
that
a
theme
exhibition.
compulsion
in
together
by
one
in
the
much
the
can
But
as
visual
way
has
arts
common
same
provide
been
or
an
cohesion
said
course
idea
that
some
earlier
for
your
theme.
artwork
An
in
and/or
the
body
idea
needs
to
of
consistency
book,
work
often
there
to
needs
be
to
is
cultures?
no
•
linked
themes or styles in the
develop
work I am creating and have
develop.
created?
•
Just
“having
a
theme”
exhibitions
are
exhibitions
reect
example,
contain
terms
So
you
a
not
that
visual
concepts
and
need
a
and
threads,
by
the
are
the
good
some
do
one
not
thematic
approach.
key
show
How are my ideas evolving?
Sometimes
exploratory,
around
and
idea.
theme:
than
centred
responses
theme.
and
conceptual
of
rather
a
idea
For
sometimes
enough
creativity
in
exploration.
interpretations,
“hindered”
necessarily
because
narrow,
exhibitions
do
not
restricted
repetitive
of
is
What are the identiable
focus
on
so
If
you
how
that
do
have
well
your
you
one,
be
explore
exhibition
open
to
creative
will
not
be
ideas
and
processes
repetitive
and
theme.
Relationships
Also
consider
covers
may
a
be
because
The
the
number
no
the
works
in
of
relationships
ideas
traditional
coherence
approach,
idea
of
but
“theme”
reect
the
decisions
one
the
but
relating
there
ideas,
exhibition
to
between
effective
the
comes
media
artworks.
relationship
can
be
vision
from
and/or
a
strong
and
the
is
the
“Relationships”
stylistic:
sense
hand
student’s
techniques,
of
of
there
identity
the
artist.
conceptual
or
size
and
This image shows a student’s nal
exhibition. Can you identify themes,
scale.
or links and relationships between the
dierent pieces?
Focus
not
on
creating
simply
a
set
relationships
What
The
are
thematic
There
and
in
an
stylistic
between
The
the
relationships
collection
of
across
works
the
artworks,
should
involve
pieces.
relationships?
exhibition
and
together:
or
pieces.
media,
the
might
but
be
diverse
present
coherence
in
this
a
and
series
body
of
of
explore
themes
work
is
a
different
that
tie
result
of
the
the
relationships.
are
thematic
the
across
techniques
collection
similar
thematic
artworks
styles,
thematic
of
many
link
student’s
possible
that
interpretations
frequently
sense
of
appears
in
of
thematic
student
relationships.
exhibitions
One
comes
from
identity.
Section 5
123
T H E
E X H I B I T I O N
What
You
are
could
different
stylistic
present
ideas,
constitutes
stylistic
show
a
Style
or
is
a
already
work
used
is
a
yours
any
composition,
any
artistic
It
is
be
the
will
when
to
have
approach
the
the
It
to
way
have
are
you
artistic
may
the
but
individual
a
number
approach.
of
the
limited
of
This
creative
relationships
a
could
colour
style.
use
or
–
in
can
end
and
work
as
your
you
of
when
way
in
to
Style
results
learn
more
style
may
course.
relationships
Frequently
very
the
approach
“early”
recognizable.
is
be
may
identify
make.
the
styles.
examples
your
evolve
of
could
signature.
you
You
can
space/balance
fact
stylistic
artworks
others
It
of
your
example,
the
pieces
art-making.
that
your
styles
recognizable
discuss
to
be
exhibitions.
his
of
your
colour
For
at
and
use
decisions
thematic
makes
and
across
work
styles
it
or
use
that
because
approach
and
using.
your
work.
“know”
you
express
Similarly,
handwriting
the
similarly
identify
relationships
way
galleries
that
the
they
like
you
different
artists
is
and
art
exhibition
considered
style,
that
through
pieces.
photographs,
encountered
style
of
as
acknowledge
visited
or
number
exercise
or
processes
you
Other
take
approach
to
the
recognizable
because
or
process.
different
You
a
paint
important
about
or
recognizable
draw,
your
such
artworks
linked
successful
between
throughout
distinctive
have
different
stylistically
coherence,
line
that
very
are
potentially
you
from
11
but
relationships
formal
palette
relationships?
it
is
in
art
the
Picasso
artist’s
explored
recognizable.
It
might
thematic
visiting
be
and
art
a
useful
stylistic
exhibitions.
Exploring media, processes, materials and techniques
The
second
intentions
and
use
of
What
the
top
of
media,
you
say
in
your
your
intentions?
stated
and
whole.
of
not
and
informed
the
deny
the
may
apply
not
scale.)
to
and
your
and
not
that
viewer.
and
and
and
A
continues:
fullled
“Stated
through
techniques
and
the
the
selection
considered
have
should
each
ideas
able
be
selection
use
of
of
referred
and
scale
of
processes
practical
–
your
views
you
support
to
invent
Consideration
media,
be
Why
application
size
rationale
audience
will
directly
the
an
“stated
your
selected
work.
and
What
applied
are
certain
imagery?
considered
Although
to
criterion
processes
relationship
try
them
Selection
how
rationale
their
Do
front
affects
media
written
works
have
of
effectively
curatorial
–
in
and
intentions
intentions”
Your
level
imagery.”
techniques,
Section 5
of
consistently
application
Stated
124
part
are
or
and
here:
to
explain
other
see
or
the
to
your
the
examiner
whether
selection
collection
has
your
as
visual
of
a
evidence
intentions
really
processes/imagery.
of
media,
processes
and
techniques
imagery
to
in
the
of
art
on
this
and
relevant
assessment
display
impact
could
techniques.
for
you
to
criteria,
often
affect
(Of
has
the
course,
consider
it
an
way
in
is
difcult
impact
you
some
working
in
on
select
cases
a
it
large
S E C T I O N
This
phrase
also
implies
some
overlaps
with
criterion
B
insofar
5
as
Tip
“application
evidence
of
of
media”
occurs
coherence
and
in
both
criteria:
competence
you
when
need
to
provide
considering
how
you
Ask yourself these
apply
media.
questions when
The
“considered
and
ideally
to
be
way
a
a
level
that
use
of
imagery”
degree
of
sophistication
of
sophistication
ideas
are
conveyed
in
to
implies
the
an
approach
within
choice
achieve
in
that
and
the
of
thoughtfulness
approach.
use
of
There
imagery
highest
needs
and
in
the
considering the technical
competence of your
exhibition.
level.
• How do ar tworks show
technical competence?
Criterion B: technical competence
•
Criterion
work
and
B
asks
the
demonstrate
materials
and
question:
effective
effective
“To
what
application
application
extent
and
and
does
the
submitted
manipulation
manipulation
of
of
media
the
What are the signs
within an ar tist’s
ar tworks that might tell
formal
you that an ar tist has
qualities?”
skill?
•
How do dierent
Addressing technical competence and formal qualities
kinds of technical
Technical
competence
competence in the
The
top
level
effective
an
descriptor
application
assured
effective
level
of
for
and
this
manipulation
technical
application
criterion
and
states:
of
media
competence
manipulation
“The
in
of
the
the
and
work
materials
chosen
formal
demonstrates
forms
to
contex t of dierent ar t-
reach
and
making processes and
the
forms compare?
qualities.”
•
Is technical
competence identiable
Technical
competence
is
often
acquired
through
sustained
practice.
in all ar t forms?
There
for
is
no
your
levels
need
for
exhibition.
are
diluted
exhibition
is
you
In
to
fact,
because
your
include
chance
this
you
to
work
may
have
in
hinder
worked
develop
and
a
lot
of
different
your
success
in
many
so
rene
skills
if
art
in
media
your
skill
forms.
one
•
Can some ar t forms or
ar tworks be successful
The
even if there is no
medium.
obvious evidence of
If
your
work
shows
evidence
of
skill,
this
can
enhance
other
elements,
technical competence?
for
example,
the
conceptual
basis.
Conversely,
artwork
that
shows
lack
•
of
competence
may
weaken
the
overall
impact
of
a
piece
of
Where is the
art.
evidence of technical
The
degree
technical
requires
include
of
renement
competence.
an
“assured
evidence
understanding
of
and
and
The
level
resolution
top
of
of
is
an
important
descriptor
technical
sensitivity,
use
level
for
this
competence”
sophistication,
part
which
control,
of
competence in the work
criterion
and
is
you are creating and
likely
an
to
have created?
excellent
•
How are your skills
media/materials.
evolving?
As
already
the
indicate
above.
is
working
very
not
work.
on
demanding
to
criteria,
condence
This
successful
of
mentioned,
assessment
art
a
the
but
and
to
say
The
form,
the
is
shows
artwork.
“stand-out”
reference
assured
that
scale,
no
working
in
or
can
of
be
A
of
a
working
large
in
on
of
and
your
to
large
true.
evidence
piece
a
level
working
opposite
large
impressive
become
there
the
size
scale
of
can
competence
large
But
scale
taking
intensively
your
artworks
referred
inevitably
on
in
the
any
commitment
successful
•
in
artwork
What are formal
qualities and how
sometimes
do you apply and
to
leads
to
manipulate formal
challenge
qualities in your own
creative
ar t-making?
and
can
could
and
lead
well
exhibition!
Section 5
125
T H E
E X H I B I T I O N
Students working in acrylic on canvas. Note the scale of these and other pieces. None of the assessment criteria refer to the size of
artworks in the exhibition, working on a large scale can present specic creative and compositional challenges, and can also lead
to work that has impact in the context of the exhibition.
Examples of views of exhibitions and
artwork.
126
Section 5
S E C T I O N
Technical
competence
refers
to
evidence
of
skill
in
the
media
and
5
materials
Tip
you
it
–
choose
is
the
to
work
easiest
with.
thing
to
In
some
cases
recognize
technical
when
looking
competence
at
art.
–
or
lack
of
For
example,
if
expressive)
depiction
of
When considering how well
you
want
to
include
a
realistic
(rather
than,
say,
a
your work addresses this
person
using
paint
or
pencil,
then
mistakes
may
be
easy
to
identify.
criterion, ask yourself the
It
is
to
vital
that
technical
you
make
skills.
For
appropriate
example,
if
medium
as
choices
you
nd
of
it
medium
difcult
in
to
relation
convey
following questions.
ideas
• How do ar tists
effectively
in
a
chosen
you
develop
skills
in
the
visual
arts
incorporate and/or
journal,
perhaps
it
is
not
the
right
medium
for
your
nal
pieces.
Perhaps
depict concepts in their
collage
would
should
guide
be
more
effective
than
paint,
for
example.
Your
teacher
work?
you
in
this
respect.
Ongoing
group
critiques
and
self-
•
reection
should
also
take
place
as
part
of
this
How do ar tists
process.
eectively
Of
course,
terms
with
that
it
there
refers
the
will
are
to
media
have
other
your
and
ways
to
experience
processes
occurred
when
assess
with,
you
use
you
were
competence,
but
understanding
when
making
exploring
art:
the
in
of,
general
and
the
communicate their
ability
learning
techniques
intentions?
•
What ar tworks
that
demonstrate the
were
probably
documented
in
your
visual
arts
journal.
subtle use of “complex
Formal
imagery, signs and
qualities
symbols”?
See
the
section
of
this
book
dedicated
to
the
formal
elements
of
art.
•
To
achieve
a
high
level
for
this
criterion,
you
need
to
provide
What does “eective
evidence
realization” mean?
that
you
understand
formal
qualities.
•
Formal
of
qualities
these
is
“technical
exactly
include
used
assessed
intrinsic
in
the
competence”
what
different
are
is
meant
by
together
colour,
and
their
any
discussion
comparative
criterion
interpretations,
pattern,
to
“formal
of
the
tone,
arrangement
and
art.
idea
form,
Your
they
exhibition.
qualities”
including
texture,
study
the
of
and
there
that
the
shape
determines
are
The
part
IB
are
a
formal
and
the
of
does
visual elaboration
the
not
number
of ideas, themes or
specify
concepts “to a point of
of
eective realization”?
elements
line.
They
are
Can you nd ar tworks
that demonstrate the
understanding
often
•
artwork.
What are the
contributing elements
in an ar twork that
Criterion C: conceptual qualities
result in the eective
communication of
Criterion
effective
meaning
C
asks:
“To
resolution
and
what
of
purpose
extent
imagery,
of
the
does
signs
the
and
artworks,
as
submitted
symbols
to
work
realize
appropriate
to
demonstrate
the
stated
ideas?
function,
intentions?”
•
How eectively are
your ideas being
communicated through
your ar tworks?
Section 5
127
T H E
E X H I B I T I O N
Conceptual qualities refer to the way students creatively consider and use imagery, signs and symbols to achieve their
intentions. Conceptual ideas can often be seen in groups of artworks, for example the series of works by Tess that explore
natural forms that might be found in the ocean and on the coast or shoreline. These artworks have titles which further explain
the theme:
‘Ocean’s Sphere’
‘Looking into the rock pool’
‘Coastal Collection’, (Porcelain clay)
‘Nestled’
The central image at the top of the page is a view of the nal exhibition.
128
Section 5
S E C T I O N
“Conceptual
ideas,
and
qualities”
include
well
in
well
developed.
and
this
how
criterion,
you
intentions
the
as
Like
relate
ideas
and
criterion
communicate
stated
to
the
important
in
concepts
A,
this
these
your
sophistication
concept
of
should
criterion
intentions.
curatorial
of
your
thoughts
“elaboration”.
be
explored
links
Look
rationale
To
to
your
the
and
achieve
in
depth
and
intentions
carefully
and
5
at
your
quality
of
this
communication.
There
is
also
criterion.
motifs
and
colour,
consistent
This
relates
symbolism,
choice
considered
of
use
reference
to
your
which
imagery
of
a
or
to
“imagery,
knowledge,
might
mean
symbolism
particular
signs
or
symbols”
understanding
symbolic
specic
to
use
a
and
of,
in
use
for
particular
this
of
example,
culture,
or
format.
Conceptual qualities, subtlety and complexity
“Conceptual
“Conceptual
important
and
the
qualities”
art
than
term
is
art
the
for
does
which
nished
usually
not
refers
art
to
the
mean
idea
object.
art
(or
It
made
conceptual
concept)
emerged
from
the
as
art.
behind
an
art
the
work
is
movement
mid-1960s
to
the
more
in
the
1960s
mid-1970s”.
Source:
Tate
website
http://www.tate.org.uk/learn/online-resources/glossary/c/conceptual-art
Rather,
“conceptual
concepts
degree
that
of
and
subtlety.
To
explored
in
This
or
is
of
depth
might
the
highest
evidence
of
and/or
this
is
repackaged
criterion
place
ideas
the
ideas
particular,
This
together
criterion,
use
of
signs
or
colour,
particular
to
level
in
with
and
can
to
and
the
also
involve
renement
concepts
symbols”
the
culture,
art,
ideas
familiar
when
become
and
A,
conceptual
thoughtful
and
to
ideas
communicate
the
in
to
and
should
be
developed.
complicated
contemporary
modernist
a
complex
obvious
Like
and,
ideas/concepts.
“imagery,
a
refer
choice
or
in
this
of
imagery
considered
criterion.
use
of
a
format.
although
and
to
context
thought,
this
well
this
exhibition,
of
in
to
in
these
symbolic
specic
Avoiding
or
and
include
achieve
subtle
of
well
reference
symbolism
show
your
complexity
achieve
also
particular
To
underpin
sophistication
condence
There
qualities”
explain
and
imagery.
ideas
the
obvious
a
can
sense
and
be
of
a
imagery
with
successful
irony
familiar
postmodern
the
approach,
implicit
ideas
comment
approach,
in
may
on,
for
should
evidence
some
be
recent
taken
example,
forms.
this
these
considered
art
by
qualities
and
criterion
links
intentions,
your
so
to
the
conceptual
your
intentions
curatorial
ideas
as
an
and
rationale
how
you
would
important
part
be
of
your
intentions.
Work
that
simplistic
obvious,
To
reects
and
contrived
ensure
that
considering
the
of
or
your
artwork
elements
lack
weak
conceptual
predictable,
are
is
that
that
conceptual
supercial
art
qualities
containing
work:
not
dull
you
nd
make
them
or
may
imagery
lacking
in
predictable,
obvious,
appear
and
so.
well
that
is
appear
conceptual
you
could
identifying
Dull
to
predictable,
work
be
with
qualities.
start
by
exactly
may
well
what
reect
a
depth.
Section 5
129
T H E
E X H I B I T I O N
Of
course,
beyond
successful
and
the
When
a
the
there
may
is
For
a
nd
subjective
paintings
Roy
There
some
may
be
ideas
with
as
a
the
be
visual
between
it
could
your
all
this.
of
but
should
arts
or
contain
context,
technical
to
little
be
competence
the
be
a
good
idea
to
discuss
friends.
What
idea
strive
employ
Art
vacuous
piece.
images
Pop
still
our
with
versa,
students
of
Barbies
will
nor
always
that
and
in
in
to
the
same
creations
of
you
nd
behind
go
frequently
this
be
that
more
to
reasons
but
often
context
occasionally
body
this
beyond
art
artists
dull
some
part
of
the
forms
include
dull
This
and
successful
convincing
for
this
others
criterionC
ordinary.
and
poorly
such
can
the
mean
as
ideas
copied
Andy
more
not
art
Warhol
mean
the
pressure
art,
kind
that
but
to
we
and
artwork
are
lead
is
so
to
or
dolls,
conform.
exploring
must
that
Barbie
clichéd
the
have
articial
featuring
obvious,
to
appears
supercial,
the
exploration
than
work
Invariably
predictable
the
exhibition
of
work
and
present.
does
your
kind
include
image
among
students
complex.
be
valid
it,
about
can
lead
to
and
Art
students
art/ideas
subtle
them
Pop
statement
and
unusual
on
in
in
balance
work,
art
familiar
“Contrived”
predictable
neither
vice
your
insightful
Similarly,
Art
own
qualities
can
but
Lichtenstein.
element
usually
Pop
some
these
based
contrived.
fake.
of
a
the
element
and
parts
example,
repeatedly;
and
and
exciting
image
impact,
frequently
your
ideas
some
exciting
visual
underlying
reviewing
is
that
is
concept
conceptual
There
visually
purely
is
these
familiar
new,
sometimes
seen.
Davide, a student in a school in Rome, has used the “tondo” form (a Renaissance term for a circular work of art) in his painting of
three portraits. This form has conceptual, artistic and historical relevance to his location.
130
Section 5
S E C T I O N
5
Conceptual qualities and visual literacy
Key terms
Visual
literacy
meaning
been
from
said
that
understand
that
you
have
visual
visual
signs
and
a
huge
already
of
of
to
presented
is
in
referred
images
and
links
at
and
the
in
the
thousand
always
during
turn
form
of
words,
that
the
can
interpret
an
you
It
learning
The
will
a
make
image.
but
simple.
course
give
and
Visual literacy: the ability to
understand, interpret and make
read
artworks
have
more
has
to
increased
sophisticated
meaning from information
presented in the form of an
image.
qualities.
to
to
your
in
the
symbols
work
symbols
a
not
made
this
conceptual
also
understand,
worth
and
and
looked
signs,
is
picture
studied
symbols”
have
imagery,
the
literacy
range
ability
picture
literacy,
understanding
Your
the
information
a
and
your
is
to
of
understanding
criterion.
and
artists
convey
Of
during
and
of
the
course,
the
narrative,
art
course
considered
ideas,
“imagery,
incorporates
you
their
values
will
use
and
of
beliefs.
Conceptual qualities may not be immediately obvious. Understanding of these three artworks can be enhanced by the
exhibition text accompanying the image.
1.
The rst is in oil on canvas and is explained by the student: ‘My original intention was to augment the colours of a stone.
By layering colours and experimenting with techniques I was able to add depth to the painting.’
2.
The second artwork is an architectural model and refers to the architect Frank Lloyd Wright: ‘When considering how the
leaf structure would t into an environment, I decided to create a 2nd model, through which I explored the link between
exterior and interior, as seen in modernism. I showed this by including a tree branch, which emerged from the inside of
the structure and placing mirrors in the base. These mirrors are around and inside the structure, an idea inspired by Frank
Lloyd Right's Waterfall.’
3.
The third piece, a dry point print, related to a previous journey – ‘When I visited the Ring of Brodgar in Orkney, the
uncertainty and mystery of their origin and purpose intrigued me. This print visualizes a joining of the physical and
metaphysical worlds, inspired by how I imagined the stones may once have been viewed. My intention in this piece was
to capture a more fantastical aspect of the stones.’
Section 5
131
T H E
E X H I B I T I O N
The rst photograph (‘Squashed Face’) is inspired by Michael Wolf ’s ‘Tokyo Compression’, and was taken with Wolf ’s images
in mind, exploring texture, cropping and contrast. Next to it, the totem pole relates to the student’s origins in British Columbia
(Canada) and explores relevant symbols. Beneath both is ‘A Breakdown of a Building’. This is a fairly large (151 cm × 50 cm) piece
consisting of marbled paper, acrylic paint, textured paper, tissue paper and acrylic sheets on canvas, and refers to the geometric
outlines of buildings. The student said ‘I wanted to explore textures of the buildings compared to the realistic aspects’.
132
Section 5
S E C T I O N
5
Criterion D: curatorial practice
We
will
detail
be
reviewing
later
consider
in
this
these
What
●
How
will
you
●
How
will
you
●
Will
a
you
Will
you
but
as
a
of
this
starting
assessment
point
you
criterion
might
want
in
to
curator?
explain
explain
have
integrated
●
expectations
questions.
●
is
the
section,
a
the
ways
that
“single
your
in
which
your
exhibition
medium
display”
is
a
works
are
coherent
(one
connected?
body
of
works?
technique/process)
or
media?
have
a
“chronological
survey”
approach
or
a
thematic
approach?
Selecting the artworks for your exhibition
When do I choose my nal ar tworks?
The
go
IB
does
into
portfolio.
work
In
not
your
It
does
some
give
may
not
be
a
start
schools,
techniques,
different
year
on.
which
problem,
have
On
other
might
be
The
looks
but
process,
body
of
which
work
you
at
your
an
a
and
year
an
it
be
is
purely
of
as
familiar
piece.
part
a
This
ideas
is
not
will
process
resolved
of
different
approaches
during
and
the
course.
time
with
what
of
that
the
different
anything
some
choose
as
possible
year
idea,
make
resolved
least
should
second
becoming
not
completed
well
the
rst
necessarily
experiments
a
that
with
before
your
plan
the
and
end
of
have
the
the
rst
potential
show.
show
evidence
understanding
intentions.
underpins
for
t
nal
realize
rst
interpret
pieces
should
and
the
you
submitted
points.
some
the
be
process
the
may
like
complete,
in
to
to
you
starting
pieces
practices
ways
when
will
until
use
should
hand,
accomplishment
and
to
as
look
selected
uid
appear
case
there
exhibited
for
what
experimentation,
this
potential
the
year
to
In
and
students
and
so
deadline
very
to
exploration
and
a
exhibition
the
You
selection
audience,
in
the
of
of
will
of
your
the
also
the
form
of
technical
use
of
show
materials,
the
connected
a
and
curatorial
ideas
decision-making
cohesive
rationale.
Tip
If you have enough ideas or star ting points you could discuss with your
teacher having a mini-exhibition at the end of the rst year. You may only have
a few pieces (four or ve) but still this would give you a chance to identify and
resolve any problems.
Ideally you would have this show in the same location as your nal exhibition,
and an audience would visit your show. You could also write a curatorial rationale
and exhibition texts so that you experience the things that you will do for real later.
If possible talk to members of this audience to get feedback on their
reactions. This could inform decisions that you make when preparing for and
assembling your nal exhibition.
Section 5
133
T H E
E X H I B I T I O N
Mid-course review
Depending
rst
of
year
the
Some
that
on
or
what
the
you
start
of
content
of
form
review
have
informal
receive
of
the
your
will
feedback,
documentation
to
or
to
to
to
of
more
your
of
all
rst
make
the
your
a
any
pieces.
and
at
the
end
preliminary
created
so
of
the
review
far.
artworks
It
teacher
formalized,
intentions
year,
work
identify
exhibition
questions
be
the
could
or
you
become
could
relating
during
you
folders
enable
ask
it
done
second
digital
potential
discussion
have
the
could
and/or
with
be
some
identifying
an
peers
and
form
any
of
new
directions.
Either
their
way,
you
should
professional
not
have
the
requirements
notes
your
ideas
your
judgment
anything
on
ask
to
of
for
can
assemble
the
the
teacher
inform
and
be
any
review,
exhibition.
general
to
For
part
this
discussions.
you
should
example,
coherence,
of
you
process
Even
still
and
you
reect
could
competence
if
so
make
that
do
on
some
concept
of
exhibition.
Review, plan and curate vir tual exhibitions
It
can
be
a
imaginary
choosing
idea
of
Write
Also
good
artworks
exhibiting
the
involve
will
attract,
as
in
your
such
as
form
a
the
for
of
selected
present
Make
to
appropriate
movement
and
and
discussions
your
preparation,
an
the
or
past,
plan/curate
exhibition
culture.
and
in
an
context
Explore
different
and
the
cultures.
this.
peers.
have
interest
a
identifying
from
rationale
presentations,
that
idea,
exhibition,
audience.
technical
critique
about
Identify
competence
individual
work
or
for
the
and
group
exhibition,
elements
stimulating
identify
that
pieces
provoke
subject
or
matter.
Final selection
Keep
You
the
may
discussed
process
the
is
following
submit
in
the
the
case:
Consider
and
of
Evaluate
the
might
is
as
the
they
the
nal
by
that
the
nal
declaring
of
the
the
likely
has
you
the
This
throughout
your
been
make
shown
and
in
your
clear
work
that
art
is
as
the
included
portfolio
included
that
in
in
this
my
portfolio”).
will
could
course
selection.
it
process
aspect
the
nal
process
work
impact
audiences?
your
resolved
in
“Assembling
evolved
have.
reect
as
well
How
your
as
will
ideas
the
rationale.
and
and
is
making
providing
version
90–91,
and
when
exhibition
image
curatorial
made,
mind
portfolio,
different
strengths
be
in
example,
audience
your
for
the
pages
affect
intentions
content
that
for
(see
the
work
that
“This
exhibition”
your
work
process
portfolio
exhibition,
points
weaknesses,
how
much
and
time
identify
you
have
any
to
improvements
make
those
improvements.
You
at
may
HL).
your
134
Section 5
If
have
so,
more
you
teacher.
artworks
will
need
to
than
select
the
the
maximum
best.
allowed
Discuss
your
(7
at
SL;
choices
11
with
S E C T I O N
5
The exhibition
Tip
Using your visual ar ts journal to plan the show
The
curatorial
intentions,
rationale
although
is
you
the
can
main
also
opportunity
use
the
for
you
exhibition
Criterion D assesses your
to
texts
explain
for
your
curatorial practice. It asks
the questions: “ To what
this.
extent does the curatorial
The
curatorial
practice
is
a
required
and
assessed
part
of
the
exhibition
rationale justify the
component,
and
your
curatorial
rationale
informs
your
teacher
and
the
selection, arrangement
examiner
when
they
are
considering
the
coherence
and
conceptual
ideas
and exhibition of a group
underpinning
your
exhibition.
You
your
visual
of ar tworks within a
could
your
use
artworks,
reect
on
arts
the
journal
process
to
of
record
your
resolving
intentions
them
and
designated space?”
for
plan
your
It is wor th looking at the
exhibition,
for
example,
designing
certain
artworks
and
oor
plans
to
show
where
you
will
ocial denition of the
display
how
the
audience
might
walk
through
command term “justify”:
the
show.
“give valid reasons or
These
ideas
curatorial
could
also
be
the
basis
for
material
submitted
for
evidence to suppor t an
the
answer or conclusion”.
rationale.
Writing about your exhibition
Towards
in
which
the
end
you
of
will
the
explain
exhibition.
However,
before
write
you
course
you
about
the
you
selection
should
your
will
not
be
writing
and
wait
a
curatorial
presentation
until
the
end
of
of
rationale
work
the
in
your
course
art!
Section 5
135
T H E
E X H I B I T I O N
Intentions
Your
artistic
success
of
intentions
your
what
your
intentions
view
your
work,
or
external
are
exhibition
of
are.
The
including
gallery
space,
critical
hangs
importance:
the
will
audience
who
well
as
the
a
large
relationship
intentions
the
as
on
be
part
read
by
all
encounter
examiners
of
between
who
it
the
the
art
those
in
your
view
it
and
who
on
school
screen.
The audience
Artists
of
the
make
audience
As
art
viewer,
as
well
audiences
should
visit
example,
and
What
as
will
out
are
look
the
the
from
so
it
is
vital
exhibition
your
point
differently
kinds
works
private
what
seen,
react
consider
exhibition
be
see
different
galleries,
Work
to
and
of
in
art
constitutes
of
to
a
and
you
the
view
reect
successful
the
step
of
into
view
the
of
shoes
the
artist.
kinds
on
display
online
also
point
as
different
and
different
galleries
that
from
of
these
exhibition,
encounters.
contexts:
state
art
you
For
museums
galleries.
exhibition,
and
what
does
a
weak
like?
reasons
for
success
or
failure?
Of
course
in
our
context
the
Tip
DP
When thinking about
arranging your exhibition,
consider the following
visual
should
art
to
arts
be
seen.
assessment
informed
These
when
you
by
criteria
reections
reections
start
to
play
should
write
your
on
a
vital
part
audiences
appear
own
in
but
and
your
curatorial
your
their
journal
own
ideas
responses
and
be
to
referred
rationale.
questions.
Although
•
•
How will you arrange,
marks
display and present
other
resolved works for your
taking
exhibition?
a
the
out
of
curatorial
30,
what
assessment
this
number
criteria,
component
of
practice
you
drafts
say
you
are
only
contribute
particularly
seriously
until
criterion
will
and,
criteria
for
achieves
to
A
your
and
example,
satised
with
the
a
maximum
assessment
C,
so
it’s
writing
nal
of
3
against
worth
and
rewriting
version.
What compromises
What is the dierence between SL and HL?
will you have to make
Criterion
D
is
different
for
HL
in
that
it
has
an
additional
requirement.
between your ideal
As
well
explaining
“the
selection,
presentation
and
arrangement
of
a
ar t show and what is
group
of
artworks
within
a
designated
space”,
there
is
also
a
requirement
realistic in the space
for
the
curatorial
rationale
to
show
understanding
of
the
“reection
on
how
the
exhibition
the
artworks
available?
conveys
•
an
relationship
between
and
How have the
the
viewer”.
The
not
required
in
reection
element
and
consideration
of
the
viewer
is
exhibitions that you
the
SL
criterion.
have seen inuenced
You
should
“justify”
the
selection
by
explaining
your
reasons
for
your ideas? What have
choosing
the
artworks
(this
will
relate
to
your
intentions)
and
then
you learned about
analyse
and
explain
how
the
artworks
are
arranged
and
presented.
Even
exhibiting ar twork?
•
if
they
Is
it
are
just
displayed
in
a
row
you
should
still
explain
the
reasoning:
Are there ar tworks
chronological?
Or
ordered
by
theme?
Or
are
you
arranging
in
that present par ticular
accordance
to
art
form
or
size?
challenges in terms of
presenting them to an
audience? For example,
will you need to set up
a monitor to show a
video or a plinth to show
sculptural pieces?
Refer
when
a
Section 5
the
period
study
your
audience
articulating
large
on
are
136
to
or
"stand-out"
viewer?
Is
of
Are
or
the
the
time?
a
that
piece
there
a
there
sculptural
ideas
(the
that
lm
that
want
the
and
to
the
between
you
that
small
piece
you
viewer)
relationship
and
the
think
will
will
engage
detailed
viewer
viewer
to
artworks
them.
For
make
the
take
the
viewer
pieces
should
themselves
example,
that
walk
from
most
for
is
impact
a
require
certain
close
around?
your
there
What
artworks?
S E C T I O N
The
statement
students,
it
is
be
will
not
The
rationale
example,
has
700
should
explain
and
you
Support
It
can
be
overall
●
the
●
If
range
is
perceived
the
of
a
into
to
students
this
and
it
limit,
not
selection
justications
with
basic
is
400
parts
words;
of
your
for
HL
statement
just
descriptive.
through
For
reference
(explanations)
for
to
the
things
explanation.
structure:
approaches
or
artists
statement
because
and
you
who
are
on)
an
have
were
used
(this
especially
was
be
in
appropriate.
against
describe
text
about
do
instrumental
process.
written
that
arrangement
could
exhibition
writing
are
highly
that
you
thought
Statements
score
selection,
work
should
you
so
work.
about
your
write
Your
cannot
a
exhibition,
artwork.
my
artistic
particular
your
each
your
your
statement
follow
decisions
opportunity
(I,
informative
Offer
movements
audience
but
SL
might
also
inuential
to
work)
explain
there
For
exceed
assessment.
justify
your
to
you
premise
include
your
be
and
limit.
If
for
learning.
helpful
●
word
considered
research
say.
a
words.
5
Be
a
short
own
assessment
the
the
way
that
and
you
criterion
draw
an
accompany
persuasive
and
that
to
have
to
personal
frank
work
you
depth
statement
work,
realistic,
reect
display.
more
informative
your
not
in
in
Remember
–
an
it
and
honest
is
tone,
pronouns
about
presented
D.
Writing exhibition tex t
Each
that
artwork
outlines
you
the
500-character
The
an
text
should
a
brief
be
to
appropriation
also
state
if
the
work
found
objects.
When
completed,
exhibition
Here
are
students
to
six
or
help
and
of
was
your
referring
paint
the
sources
examples
photography,
and
owery
these
be
and
useful
original
which
to
texts
can
the
be
to
work
a
by
per
examiner.
your
printed
of
a
out
the
All
and
of
are
forms
is
is
not
work
the
It
a
or
just
should
and
piece.
It
explain
should
included
included
work
by
It
artwork.
series,
your
written
variety
scraperboard).
of
text
There
artwork.
inuenced
part
text,
exhibition
artwork.
intentions
appreciate
exhibition
in
the
about
have
collaborative,
audience
of
spaces)
language
of
and
supported
size
(including
concise
use
outline
any
should
medium
maximum
opportunity
include
submit
title,
more
in
your
fully.
different
(ceramics,
within
500
video,
characters.
Section 5
137
T H E
E X H I B I T I O N
Distorted Nightmares: 3 ceramic faces, Clay (red and glazed). Sizes: 20 × 15 × 8 cm, 18 × 12 × 8 cm, and 22 × 16 × 9 cm
These three masks were inspired by the portraits by Francis Bacon. I wanted to capture the owing movement created in
his paintings through clay as well as the disturbing nature of distortion and use of colour. Through these three masks I have
experimented with dierent levels of distortion and colour schemes to create this disturbing eect. Additionally, I further
embraced his style by creating 3 similar yet dierent faces in homage to his famous triptychs.
Forever Young, video, 2 minutes
A series of images of my grandfather, spliced with images of my parents and their children (me and my sisters).
This ties in with the CHANGE focus in ar tworks 3, 4 and 5. I took all photos and video. The speed of the video is
deliberately slowed and speeded up. It’s mostly black-and-white but colours and some distor tion and grain are
added to emphasize focus at specic points. There is no soundtrack .
3 Nepalese Foothills, 59.4 × 84.1 cm. (30 5 cm × 6 cm photographs) Digital Photography.
This photographic joiner has photographs organized in a grid and has an obvious thematic and stylistic relationship
with ar twork 1. This also depicts multiple views of a single scene taken when I visited Nepal as par t of a CAS trip.
Again, this style and technique are inspired by the work of David Hockney and his joiners. With this work I designed
restructured multiple views of a owing scene of countryside and village into thir ty 6 × 5 cm photographs.
Maze, Acrylic on Canvas, 80 × 120 cm
Inspired by the symmetry of the columns at the University of Glasgow, I’m looking at geometrical symmetry and
shadow eects. A young girl leads a shadowy gure through a maze of columns. The only trace of the girl is a slight
gure in the back of the painting and a red handkerchief in the foreground. The shadows falling from the columns add
another dimension of mystery to the scene.
A Night in Zurich, Acrylic on Canvas, 60 × 100 cm
Based on a photograph that I took on vacation, this painting depicts the Limmat River in the centre of Zurich. I
experimented with paint texture in this painting, having a diering technique for the skyline, water reections and
sky. The water reections are uid, similar to an Impressionist painting, while the skyline has a crackled black paint.
The night scene gives the city a tranquil and serene appearance, capturing the moment in between day and night.
A Universal Fear, Scraperboard, 35 × 28 cm
Inspired by “An Experiment on a Bird in the Air Pump” by Joseph Wright of Derby seen in London’s National Gallery, I
incorporated the central gure of the scientist, but added a gas mask to hide his face, echoing the theme of the fear
of modern science, which Wright used in the original work . The ‘toxic’ symbol and the pollution inside the glass tank
t with current fears of science.
http://www.nationalgallery.org.uk/paintings/joseph-wright-of-derby-an-experiment-on-a-bird-in-the-air-pump
Tip
The exhibition is the physical culmination of two years’ hard work . Celebrate it.
You could have a reception to celebrate your achievement!
138
Section 5
S E C T I O N
5
Practical considerations
It
is
the
important
to
exhibition
work.
space
You
is
will
not
available
Schools
are
schools
display
student
simultaneous
lack
of
exhibit
with
local
shows.
few
Once
take
for
space
space
and
and
your
but
needs
a
teacher.
to
it
also
school
of
down
been
is
a
The
art
into
do
way
and
of
where
your
because
of
the
socio-economic
spaces
or
not
on
campus;
classrooms/art
have
enough
other
rooms
space
for
to
a
full
of
a
series
put
group
should
will
be
space
account
possible
for
of
of
their
you
in
to
place
consecutive
work
students
up
can
for
put
a
up
on.
you
that
be
be
arrangements
could
another
so
may
have
could
students
that
and
it
schools
there
four
division
take
gallery
problem,
Some
decided
of
space
students.
so
days,
kind
any
geographic
schools
gallery.
few
has
the
of
gymnasiums
all
three
in
(the
assessment
resources.
Some
of
space
the
in.
Alternatively,
example,
displays
disadvantage
range
halls,
your
external
then
the
work.
at
a
exhibition
inuence
semi-professional
school
galleries.
For
days
their
the
an
at
your
not
exhibit
a
exhibition
space
in
that
will
physical
have
use
to
with
and
will
put
you
diverse
schools
If
be
for
circumstances,
Some
remember
presented)
review
displayed
should
such
be
things
the
with
possibilities
other
more
or
less
as
the
size
versus
the
need
of
students
equitable,
and
scope
of
oor
(or
Eight views of exhibitions can be
individual
student
work,
the
need
for
wall
for
seen on pages 139–141.
plinth)
space
or
access
to
power
outlets.
Some show a somewhat crowded
exhibition area, with very little space
Exhibition
spaces
need
not
be
self-contained.
“Satellite”
exhibitions
available and artworks taking up
might
include
site-specic
work,
such
as
a
mural,
installation
or
almost all of the wall space. Other
sculptural
pieces
elsewhere
on
the
school
campus.
Sometimes
site-
photos show a more spacious
specic
works
or
exhibitions
purposely
exhibited
in
unconventional
exhibition environment with clean
spaces
can
be
effective
in
relation
to
the
overall
intentions,
as
long
as
the
neutral walls. Of course the quality
work
can
be
properly
documented
for
digital
submission.
and amount of exhibition space
available varies from school to
Once
you
know
where
your
space
is
you
should
consider
how
you
will
school, but remember that the
arrange
and
display
your
work
to
best
effect
within
that
space.
examiner will not judge the quality
Clean,
the
neutral
detriment
walls
of
the
are
preferable.
artwork
Do
not
try
to
decorate
the
space
to
of the space. The examiner ’s focus
will always be on the student’s
itself.
intentions and quality of the work
You
may
be
considering
including
interactive
pieces.
If
so,
this
should
be
with reference to the assessment
linked
with
the
mention
of
the
viewer
in
the
curatorial
rationale.
criteria.
Section 5
139
T H E
E X H I B I T I O N
Digital submission of the exhibition
Tip
Your
Consider these practical
ideas for displaying work .
Hanging space: if there
exhibition
photograph
of
the
not
is
your
exhibition
be
directly
assessed
digitally.
artworks
as
a
and
whole
You
upload
will
also
and/or
digital
be
your
les
to
uploaded,
teacher
the
IB.
although
will
Photographs
these
will
assessed.
are insucient walls in
Examiners
will
view
the
digital
les
to
moderate,
uphold
or
adjust
marks
the exhibition space,
awarded
by
your
teacher
(who
will
award
you
a
mark
initially
as
your
additional hanging space
exhibition
is
internally
assessed).
Remember
that
your
teacher’s
mark
could be created.
can
be
adjusted
For
the
after
moderation
has
taken
place.
Display panels: these can
exhibition
submission,
still
or
moving
images
can
be
uploaded.
be hired, or inexpensive
Your
artwork
should
be
captured
in
whatever
electronic
means
is
most
display panels can be
appropriate
for
the
selected
art-making
form.
made. Panels can be
joined with steel mending
plates in lines or at right
angles with an appropriate
right-angled bracket.
A
two-dimensional
through
best
a
still
captured
screen-based
le
types.
gallery-style hanging
All
work
tracks and hook systems
As
are useful and versatile;
resolution
picture hooks are equally
computer
artwork,
photograph,
through
artwork
a
for
short
such
example,
while
as
a
lm
might
be
best
three-dimensional
recording.
animation,
captured
artwork
Lens-based,
however,
might
electronic
might
call
for
be
or
other
Hanging hardware:
submitted
images
will
be
are
not
must
be
viewed
monitor
on
needed,
at
72
clear
and
present
monitors,
large
but
the
image
pixels
per
inch.
your
image
should
be
work
les
big
appropriately.
at
a
high
enough
to
ll
a
eective.
Where
Plinths: simple wooden
process
boxes, painted in a
get
at neutral colour, or
sure
clean tables are ideal
and
for displaying three-
dimensional work .
140
Section 5
it
possible,
you
yourself.
right,
the
so
work
uploaded
make
is
in
are
This
encouraged
can
sure
a
you
captured
the
be
follow
exactly
order
to
take
demanding
that
as
you
the
you
ownership
process
relevant
want,
want.
and
of
it
the
is
upload
presented
upload
vital
that
guidance,
as
you
you
make
want,
S E C T I O N
5
The two exhibition photographs
Tip
In
addition
photos
size
to
of
and
see
to
the
the
exhibition
scale,
the
photos
and
work.
the
of
as
individual
a
whole.
demonstrates
These
context
of
●
photographs
and
This
the
photographs
exhibition
artworks,
is
way
a
great
that
show
you
your
the
scope
of
only
show
the
you
the
should
way
to
want
include
get
the
a
two
sense
of
understanding
of
Images should be saved and
submitted with a minimum
audience
width of 1,000 pixels and
the
a maximum width of 1,500
works.
pixels. This will provide an
The
should
artworks
that
you
are
image that comfor tably ts
submitting
for
assessment.
a standard computer screen
●
The
photograph
artworks
made
should
by
you
not
show
that
are
the
not
work
of
any
other
students,
or
submitting.
while holding enough detail
for an examiner to be able to
enlarge it, and will help to keep
●
The
photographs
should
not
show
any
people
(so
you
should
not
the nal le sizes smaller.
be
posing
audience
in
the
photo
admiring
with
your
your
favourite
artwork,
or
showing
the
Remember that the le formats
art).
and le sizes that are deemed
●
The
views
should
be
clear
and
unobstructed.
acceptable may change from
session to session. You need
Film
to check with your teacher for
Sometimes
one
view
example,
you
are
is
not
enough
to
accurately
show
everything.
For
single
image
not
the most up-to-date upload
if
submitting
a
sculpture
and
a
does
information before you upload
do
the
work
justice,
you
could
make
a
lm
of
the
work
or
submit
a
your work .
series
have
of
images
worked
of
with
the
work
lm
or
in
a
lm
format.
Alternatively,
you
may
animation.
Section 5
141
T H E
E X H I B I T I O N
Photographing your exhibition ar tworks
Your
exhibition
Some
artworks
exhibitions
students
are
may
consist
exploring
of
include
only
other
a
wide
range
two-dimensional
alternatives,
for
of
ideas
art,
but
example,
and
formats.
increasingly
lm
and
installation.
Think
be
a
about
more
Some
of
What
about
these
you
Files
your
can
best
artworks
of
Check
for
the
documenting
may
include
include
types
way
your
exhibition
–
would
lm
format?
performance
could
artworks.
le
the
successful
still
a
or
with
require
art?
Films
lm
clip
moving
your
careful
you
of
consideration
have
the
made?
work
photographic
teacher
if
you
are
and
in
this
a
still
art?
For
image.
documentation
unsure
context.
Installation
about
of
acceptable
upload.
Advice on capturing three-dimensional ar twork
Three-dimensional
successfully
●
Video
This
les
can
space,
the
as
should
slowly
●
Film
●
When
to
at
move
the
footage
work
the
Section 5
be
still
that
for
a
still
give
length
installation
tend
as
the
not
to
the
results.
distance
work
short
sculpture
such
around
better
and
a
or
in
can
video
the
be
The
round.
exhibition
confused
sculpture.
from
be
les.
camera
the
with
Plain,
operator
work
and
piece.
mindful
as
of
of
the
work
can
be
shot
in
separate
takes
transparent
surfaces
so
with
the
still
reective
camera
the
the
against
is
and
and
a
space
so
plain
neutral
and
to
form
itself,
correctly
photos
operator
needs
sculptural
exhibition
sculpture
image
distance.
photographer
as
of
of
the
the
well
sculpture
both
situ,
moving
consistent
elements
the
around
in
background
details
photography,
confused
balance
the
reection
background,
the
or
photography
together.
from
the
still
walk
camera
focal
of
sculpture
achieved
will
around
lming,
avoid
Check
in
xed
edited
photograph
142
a
as
either
virtual
the
backgrounds
architectural
●
with
For
or
a
successfully
lm
then
●
for
such
in
distractions
Additional
and
●
allow
be
sculpture
neutral
works
documented
be
clips.
of
Objects
become
possible,
it
check
as
shot.
and
distracting
is
best
to
background.
colour-balanced;
lm
the
mindful
itself.
can
where
in
the
white
Glossary
Abstract: art
that
is
representational;
example,
Contrast
is
an
with
a
Analogous colours: colours
non-
circle,
abstract
for
sit
shape.
“gurative”.
next
which
each
colour
circle,
green.
Using
creates
Acrylics: paints
to
other
such
as
in
in
Asymmetry: the
symmetry.
yellow
analogous
harmony
which
the
and
colours
compositions.
arranged
to
this
gives
and
are
from
made
polyvinyl
quick
and
Additive sculpture:
They
with
water.
this
is
Applied ar t: a
start
with
nothing
piece
such
as
by
adding
disciplines
is
functional;
product
is
used
or
as
impression
in
Atmospheric perspective:
whose
a
movement.
for
the
forms
practical
way.
are
distance
out
and
of
focus
crisper
when
in
in
the
the
example,
ceramics,
design,
textile
fashion,
design,
foreground
of
depth.
to
give
This
is
the
effect
sometimes
material,
working
welding.
design,
graphic
design,
reversed
in
depth
eld
photography,
where
with
Compare
Compare
with
of
is
used
to
blur
with
“ne
“subtractive
the
create
animation.
clay
imbalance
and
are
imaginary
when
and
furniture
when
term
purpose
interior
your
generic
creative
For
you
an
life
an
are
drying.
pigment
acetate
create
of
compositions
around
axis
of
synthetic
opposite
Most
art”.
the
foreground
the
focus
and
sharpen
sculpture”.
Appliqué:
needlework
in
this
is
the
distance.
The
which
illusion
Aerial perspective:
in
of
depth
is
just
as
when
small
pieces
of
cloth
are
sewn
effective.
colour
values
are
used
to
create
or
an
illusion
of
depth.
More
stuck
in
a
pattern
on
a
larger
intense
Axis:
piece.
colours
appear
to
come
an
imaginary
through
while
desaturated
line
running
forward
colours
recede.
Appropriation:
when
an
image
idea
is
taken
from
its
form
or
composition
or
around
an
a
which
elements
are
original
arranged.
Aesthetics:
this
considered
beautiful
is
what
is
context
the
eye;
the
way
an
or
pleasing
object
and
recycled
by
an
artist
to
in
order
or
to
to
create
new
meanings,
subvert
its
conventional
can
meaning.
Alla prima: when
paint
is
Balance:
put
the
ground
is
still
make
dynamic.
a
soft
Careful
negative
method
of
imbalance
use
space
as
of
positive
well
as
the
creating
placing
creating
and
composition
wet,
Aquatint: a
often
a
on
and
while
balance
looks.
blurring
of
shapes
in
relation
to
of
areas
of
resin
dust
tone
in
etching.
A
ne
the
frame
will
give
harmony
to
a
colours.
(rosin)
is
heated
so
design.
that
Allegory:
when
an
image
it
plate.
used
to
symbolize
a
fuses
Acid
a
deeper
moral
or
Often
represent
abstract
used
notions
sleep,
successively
other
bite
of
the
(erode
exposed
areas
Batik: painting
dye
on
cloth
areas
resulting
are
protected.
parts
which
pitted
surface
of
depths
heroism,
as
is
ne
lled
dots
with
of
arrows
as
an
with
his
allegory
of
bow
Compare
falling
with
having
more
of
most
or
colour.
structure
a
sculpture,
works
the
that
usually
modelled
of
such
It
is
as
wax,
often
clay
or
with
“rendering”.
slow
drying,
oil
Because
paint
effective
medium
to
than
blend
the
artist
changing
constructed
is
a
it
is
more
with
acrylic,
which
allowing
to
render
light
over
the
effect
of
forms.
art
wire,
wood
or
welded
steel.
ambiguous.
Blocking out:
Assemblage: when
Analysis: the
command
term
analyse”
is
dened
in
the
from
as
“break
down
to
bring
out
the
artist
are
put
the
–
of
lls
in
this
the
is
when
main
the
forms
everyday
life)
composition
with
solid
of
slabs
to
create
a
sculpture
colour
as
a
preliminary
to
in
think
order
(often
Visual
together
guide
objects
“to
found
arts
transitions
Compare
The
from
are
tone
than
interpretation.
plaster.
meanings
creating
of
“metaphor”.
material
possible
the
any
densities.
underneath
one
have
in
supports
Ambiguous:
not
and
Armature: the
love.
do
for
differing
Cupid
with
on
ink,
tone
of
example,
wax
colour.
Blending:
or
printing
victory,
printing
enslavement
or
using
such
varied
mortality,
surface
to
to
The
as
the
used
spiritual
while
meaning.
is
feeling,
away)
or
on
is
of
a
three-dimensional
adding
detail.
essential
collage.
elements
or
structure”.
143
G L O S S A R Y
Block printed:
block
as
as
used
a
using
relief
in
a
raised
surface
traditional
to
wood
print
Compare and contrast:
command
Indian
the
Visual
term
arts
is
guide
light
this
dened
as
a
in
(back
lit),
an
account
of
similarities
differences
rmly
joining
paper
or
cloth
types
between
two
using
heat
or
of
to
accepted
In
way
school,
of
for
there
are
conventions
situations,
or
referring
an
something.
example,
items
form
(or
different
more)
they
and
doing
Bonding:
that
“give
Convention:
textiles.
so
silhouette.
both
(all)
of
behaviour
and
of
dress.
In
past
them
traditions
glue.
art
usually
followed
throughout”.
convention
Brushwork:
has
the
applied
textured
way
the
an
paint.
(loose
Fast
Complementary colour: the
yet
three
in
and
controlled
much
pairs
colour
of
opposites
circle
are
complementary.
on
the
18th
about
described
These
red/green
metal,
for
When
each
other
they
three-dimensional
into
a
mean
this
means.
mould.
something
enhance,
formed
placed
so
red
next
seems
modelling
dark
clear
light
to
show
form.
away
casts
at
the
redder
to
a
like
stage
wings,
a
sense
of
green.
which
draws
the
viewer
a
of
arrangement
into
“repoussoir”.
painting.
elements
In
sculpture
the
picture.
it
was
to
Renaissance
much
Compare
This
with
technique
favoured
the
relationship
of
the
forms
artists,
by
as
early
well
as
by
A
each
source
snake
forms
of
is
and
distance
the
the
structure
within
light
example,
by
and
the
for
landscape
Can
Composition:
Chiaroscuro:
where,
a
the
depth
also
stage
shape
when
pouring
of
contrast
sides,
by
effect
example,
and
a
the
placed
into
into
been
liquid
against
plastic,
has
convention.
and
having
or
–
are
scenery
purple/yellow.
plaster
century
breaking
Coulisse:
orange/blue,
molten
rules
Romanticism
(tight
as
form
since
or
brushwork).
Cast: to
established
art
and
brushwork)
the
careful
–
artist
other
and
the
surrounding
oriental
landscape
painters.
shadows
space.
transforming
a
shape
into
a
form.
Criterion (plural: criteria): the
Conceptual practice:
Chine
collé:
French
for
In
aspects
lightweight
papers
are
laid
an
plate
so
that
practice
that
intent,
and
by
art-
heavier
backing
is
concerned
assessed.
the
visual
on
they
paper
adhere
to
to
add
areas
of
of
ideas.
series
of
line
which
allow
printing
colour,
will
onto
of
equal
value,
such
as
be
in
guide.
Each
one
the
has
level
descriptors
a
linked
a
mark
range.
It
is
a
very
good
to
study
these
carefully
to
the
that
you
have
addressed
materials
lines
on
a
map
showing
all
otherwise
given
or
contour
would
are
connects
ensure
that
qualities
work
It
points
to
They
arts
idea
used
the
is
it.
Contour: a
is
of
your
Visual
to
printed
which
when
communication
the
artist’s
over
with
inked
of
printmaking
making
the
descriptors
to
Chinese
the
sticking.
refers
be
the
assessed
areas.
too
points
of
equal
height.
The
same
delicate.
principle
when
Collograph:
this
is
when
a
as
card
is
both
cut
used
in
follow
Cross hatching: hatching
drawing
the
boundaries
use
into
built
up
with
textures
parallel
a
form
or
points
to
of
equal
tone.
tone;
when
different
this
is
when
that
can
be
inked
to
stands
with
their
relief,
as
intaglio,
or
combination
of
in
produced
effects
of
described
visual
in
the
light.
in
one
from
can
terms
and
leg,
described
in
the
effect
of
be
tense
144
on
darker
created.
hips
shoulders
in
Cropping:
are
cut
this
off
by
is
when
the
objects
edge
relaxed
leg
and
relaxed
arm.
leg
picture,
with
as
often
of
happens
the
in
the
tensed
arm
with
photography.
Cropping
is
less
usefully
The
resulting
pose
evident
in
paintings
before
hue,
colour
of
is
usually
curves
which
imply
both
life
statues
and
and
the
invention
is
we
window
this
is
when
an
of
photography.
reality
person
is
placed
against
reminds
are
or
the
looking
seeing
a
viewer
through
portion
a
of
a
object
always
neighbours.
Cropping
that
contrasts
colour
its
in
paintings.
or
dependent
are
saturation.
terms
of
their
their
direction,
contrasting
Contrejour:
as
and
opposite
movement
Colour contrast:
tilting
direction
the
has
brightness
(cross
successively
sensation
eye
It
overlaid
both.
one
Colour: the
are
as
on
a
these
directions
weight
tones
as
the
be
gure
printed
is
create
a
hatching)
surface
to
create
Contrapposto:
a
lines
and/
in
or
of
material
of
such
is
lines
that
the
the
frame.
continues
outside
of
G L O S S A R Y
Culture:
The
denes
culture
shared
Visual
beliefs,
attitudes,
as
arts
values,
products
Diptych:
guide
“learned
and
interests,
and
a
work
painted
hinged
together.
of
behaviour
society.
This
view
an
of
organized
symbols,
ideas,
and
your
to
consider
signicance”
of
daily
study
the
lives”.
you
to
and
or
both
and
and
at
by
paint
across
mix
how
using
a
line
edge
which
and
delicate
or
dragging
a
dry
a
En plein air:
doors”
French
meaning
landscape,
not
in
intaglio
wax
protect
a
zinc
or
steel).
“pockets”
of
colour
into
so
that
underneath
to
show
can
texture
they
can
Francis
extensively
be
created
Bacon
be
in
his
paintings.
of
ink
and
with
wiped
“scumble”.
of
colours
made
a
pigments
such
as
have
raw
sienna,
by
the
At
HL
this
The
lled
top
surfaces
with
are
Using
the
paper
burnt
into
to
pressure
the
lines,
is
pulling
make
a
positive
the
mark.
umber,
with
“engraving”.
red.
prints
and
of
the
of
include
are
exhibition
are
often
produced
for
each
piece
submitted
the
viewer.
sections
to
potential
between
the
students
cast
a
numbered
set
of
originals.
Refer
assessment.
the
guide
This
outlines
to
are
then
signed
by
the
title,
medium,
size
and
for
after
which
the
print
plates
of
each
piece.
Where
detail.
sculpture
mould
is
destroyed
students
to
Deconstruct: to
take
preserve
to
reveal
the
elements
or
artwork,
to
reassemble,
elements
edition”.
of
are
numbered
one
of
the
all
the
is
emboss
original
image.
contain
reference
is
to
create
must
of
The
text
the
should
In
printmaking
to
any
inuenced
sources
the
a
piece.
this
of
evident
achieved
in
by
pressing
leather
work
into
by
soft
Figurative: depicting
living
in
Compare
forms
using
a
realistic
in
sculpture
by
carving,
with
the
“abstract”.
Look,
in
at
setting.
in
stamps,
architecture.
example,
source
postmodernist
especially
and
have
individual
surface.
paper,
but
the
sequence
been
is
in
this
which
to
artist’s
text
total.
Emboss: to
arts
in
leaving
concept
exhibition
their
sometimes
has
the
acknowledge
relief
important
in
an
as
another
Conventionally
visible.
Deconstructivism
deliberately
this
image,
out
then
of
are
appropriating
margin
artifact
exclusivity
structure
prints
constituent
the
apart;
“limited
usually
buildings
ceramics
by
pushing
into
the
of
soft
clay,
etc.
Fine ar t:
a
creative
disciplines
generic
term
for
the
do
not
Gehry.
Embroider:
decorate
with
Depth:
how
far
back
the
a
practical
stitching;
items
can
to
recede
from
the
embroidered
or
printmaking
machine
and
picture
painting,
surface
hand
(the
For
be
example,
picture
application.
image
of
appears
that
patterns
have
the
are
shows
or
of
drawn
metal
press,
intention
Frank
acid.
grooves
Compare
venetian
artist,
for
then
clean.
out
the
fashion
used
yellow
ink
These
era,
is
exposed
printing
forced
for
the
is
(copper,
from
the
text
an
printmaking
plate
This
the
etched
resulting
uses
this
as
these
studio.
space.
sculptures
or
of
the
curatorial
consideration
further
of
ground
metal
Exhibition tex ts:
relevant
the
A
required
and
“out
front
Etching: an
a
Edition: both
artworks
for
in
technique.
to
rough
presentation
methodologies.
relationship
Compare
acetate
This
leaving
sepia,
work
paper.
engraving”.
surface
ochre,
of
white
“wood
displayed
SL
intentions
the
burr.
light
Dry brush:
mineral
considered
the
or
expressive.
Ear th colours:
student
is
In
Compare
the
ink
marks
the
exhibition
Curatorial rationale:
explains
positive
text
why
selected
gallery
the
dark
are
this
the
a
creating
and
through.
in
making
under
the
artworks.
how
were
create
ink
be
from
works
press
“cultural
Curatorial documentation:
explaining
out,
a
and
their
comparative
asked
of
surfaces
made
(copper
(usually
top
and
production
create
in
plastic
the
clean
system
heavy
manipulate
metal
with
or
plate,
wiped
explanations,
material
humans
print
on
can
that
the
are
culture
holds
beliefs
to
pressure
intaglio
inscribing
sheet)
of
two
and
created
zinc)
includes
of
carved,
lifted
by
by
or
all
Dry point: an
patterns
consisting
panels,
sculpture.
plane).
embroidered.
Foreshor tening: this
Depth of eld:
in
Engraving:
this
is
the
range
of
focus
in
an
and
behind
the
point
intaglio
that
in
perspective
as
an
Copper
or
zinc
focused
a
illusion
form,
such
plate
incised,
or
cut
into,
with
outreached
arm,
leads
into
metal
the
is
when
the
is
lens
the
printmaking
front
technique.
of
is
photography
space.
on.
implements.
Ink
is
then
applied
145
G L O S S A R Y
Form:
this
meaning
word
in
has
art.
It
three-dimensional
objects.
objects
In
images
appear
to
a
to
aspect
form
be
in
two-dimensional.
fact
also
sense
be
of
used
“giving
in
that
of
realistic
even
they
the
form”
look
is,
a
image
be
used
gures
Form
look
general
the
an
are
to
at
particularly
the
makes
solids,
can
though
we
specic
refers
gurative
the
gaze
of
to
a
out
other
words,
making
at
(Do
not
us
or
as
It
the
can
way
at
traditional
So
surface
give
oil
paint
artists
to
of
depth
if
the
a
when
and
pure
yellow,
talk
about
the
formal
then
artist
allows
paints
in
art
we
are
not
coat
just
of
pure
it
over
blue,
to
form,
tangible,
but
to
physical
all
the
of
aspects
that
yellow
stained
as
glass,
if
so
with
make
the
an
artwork
(light,
colour,
fresh
green
composition,
texture,
media
the
and
function
so
on),
and
The
depth,
manipulation
separate
same
using
of
will
looking
from
acrylics.
thin
meaning.
In
or
There
are
Most
coloured
as
landscape
format,
It
angled),
is
such
of
a
as
tondo
These
The
etching
the
with
Hue: the
is
colour
a
which
transparent
other
is
that
distinct
the
is
acid-
applied
property
distinguishes
colours
brightness
coating
by
on
to
(as
or
of
it
opposed
a
from
to
its
saturation).
bisque
ring
to
transforming
Icon: literally,
an
imbued
religious
qualities
can
and
with
the
is
worshipped.
term
is
used
freely
nowadays,
multi-panelled
work.
a
prints
media
(three
system
pleasing
(two
panels)
in
polyptych
(multiple
panels).
is
to
create
aesthetically
proportions
ancient
that
of
Greece.
a
line
is
sequential,
the
format
such
as
in
divided
the
so
paint
section’s
an
animation,
Warhol’s
to
screen-
icons.
technique
on
the
smaller
the
larger
section
is
the
a
the
larger
section
is
to
thickly
of
to
give
a
that
relation
the
surface
texture.
to
same
as
In situ:
in
more
example,
principle
scroll
could
a
for
originating
The
pronounced
Alternatively,
However,
much
waterproof.
be
Andy
diptych
is
the
or
describe
called
that
power
the
making
Golden mean (golden section):
of
image
melt
and
(round)
artwork
triptych
painting,
their
ground.
metal.
that
laying
be
white
ground
layer
Impasto:
or
a
forms
are
panels),
with
related
series
a
glaze
minerals
xed
minerals
ceramic
miniature.
part
artists
prepare
by
mediums
panoramic
surface
(wide
to
effect.
or
the
portrait
of
glassy
modern
continued
a
many
ware.
such
a
white
appear
through
achieved
a
colours
compositional
framework.
types
be
ceramics
coating
produces
Format: the
can
prepared
lead
see
creating
translucent
translucent
they
oily
protect
space,
to
bright,
dry
resistant
make
wanted
create
paints
to
an
we
thus
they
and
canvases
In
the
as
paintings
canvases
referring
atmosphere.
their
have
qualities
the
colour
Impressionists
quickly
brilliant.
we
lighter
paint
earth
and
the
this
will
an
light
to
Formal qualities: confusingly,
artists
the
is
dark
colour.
below.)
example,
towards
it
a
create
with
layers
from
a
work
allows
underpainting
painting
work
whole
to
tone
changed
in
to
oil
tones.
each
mid
In
the
ideas,
For
(before
or
composition
between
mood
applied).
also
concepts
confuse
dened
viewer
is
However,
translucent
“forms”
the
the
gaze,
other.
glaze
concrete.
the
describe
Glaze/glazing:
in
of
person.
within
image,
spectator’s
in
place;
in
the
original
whole,
position.
storyboard
or
in
a
graphic
novel.
approximately
“rule
Forms:
in
art-making,
the
of
5 : 8.
Compare
to
Intent/intentions:
thirds”.
authorial
generalized
categories
endeavours
such
of
creative
Graphic:
a
graphic
mark
one
painting,
that
has
been
drawn
and
sculpture.
In
scratched.
the
Graphic
can
what
the
also
accomplish,
forms
table,
forms
are
clear
or
vivid.
Hence
the
by
bold
word
text.
“grafti”
(as
in
street
art.
An
ended
in
a
painting
technique
Grisaille:
which
pigment
diluted
with
in
plaster
subject
tone,
means
often
drawn
to
look
or
as
is
applied
onto
wet
has
been
carved
if
acts
as
the
binding
medium.
is
the
word
and
146
use
to
refer
to
how
work
specic,
literal,
or
open-
a
surface
abstract.
the
as
cutting
metal
in
painting
this
is
or
into
ceramic.
if
you
base
colour
and
will
are
run
over
the
ambulance,
historians
be
stone.
Ground:
art
can
from
Irony:
Gaze: this
or
a
painted
such
that
hopes
through
intent
and
Incising:
water
artist
achieve
art).
concrete
Fresco:
to
other
related
of
denoted
in
mean
communicate
art-making
or,
or
to
drawing
intent
is
words,
as
refers
broad,
determine
that
is
ironic.
by
an
G L O S S A R Y
Isometric perspective:
to
describe
objects
space
remain
a
the
synthetic
system
where
uniform
same
size,
so
illusion
of
that
are
alternatives
easier
Lithography:
parallel
lines
give
the
This
is
often
used
in
computer
against
to
place
another
contrast.
images
In
art
to
intrinsic
Kinetic:
or
one
thing
achieve
placing
together
meanings
creates
of
movement.
on
with
such
as
move
be
press.
It
piece.
also
move
of
south
seen
as
rural
France.
a
life
in
Compare
“allegory”.
is
substance.
Mezzotint (or mezzoprint): an
wax,
intaglio
drawn
marks
of
the
on
can
printing
paper
for
range
imitate
which
by
to
is
a
ink
through
particularly
marks
that
qualities
paper.
In
print
grooved
is
created
on
a
hard
steel
as
a
burnishes
the
to
was
tones
create
of
edge.
and
the
plate
rocking
black,
A
burred
copper
systematically
prints
of
technique.
surface
it
This
but
by
with
surface
the
scrapes
design
nely
lines
artist
the
in
surface
lighter
Some
century
the
principal
against
this
dark
ground.
Calder’s
and
as
the
closely
can
around
using
thin
metal
Modelling: in
therefore
kinetic,
plastic
sheets
to
sculpture
manipulation
principal
the
become
but
the
we
the
be
idyllic
it
waxy
allows
expressive
the
each
replaced
and
described
Limestone
applied
transferred
developed
be
a
is
then
a
new
water
by
20th
mobiles,
for
century
technique.
resisted
and
different
emphasizes
qualities
artworks,
19th
can
metaphor
games.
When
Jux tapose:
sunowers
plans
drawn
and
a
available
cut.
with
printing
depth.
to
commercial
of
material
to
print
create
static
forms.
Similarly,
in
technology.
sculptures
in
experience
through
a
gallery
them
so
we
Local colour:
kinetically,
an
movement.
the
actual
object
when
reecting
light.
Maquette:
French
colour
unaffected
of
painting
forms
as
modelled
being
the
eye
of
the
camera,
vary
the
look.
is
For
close
how
the
example,
to
a
wide
image
if
the
angle
will
subject
lens,
the
this
refers
scale
to
a
for
will
sculptor’s
planning
piece
colour.
The
be
an
slightly
before
distorted,
enhanced
sense
the
main
with
chosen
a
artist
only
may
one
have
small-
single
colour
to
create
completed
piece
mood,
completing
the
picture
is
only
giving
tone.
“model”,
a
face
described
paint.
it
Monochromatic:
determines
be
in
by
Modulate:
Lens:
can
in
tones
of
that
colour.
undertaken.
of
Contrast
with
“polychromatic”.
closeness.
Mark-making:
this
is
a
term
Monoprint: one
Line:
the
trace
of
a
point
used
which
by
artists
to
describe
prints,
describes
the
meeting
of
planes
at
character
of
graphic
of
a
series
of
the
effects
each
with
individual
in
variations.
an
edge,
light
or
and
the
division
dark.
Think
between
in
terms
both
drawing
and
painting.
of
Monotype: a
Mass: the
silhouettes
or
contours.
body
of
matter.
made
sculpture
lines
can
suggest
tone
and
you
might
refer
to
physical
describing
a
plane
or
by
can
also
be
mass
of
the
forms;
or
paints
the
sense
of
modulation
suggest
of
(metal,
and
force,
such
as
in
ancient
pyramids.
Medium
(plural: media):
when
a
from
a
single
objects
shown
more
an
specic
art-making
as
they
become
as
in
a
the
inky
that
linoleum
made
artists
from
is
a
cork
oor
have
and
wood
as
the
artist
grain-free
for
relief
cuts”).
on
the
granulated
back
line.
to
produce
a
Alternatively,
the
materials
used
such
as
paper
is
surface
pressed
and
a
onto
print
is
the
inked
pulled.
charcoal
and
forms
plaster.
Degas
used
both
table,
monoprint
monotype
extensively,
and
given
working
onto
pastel
adapt
often
are
listed
the
to
his
prints
each
with
differently.
or
art
an
image
symbolizes
a
that
different
Monumental:
a
monumental
work
effect
can
even
have
if
it
a
is
alternative
printing
There
after
a
are
or
feeling
is
metaphorical.
relatively
small,
the
of
often
through
(see
For
“wood
and
and
adapted
idea
to
to
forms.
suggests
cheap
refers
practice
art-making
Metaphor: in
oil
surface
photograph.
these
Lino printing:
covering
over
the
more
In
distant,
glass).
laid
diminishing
watercolour,
size
or
is
viewpoint
in
in
paper
scene
the
with
plastic
form.
Linear perspective:
viewed
the
tone,
draws
is
smooth
in
the
to
a
used,
solidity
the
on
weight,
Sometimes
without
with
the
surface
lines
print
freely
curves.
architecture
Flowing
working
form
inks
thus
unique
In
Hatched
example,
Van
Gogh’s
sense
mass.
Perhaps
the
now
147
G L O S S A R Y
forms
have
been
and
weight,
or
low
viewpoint.
given
are
solidity
seen
from
a
Paint:
glue
and
the
pigment
(that
a
(the
binds
medium
paint
ow
colour)
the
plus
(which
when
expensive
blue.
pigment)
In
such
the
makes
development
is
chemistry
it
as
19th
of
led
lapis
lazuli
century
the
inorganic
to
the
invention
of
Narrative: storytelling.
applied).
acrylic,
Types
fresco,
of
paint
oil,
new
include
tempera
stronger,
lightfast
and
cheaper
and
more
colours.
Negative and positive space:
watercolour.
negative
space
is
the
area
around
(void)
and
positive
Plastic:
the
forms
Palette: Literally
space
is
form.
In
the
area
taken
up
by
strong
will
be
an
an
artist
often
used
between
the
areas,
negative
space
being
just
a
arresting
as
the
can
to
be
mixes
modelled
paint,
guratively,
being
for
or
has
the
transformed,
qualities
as
of
sculpture.
colours”
Design
in
and
of
colours,
a
cool
are
sometimes
sculpture
the
“plastic
the
material
referred
blues,
a
warm
palette
is
arts”.
to
as
Alternatively,
earth
or
a
colours,
limited
a
varied
palette
plastic
polymerization.
has
It
is
created
can
be
by
made
for
few
object”.
palette
range
is
and
palette
Objects trouvés: French
“a
positive.
reds
“found
refers
as
palette
visually
this
which
with
means
the
art
interesting
example,
balance
in
something
on
composition
but
there
board
the
which
a
the
Rubbish
highly
colours.
transparent,
translucent
or
that
opaque.
has
been
collected
by
the
artist
Patina:
is
used
to
make
artworks.
this
is
colouration
for
example,
at
the
sheen
or
Look,
on
an
object’s
surface
Plinth: the
or
useful
base
of
a
sculpture.
A
Rauschenberg’s
produced
naturally
by
age
synonym
is
“socle”
which
combines.
deliberately
by
the
is
artist.
more
base
Obser vational skills:
and
knowing
something
how
and
this
to
look
translate
Pentimenti:
the
alterations
that
mistakes
an
artist
artists
often
leave
Polychromatic:
pigment,
gives
a
sense
and
a
trace
of
was
a
work
consisting
of
of
or
more
painted
(or
carved)
the
panels
It
coloured.
oil
thought
wax.
many
their
Polyptych:
this
movement
and
the
or
four
of
describe
or
makes.
visually.
made
to
sculptures.
at
mistakes;
Oil paint:
used
classical
learning
Modern
express
often
for
process
they
that
are
normally
hinged
went
developed
together.
through
from
tempera
painting
15th
century,
allowing
in
as
the
work
Primary colours:
artists
Perspective: See
to
achieve
heightened
oil
is
the
most
blue.
“aerial
oil,
although
a
wide
mixing
oils
for
have
different
example,
some
perspective”
other
yellow
less.
proportions
of
Process:
in
refers
the
dry
faster,
Picture plane:
the
surface
to
artist
matte
can
of
By
oil
control
the
paint
changing
and
wax
a
two-dimensional
art.
Modern
work
paintings
the
gloss
and
the
appear
at
forward
or
from
even
the
to
of
the
colour.
into
the
viewer’s
also
be
seen
remind
the
It
a
to
a
colour
opaque.
end
operation
(or
that
range
of
cognitive
practical
(or
methods
come
picture
techniques
space.
viewer
that
are
employed
plane
you
are
engaged
in
an
art-
Artists
surface
of
the
of
activity.
the
canvas
with
rough
or
Contrast
do
not
confuse
scale
mark-making.
with
it
an
will
paper
make
is
and
Propor tion:
white
process
the
through.
physical
Adding
to
of
making
Opaque: cannot
means
often
when
brilliance
art-making,
of
or
or
by
colours.
properties,
thinking)
the
and
created
and
involves
the
yellow
be
perspective”.
product).
others
cannot
variety
“isometric
of
They
perspective”,
commonly
“atmospheric
used
red,
“linear
realism.
perspective”,
Linseed
developed.
the
proportion,
which
means
with
In
the
past
the
picture
plane
was
the
relationship
in
size
of
one
“translucent”.
treated
as
a
window
through
thing
which
Overlapping:
this
is
the
of
giving
the
illusion
of
the
another.
world
simplest
was
way
an
to
illusion
Protagonist: the
seen.
main
gure
in
a
of
scene.
depth,
for
example,
used
in
Pigment:
the
intersecting
planes
the
Originally
overlapping
shapes
in
colour
in
paint.
and
these
were
minerals,
Provenance:
this
is
the
term
some
cheap
such
as
the
earth
to
describe
the
history
of
paintings.
colours
148
used
Cubist
like
ochre,
others
has
owned
a
work
of
art.
who
G L O S S A R Y
Raking: light
acute
angle
textures
which
to
or
falls
reveal
relief
of
at
the
an
–
an
surface
these
place
object.
key
with
Readymade: a
by
Marcel
term
from
their
artist
to
original
Recede: to
on
a
that
go
to
items
become
is
described
context
by
the
art.
back,
the
depth
recedes
the
most
which
Scumbling
to
canvas
Compare
by
as
at
strength.
full
is
from
highly
can
Monet.
and
pigmented
relative
size
of
or
mixing
an
two
shallow
of
the
a
coarse
favoured
with
“dry
a
overlays
artist
layers
of
colour
Italian
for
form.
effect
top
layer
of
scratching
to
reveal
a
surface
relief
(or
such
underneath.
ceramics
bas-
as
This
well
the
is
as
design
on
a
coin
in
which
translucent
to
create
depth,
volume
and
scratch,
picture
the
of
by
colours.
technique
perceptions
“the
orange
made
primary
the
away
In
particular,
refers
to
the
of
colours
or
tones
so
colour
often
in
it
a
used
that
there
is
no
perceptible
in
For
example,
painting.
Leonardo
relief)
on
green,
are
Sfumato:
blending
from
they
transition.
the
best
much
Compare
violet,
subtly
as
was
Secondary colours:
be
saturated
object.
artwork
the
colour
being
it
Scale: the
illusion
in
as
plane”.
Relief: raised
works
and
brush”.
mean”.
when
Scrato:
scene
at
elements.
“golden
Saturated colour:
describe
removed
two-dimensional
there
become
points
developed
Duchamp
manufactured
lines
signicant
Da
Vinci
used
sfumato
or
to
model
the
Mona
Lisa’s
face.
Screen printing (or silk-screen
the
deep
relief
of
Michelangelo’s
printing or serigraphy):
tondo
carvings
of
“The
Space:
developed
and
Child”.
Compare
originally
Madonna
in
Japan
for
expanse
onto
textile.
Ink
is
forced
Rendering:
this
or
modulation
in
drawing
to
create
or
is
the
from
painting,
form.
“modelling”
and
to
frame
or
transition
light
convincing
dimensional
dark
silk
covered
mesh
surface.
beforehand
usually
applied
three-
Compare
with
the
as
Repoussoir: this
objects
in
viewer
an
is
the
when
arching
the
tree
–
is
objects
are
as
an
negative
a
is
cut
print
Spectrum:
prepared
refracted
stencil
emulsion
areas
nylon
of
to
the
or
a
scene
and
draw
picture.
and
a
–
to
the
Imagine
used
as
throughout
design.
viewed
“screens”
the
rainbow.
red,
for
series
a
le
that
computer
of
the
assessment
uploaded
on
that
screens.
is
will
a
be
monitor
A
of
The
orange,
and
is
white
its
light
different
colours
visible
yellow,
as
green,
Compare
with
“coulisse”.
a
digital
instead
Resolved:
generally,
screen
that
an
artwork
and/or
that
Stippling:
this
achieved
by
being
the
surface
light
dots
is
it
is
the
book
of
the
produce
their
an
a
series
not
a
simple
suggests
artist
artwork
will
is
it
still
looks
an
that
are
art.
The
specic
use
software
the
is
an
course
assessed
and
this
to
develop
analyse
While
of
ideas
audience.
are
Ultimately
valid
tools
for
your
language
how
resolved
all
of
screens
for
the
when
or
comparative
is
could
come
down
to
your
is
applied
an
eraser
is
used
to
rst,
draw
they
are
not,
in
any
back
into
light
areas.
the
dark
to
reveal
the
teacher
way,
and
tone
a
submission,
with
a
study
then
discussion
drawing
process
your
portfolio
work
to
art.
generating
is
of
how
the
potential
question
for
or
®
.
plenty
Subtractive: subtractive
an
element
book
unnished
these
to
of
subject-specic
such
®
PowerPoint
Keynote
of
format
®
®
words
eld
electronic
using
Microsoft’s
the
“slides”,
includes
say
to
would
idea.
complete
of
colour.
is
of
Apple’s
when
or
brush
against
used
nished.
as
that
original
form,
presentation
Sometimes
which
is
blue,
effect
end
repeatedly
to
of
an
the
tapped
language
in
which
However,
“pages”,
is
is
was
complete
of
“Screens”
“resolved”
imply
means
page.
a
violet.
Subject-specic language:
sunset.
in
spectrum
is
syllabus
reminder
product
digitally
a
term
constant
nal
as
distant
a
the
this
into
wavelengths
block
indigo,
framed
foreground
depth
into
the
design
ne
“blending”.
landscape
emphasize
with
onto
The
Screens:
by
which
located.
a
a
three-dimensional
in
through
“emboss”.
usually
the
printing
to
prescribed.
In
subtractive
colour
peers.
Scumble: literally
Rule of thirds: imagine
divided
into
colour
roughly
mixing
each
time
colour,
such
as
make
so
that
both
blue
to
add
red
a
to
over
thirds
another
you
one
a
opaque
composition
scrubbing
can
be
purple,
it
becomes
darker
seen.
149
G L O S S A R Y
(hence
to
darker
is
subtractive);
make
it
brown
still.
when
start
material,
such
and
away
as
with
a
light
through,
in
sculpture
window
it
Subtractive
you
Translucent:
becomes
add
and
yellow
a
mass
block
of
of
or
from
it
to
can
be
Wax:
seen
stained
glass
translucent
glaze
of
stone,
work
consisting
panels
usually
dull.
is
made
painted
the
create
is
also
the
eye”,
is
French
for
for
example,
aspects
art-making
objects
appear
of
an
a
practice
with
the
the
work,
and
specically,
decisions
made
materials,
to
be
real
and
this
the
base
to
term
colours
block
out
previous
as
well
egg
for
soft
owing
good
to
the
requires
a
fast
that
an
artist
main
areas
the
way
of
artwork
the
has
nished
before
to
be
have
dried.
If
a
the
rst
colour
is
composition.
of
tonal
real,
yolk
is
used
as
(Do
onto
wet
paint
it
tends
variation.
to
mix
in
a
intense
smooth
and
soft
way,
creating
effect.
or
This
imagined,
difcult
tempura
to
achieve
without
a
position
from
looks
a
which
the
spectator
colours
becoming
muddied.
not
which
at
painting.
Consider
Compare
to
Wood cut:
a
“alla
prima”.
is
viewpoint
in
relation
depth
the
to
illusions
of
eat!)
these
and
use
mixtures
of
the
of
perspective.
The
side
into
to
three
the
ability
browns
and
interpret
from
neutral
colours
such
and
on.
as
skin,
a
relief
is
cut
surface,
and
make
is
then
plants,
cuts
inked
can
be
and
highly
printed.
intricate
in
presented
nature
create
information
Wood
of
technique.
the
meaning
range
print
wood
to
which
make
of
primaries,
understand,
to
relief
grain
are
Visual literacy:
wide
to
This
medium
pigment.
Ter tiary colours:
used
paint
application.
painting
with
applied
marks.
because
the
confuse
is
wet
working,
is
binder
of
as
Viewpoint: the
where
paint
refers
an
a
wet
layers
about
Value: degrees
Tempera:
an
effect.
in
applied
technique
surface.
the
of
and
matt
creating
“trick
layers
media
for
form
uses
choices
wax
that
to
of
artist
of
denser,
good
technique
concerned
an
painting.
Underpainting:
are
so
quantity
when
create
artist’s
is
and
to
to
which
shiny,
the
Wet into wet:
Technical and material practice:
refers
are
oil
on.
of
this
body
a
Trompe l’oeil:
painting
and
of
it
opaque
properties
those
increase
impasto
or
is
together.
It
drawing
Its
to
gives
Wax
of
to
that
paint
and
can
hinged
surface
in
thickness.
translucent
a
sculpture.
Suppor t: the
wax
and
opposite
reveal
three
the
a
a
paint.
Triptych:
take
as
in
the
form
of
an
as
in
Ukiyo-e
in
character
or
very
rough
wood
image.
so
Along
with
pink
as
expressionist
mauve,
they
do
not
occur
in
in
the
Void: nothingness,
space
spectrum.
that
is
the
or
the
of
tradition.
mass,
and
tactile
qualities
in
other
qualities
of
touch.
words,
Voyeur:
the
someone
pleasure
from
Sometimes
Tint:
created
by
adding
white
to
for
example,
pink
is
a
the
intensity
of
and
dark.
Shading
is
makes
into
way
tone
to
a
made
arabic
from
as
a
of
binder
applying
paints
(a
natural
drawing.
course,
water!
to
grain
create
a
of
relief
is
Wood
engravings
resin)
then
inked
and
are
us
lives.
gum
into
which
characterized
details.
and
cut
printed.
people’s
light
a
is
surface,
often
pigment
150
artist
onlookers
Watercolours:
the
print
end
others.
red.
Tone:
relief
hard
gets
on
tint
private
of
who
spying
a
unseen
colour,
The
of
wood
surfaces,
a
form.
technique.
the
German
empty
opposite
Wood engraving:
substance
Tex ture:
the
and
plus,
of
by
very
ne
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design
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Lawrence
J.
(2000).
London:
O’Riley,
K.
M.
Lawrence
152
(Ed.).
movements).
Minimalism
Phaidon
(2001).
King.
Art
experiences.
New
J.
(2009).
Art
and
artifact:
The
King.
medium.
Meyer,
innovative
(themes
and
Press.
Beyond
the
York:
Willey.
Cultural
Putnam,
History.
of
West.
London:
London:
Thames
&
Hudson.
museum
as
Index
Abstracted
Face
academic
honesty
acrylics
Adam
24,
and
Adobe
73
Eve
American
analysis
88,
of
35,
49,
80,
81,
22,
35–6
24
appropriation
Henri
Cartier
sculpture
brushwork
21
47,
conict,
questions
107
dumping/brainstorming
bronze
buildings,
conceptual
73–4
28
thinking
Bresson,
33
drawings
(colour)
brain
colours
art
printing
Botticelli
92
55
53
land
analogous
block
blue
68
beauty
ambiguous
contour
Bloom’s
138
products
aesthetic
118–19
blind
84
complementary
“contrived”
lms
annotation
Calder’s
61
42,
44,
46–7,
mobiles
call–outs
52
work
box
54
4
analysis
crochet
80
questioning
25
criticism
16
21
130
10
critical
93
Anime
49
contrast,
creativity
64
115
function
20
cotton
24
of
127–32
contour
corsets
in
impact
contextual
convention,
27
26
contrasts
qualities
87,
model
93
91
(coral
reef)
54
®
Apple
Keynote
appliqué
canvas
88
23,
106–107,
32,
49,
carvings
armature
art
78,
47,
visiting
93
48,
49,
art
museums
99,
of
photographing
presentation
provocative
84,
assessment
weighting
Francis
Banyan
39,
55,
69,
sculptures
Joseph
121
iv
57,
103,
bibliography
referencing
20
136
The’
103
87
89,
art
pieces
119
art
118,
11,
13,
137
30,
40–1,
42,
55
Edward
depth,
illusion
of
35
18,
19
colours
21
eld
of
27
105
panels
“Distortion
of
140
the
Human
Form”
37
contrast
documentary
21
ideas
communicating
meaning
83–5
comparisons,
making
competence,
technical
103
61–2,
63
names
Dragon
Robe
drawings,
dresses,
104,
and
webs
conceptual
art
conceptual
framework
point
43,
84
53
(URL)
38
57
blind
contour
designed
73–4
118
28
Duchamp,
16–17
art
domain
dry
conceptual
7,
Degas,
display
105
22
maps
99 ,
99
136
17
diptych
communicating
concept
135,
137
statement
de–saturated
49
28
20–1,
53
58
darkness
depth
121–5
105
11,
133,
rationale
135–6,
decorative
10,
composition
24
151
89
77,
art
documentation
Salvador
37,
125–7
138
54
bibliography
(colour)
5,
colour
26
Dali,
19
113
collograph
criteria
7,
of
116–17
33
138
collective
117
art
75,
critique
colour
for
painting
of
35,
practice
curatorial
curatorial
18
Transparent,
collage
136
assessment
audience
is
17,
visions
collaborative
130
142
sculptures
133,
coherence
125
assemblage
Bacon,
clay
116
53–5
obvious/literal
size
Brothers’
34,
35
47
curatorial
class
80
32,
21
cityscape
72
hegemony
signicance
curation
37
17
86
cultural
culture
26
27
cultural
Cézanne
Chinese
41
on
58,
curatorial
‘City
table
41,
23
citation
inuence
24,
function
40,
79
forms
art–making,
6,
37,
38,
23
sculpture
childhood,
80
32
voice”
art–making
artwork
33,
37,
19,
ceramics
30,
13
107
Nouveau
“artistic
cast
chiaroscuro
interpretation
30,
16,
hatching
Cubism
Mali
Chapman
icons
black
81,
19
45,
Leicester
art
Beuys,
80,
98–9
Gallery,
art
Art
49,
viewpoints
galleries,
Art
from
35,
eastern
cross
27
60
64
26
analysis
art,
18,
Henri
24
Makonde
118
architecture
cropping
25
Cartier–Bresson,
23
appropriation
art
surface
Marcel
duplication
of
26
work
75
129
practice
60
70
editions
26,
emboss
23
27
Index
153
embroidery
emotion
engravings
etching
Gage,
23
and
meaning
27,
Gaudi
of
work
72,
experimentation
gaze
88
and
skills
process
exhibition
and
A
Milà
with
a
C
127–32
Gramsci
criterion
D
133,
135,
grey
136
140–2
exhibition
documents
exhibition
photographs
selecting
exhibitions
31,
“satellite”
visiting
Pump”
94–5,
hands
9,
a
head
137–8
to
7,
model
lino
in
the
Air
evidence
76–7
10
hue
102,
20
printing
Mali
images
20,
107,
body
122
human
form
10,
distortion
of
53,
102,
108–10
30
interesting
feedback,
negative
77,
icons
82
53,
ideas,
87
56,
6
McFee,
June
26,
King
metacognition
87
metalanguage
15,
Mexican
107
developing
47,
51
60
70
88,
90
18
revolutionary
mezzotint
100
63
20
24–5,
Matisse
metaphor
failures,
38,
19
medium/media
55
37,
23
woodcarvings
materials
51
90
condition
16–17
mass
118
30,
60
mark–making
138
human
21
sculpture
58,
carving
Maori
human
28
28
colour
41,
140
33
107,
86
17–18
Makonde
89
David
35,
132
17
23,
74
d’Avignon
13
lithography
59,
scarves
horse
98–9
Bird
138
experiments
life
105
12,
Hockney,
135
49,
46
91
24
media
Demoiselles
112
64
work
blue
lazuli
Les
40,
hardware
homage
48,
on
experimentation
led
99,
139
45,
“Experiment
eye
work
own
lapis
line
33,
on
1
20
30,
group
hatching
139
45
64
113
light
(colour)
hanging
texts
Andy
35
handwriting
artworks
31,
32,
landscapes
local
141
18,
Pedrera’
lens–based
16
99
133–4
space
107
sculptures
grotesque
submission
Casa
labels
Earring,
143–50
criterion
digital
Pearl
mean
Gormley
86
64
Goldsworthy,
121–5
Daniel–Henry
33
‘La
golden
86
kimonos
La
125–7
exhibition
78,
57
B
exhibition
49,
108–17
27,
criterion
exhibition,
48,
16,
glossary
92–3
rening
criterion
exhibition,
45,
appropriation
77
portfolio
reviewing
to
kinetic
32,
genres
Girl
76–7
photographic
Kahnweiler,
22
visits
98–9
28
28
evidence
John
galleries,
15
artists
28
®
feet
identity,
81
Feldman,
lm,
Edmund
working
lming
with
sculptures
ne
art
ow
charts
owers
17,
27
fonts
to
‘In
intent
aspect)
qualities
formal
requirements,
15,
49,
15,
71
objects”
Index
48
irony
18
119
52,
in
59
129
141
of
my
Father’
28
124,
77,
art
50,
maps
Ming
Dynasty
59
modern
art,
127
HL
Jain
statue
joiners
80
54
monotype
movement
Munch,
56
mural
105
format
judging
art,
“justify”
3
juxtapositioning
61
133
beginnings
54
35
27
27
33
16,
18,
31,
45
35,
36,
55
33,
37,
40,
61
of
to
art
45,
48,
49,
119
136
88
66
visits
debate
135,
77,
84
vase
Edvard
museums
journal
43,
107
monoprint
Murakami
and
42,
monuments
art
51
SL
136
82
14
of
mind
modernists
100–1,
13,
PowerPoint
mini–exhibition
failures
interpretation
19
71
154
90,
Microsoft
117
processes
interiors
89
formal
24
125,
size
House
114
analysis
“fountain”
the
intaglio
formal
fresco
images,
142
of
mortality
interesting
use
(3–D
“found
imagery
105
141,
and
42
foreshortening
forms
illness
93
27
focus
form
Burke
sense
narrative
negative
netsuke
art
53,
space
24
115
16
78
41
66
I N D E X
note
taking
nudes
14,
attitudes
86,
to
observational
oceanic
oil
skills
opaque
22,
110
104
128
Sphere’
paint
109,
117
forms
‘Oceans
criteria
46
73,
76–8,
criterion
B
78–82,
criterion
C
82–5,
93
self–portraits
93
Self–Portrait
D
85–7,
criterion
E
88–90
puppet
24
orientalism
Pye,
paint
22,
painting
24,
patina
paying
PDF
for
les
7,
art
88,
aspects
in
art
of
Art
40,
96
photographic
records
photographing
own
142
work
77,
of
photographs,
photography
9,
plane
27,
35,
18,
40,
138
124
positive
printing,
107,
109,
24,
25,
51,
portfolio
8,
portfolio,
29,
Art,
71,
119
76–82,
Boiled
42,
48
38
6
26
26
34
17,
23
124
relationships
124
language
15 ,
90
17,
114
25
tattoos
129,
132
62
forms
technical
88–9
‘work
18,
in
progress’
22,
26,
Brothers’
141,
54,
68,
wire
30,
37
text,
142
73,
74
104,
125–7
51
89
25,
texture
22–3
33,
57
relationships
103,
thought
47,
24
textiles
‘Three
56
70
24–5,
adding
themes
91
material
competence
techniques
thematic
142
46
marble
and
practice
28
75,
feedback
technical
72
99
Gormley
with
32
tempera
lming
Jain
assessment
with
40–1,
23
The
artists
123,
teacher
documenting
70–1,
46–7
115–16
Museum
synthesizing
91–2
12,
displays
72
44,
114
symbolism
139
45
Chapman
119
27–8,
Art
sculpture
of
42,
19
12,
sunowers
72
88–9
18,
sculpture
88,
16
21
screenprinting
sculpture
130
65,
Story
38,
subject–specic
77
16
107
90–3
process
89,
screenshots,
111
84,
16,
stylistic
59
24
20,
ideas
reliability
paint
street
exhibitions
schematic
47,
41
117
16
scanners
24
97,
3-D
printmaking
process
John
screens
presentation
40,
69,
73
30,
spray
stone
79
134
Donald
screen–based
art
of
39,
55,
140
space
style
thirds
Ruskin,
scale
space
predictable
of
styles
35–8
85–6,
saturation
105
86,
sources,
still–life
96
“satellite”
17
postmodernism
process
researching
rule
Ian
Construction
steel
referencing
50
122
“Soft
support
110–12
self
81,
18,
53
35
15,
66
socle
ritual
Jean
19
106,
59,
religious
Rodney,
140
62,
mural
Stedlijk
reviews
72,
86,
28
33,
annotated
56
research
30,
sketches,
icons
33
130
portraits
artworks
Points’
Siqueiros
religious
141
78
Jackson
polyptych
Art
26,
6,
Ernest
18,
children
exhibition
Pablo
Pollock,
of
printmaking
resolved
115
plagiarism
between
representation,
2
artworks
Pop
relief
Renoir,
74
photographing
photographs
art
Beans”
87
123
Museum
media
Pignon,
85,
relationships
of
21
photographic
plinth
85–6
86
128
sociopolitical
26
Palette
117
Formal
in
111
25
skin
17
reecting
41
picture
48
23
rening
91–2
Philadelphia
Picasso,
silk
83
97,
with
theme
shock
31
art
readymade
55
19
philosophy
shell
55
75
issues
Sklarsky,
raking
phenomenological
colour
‘Seven
53
19
26
perspective
sensitive
47
William
quilting
Chinese
23,
of
self–plagiarism
92
25
24–5
painting,
art
theatre
purposes
34
92
criterion
provenance
25
25
self–expression
A
propaganda
128
24,
sealants
75–90
criterion
123
123
boxes
Figures
31
at
Crucixion’
the
Base
of
a
69
three–dimensional
forms
72
Index
155
time
and
motion
timelines
tonal
tone
17,
Victoria
21
18
translucent
trees,
19,
130
transcriptions
23,
107,
phrases
triptych
106,
118
video
les
urinal
prints
visual
forms
Van
void
52
156
Index
33
galleries
‘Windmill,
text
Duarte
cuts
engraving
exhibitions
wood
as
48,
49,
78,
see
also
89
Vincent
61
17,
35,
39,
55
Andy
watercolours
weaving
27,
138
105
113
28
28
sculpture
26
carvings
25
‘work
in
progress’
screenshots
131
81
Xi,
Guo
22
18
memorials
Warhol,
The’
Castle’
wood
45,
129,
20
wood
balance
literacy
58,
136
wool
16,
15,
(colour)
yellow
17
20,
Museum
142
19–20,
48
Gogh,
vases
141,
museums,
and
visual
72
war
value
Albert
white
107
‘Windsor
viewpoints
Vitória,
Ukiyo–e
websites
61
98–9
68
105
two–dimensional
and
138
and
9
60,
appropriation
video
visiting
24
photography
trigger
diagrams
Vermeer
contrast
tondo
Venn
23
42
23
33
130
24
22
Yoshitora,
Utagawa
52
77
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