Board of studies art essays

Board of studies art essays

The structure of the Arts essay generally has an introduction, main body and conclusion. The introduction is the first piece of the essay and is commonly written alongside the conclusion. A good Arts essay requires the introduction to grab the reader’s interest immediately. Advice to the writer is to start with his/her claim right blogger.comg: board of studies Visual aesthetic perception (“aesthetics”) or the capacity to visually perceive a particular attribute added to other features of objects, such as form, color, and movement, was fixed during human evolutionary lineage as a trait not shared with any great ape Visual Arts. Art criticism and art history. General Instructions † Reading time – 5 minutes † Working time – 1– 1. hours. 2 † Write using black or blue pen Black pen is preferred. Total marks – 50 Section I. Pages 2–7. 25 marks † Attempt Questions 1–3 † Allow about 45

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This document has been produced for the teachers and candidates of the Stage 6 course in Visual Arts. It contains comments on candidate responses to the Higher School Certificate examination, indicating the quality of the responses and highlighting their relative strengths and board of studies art essays. This document should be read along with the relevant syllabus, the Higher School Certificate examination, the marking guidelines and other support documents which have been developed by the Board of Studies to assist in the teaching and learning of Visual Arts.

Teachers and students are advised that, in Decemberthe Board of Studies approved changes to the examination specifications and assessment requirements for a number of courses. These changes will be implemented for the HSC cohort. Teachers and candidates should be aware that examiners may ask questions that address the syllabus outcomes in a manner that requires candidates to respond by integrating the knowledge, understanding and skills they developed through studying the course.

Candidates need to be aware that the mark allocated to the question and the answer space where this is provided on the examination paperare a guide to the length of the required response. A longer response will not in itself lead to higher marks.

Writing far beyond the indicated space may reduce the time available for answering other questions, board of studies art essays. However, candidates should also be aware that not all questions will start with or contain one of the key words from the glossary. Responses to this question used the source material knowledgeably to make informed statements about the characteristics of social attitudes towards progress, board of studies art essays.

Most saw this as being represented in the physical nature of work and the relationships of man and machine used as a metaphor for progress. Others insightfully interpreted the photograph as a representation of gender roles in the s and as a positive attitude in American society towards the heroic and patriotic efforts of male workers.

Above-average responses were characterised by clear explanations that synthesised features of the cultural interests implied in the source material. A broader knowledge of social attitudes in America was used in supportive ways that extended aspects of the discussion and demonstrated a depth of understanding.

They referred to the emergence of post-war America as a nation striving to move forward. The explosion of technology in the age of modernity implied in the photograph was cited as further evidence of this.

These responses were clear and often linked insightful interpretations of the source material with symbolic references to the scale of the machine relative to man. Better responses convincingly proposed that this is a shared view, locating it within the particular time and place of America in the s. Many responses acknowledged the variety of media used and the assistance of gallery technicians. Some responses acknowledged the board of studies art essays of the exhibition in the production of the artwork.

These responses presented a convincing explanation of her procedures and they clearly understood the relationships between them, as shown by references board of studies art essays outsourcing, collaboration, selection, editing and simplification.

These responses also acknowledged the relationships between procedures and how they contributed to a broad understanding of practice. Contextual information provided significant detail on the procedures involved in the development of the artwork. Responses offered interpretations in relation to common human ancestry, ideas of journey, qualities of difference within unity, and culturally specific references to events in European history as well as concerns in the contemporary world.

Above-average responses were characterised by a fluent understanding of how the relationships between artists, artworks, audiences and the world produce significance and meaning in art.

These responses communicated a connected understanding of how meaning emerges through the coming together of knowledge, experience and agency of all elements of the art world within the context of this particular artwork. Students are advised to examine the source material carefully and comprehensively in order to draw inferences, rather than being merely descriptive, or reiterating quotations.

Some responses examined new approaches and the intentionality underpinning art practice. A diverse range of artists were referenced board of studies art essays Duchamp, Picasso, Warhol, Pollock, Rauschenberg, Giorgione, Titian, Manet, Morimura and Banksy. These artists were discussed with reference to their innovative works, board of studies art essays in turn have influenced and shaped other artists.

Above-average responses demonstrated a clear understanding of art practice and identified and discussed innovations established by artists. These were explained in discussions of another artist or artists.

They developed complex discussions of artistic practice in insightful and knowledgeable accounts of innovations and how those art practices influenced other artists. These better responses extended and articulated the complexity of artistic practice and were well supported by the selection of appropriate artists and artworks. An understanding of the interlocking relationship between influence and art practice and an understanding of the breadth and diversity of types of influence were clearly evident in these responses.

It is advisable to examine all three components. Most responses revealed an understanding that the intentions of artists form an important part of artistic practice and relevant examples were chosen to illustrate this. Site-specific artists such as Andy Goldsworthy and Banksy were popular choices. However, the conceptual leap to incorporate exhibition spaces with artistic intentions proved a greater challenge. Discussions of exhibition sites raised a broad range of examples, prompted by the bullet points annexed to the question.

Places that influence artistic intentions were sometimes discussed instead of exhibition spaces. Above-average responses were characterised by a comprehensive understanding of ways that exhibition sites affect the intentions of artists. These responses clearly identified the exhibition sites, often in multiple forms, and explained the physical and conceptual dimensions of the relationship between sites and intentions.

In better responses, environmental and socio-political issues were identified and examined as intentions of some artists and discussions of exhibition sites were layered successfully with these intentions.

Responses in this high range effectively integrated discussions of artistic practices and audience engagement in insightful ways while average responses approached the answer in conventional, more descriptive ways rather than as evidence supporting an explanation of how sites and intentions correlate in practice. In this case, exhibition sites provided opportunities for students to explore relationships with artistic practice. Relationships such as these need to be clearly defined and carefully selected examples introduced to address all parts of the question.

Responses to this question used the quote by Alison Kubler to present an informed analysis of the practice of a range of artists supported by detailed reference to their bodies of work. Arguments were usually in the affirmative and used salient aspects of the practice of three or four artists to develop a well-reasoned argument that made specific reference to their changing approaches to artmaking. An analysis of the artworks of artists such as Van Gogh, Picasso, Duchamp, board of studies art essays, Kahlo, Pollock, Warhol, Christo, Goldsworthy, Piccinini, Rrap and Bennett referenced the changing nature of their practice in terms of their use of materials, techniques and technologies as reflected in the diversity of their bodies of work.

These arguments confidently articulated complex relationships between artistic practice and the changing intentions of the artist across a series of artworks, reaffirming their stance in relation to the quote and explicitly linking the argument back to the question. A sophisticated and multilayered understanding of artmaking was board of studies art essays in the selection and discussion of the artworks that were used to generate a coherent and convincing argument.

The stimulus of the quote should be used to guide the selection of artists and their bodies of work, and to structure the response. Responses to this question demonstrated a broad range of interpretations supported by diverse examples from historical and contemporary contexts. A comprehensive understanding of the conceptual framework to support and direct the examination of issues raised by artists was evident. Approaches ranged from thematic and conceptual investigations to notions of the artist as a social commentator.

Some responses demonstrated an acute awareness of how different audiences engage with issues discussed. Popular issues included feminism, war, identity and technology, board of studies art essays.

Favoured choices of artists included Warhol, Banksy, Duchamp, Kruger, Manet, Delacroix, Sherman and Stelarc. Arguments were layered and convincing, with a focus on the relationship of agencies of the art world. Arguments were consistently supported by appropriate examples selectively chosen to highlight the position taken, and relevant quotations from historians, critics and artists also supported the arguments.

The question required the response to use the quote as a point of reference in constructing an explanation, providing evidence to show the relationships between ideas, artworks, world, board of studies art essays, artist and audience. The structure of the response should be based on the demand of the question in conjunction with the rubric.

Many responses included reference to debates between agencies of the art world — in particular, artists, critics, historians, the general public and the media. It was generally recognised that due to the very nature of art, artworks could not always appeal to and please everyone.

References were made to modern and contemporary artists and their practice and an appreciation of historical art was evidenced. It was clear that some pre-prepared case studies were adapted to suit the question and the degree of success of this strategy was contingent on how well the debate was argued.

Above-average responses were complex and nuanced, supported by an insightful understanding of debates and knowledge of artists, board of studies art essays. These responses offered sophisticated interpretations of board of studies art essays way debates have prompted media reactions and political comment, as well as discussing aesthetic and social ramifications.

Often these responses utilised relevant and well-chosen examples to support the explanation. The role of patrons and commissions was referenced in an historical context. Content was addressed in a rather broad and general manner in most responses to this question. A number of responses focused on a broad view of success in the art world from a wide-ranging perspective that included artists, designers and architects, with reference to their processes in developing a work or the commercial value and success of their work s.

The Archibald Prize was an example selected by many candidates. They examined this notion as a relationship between the artist, board of studies art essays, the artwork and the world. Some responses discussed specific artists from different times and presented a view incorporating the historical significance of patronage and commissions.

These more successful responses used relevant examples and discussed them in a logical and coherent manner, acknowledging the role played by audiences in contributing to success or recognition. Other responses to the question remained general in nature, acknowledging examples in a very broad and descriptive manner, board of studies art essays.

Responses which presented an informed viewpoint, clearly addressing the demand of the question and showing a more detailed knowledge of the role of specific awards, prizes and commissions in the art world demonstrated their understanding of some of the complex relationships between agencies of the conceptual framework. Popular artists were Kahlo, Viola, Morimura, Picasso and various modernists. Exploration of material practices was also acknowledged as a sign of the imagination, interpreted through a range of artists who use installation, video, body art and new media as evidence of a contemporary freedom of expression.

Teachers and students are advised to be discerning and selective about how they apply or adapt Case Study information to examination questions. The more successful responses addressed the issue of why imagination is important in the creation of artworks by adapting relevant aspects of Case Studies to the question, rather than offering an analysis or description of artworks studied as a way to explain how artists and audiences might use imagination. Limits of tolerance were addressed through audience reaction, notions of censorship and the banning of exhibitions.

Artworks as experiments were seen as explorations in media, scientific developments at specific historical moments, an exploration of new media and technology. Most responses agreed with the quote, which provided a framework to drive the discussion. Above-average responses presented a comprehensive understanding of the postmodern frame with a synthesised and informed discussion of relevant artists supporting the view of the quote, board of studies art essays.

The question gave the opportunity to proffer a well-informed analysis of characteristics of postmodern practice as well as the postmodern frame. Responses cited relevant artists such as Picasso, Duchamp, Morimura, Goldsworthy, Hirst and Viola and other artworks that supported discussions of the quote. These responses identified artists who explore the postmodern in their practice, board of studies art essays knowledgeable and insightful discussions of artworks.

The postmodern perspective was contextualised appropriately in time and place, and elaborated on with a sophisticated understanding of the board of studies art essays of the question. Broad-ranging discussion included the works of Kahlo, Kruger, Duchamp, Picasso and Bennett, as well as critics and historians such as Vasari, Berger, Collings, Pollock, Hughes and McDonald.

Most responses investigated artworks by applying the structural frame. These responses involved descriptions of the signs and symbols found within artworks with varying degrees of analysis and interpretation. References to critics and historians also varied in their specificity and the depth of understanding of the role of each in interpreting and constructing meaning in the visual language of artists.

Above-average responses demonstrated a comprehensive understanding of the board of studies art essays frame as a tool of analysis combined with an extensive knowledge of the way critics and historians interpret and construct meaning. These responses extended and acknowledged the role of different audiences, the different forums in which critical dialogue takes place and the different stylistic approaches adopted by a range of historical and contemporary examples.

The complex and differing methodologies of critics were elaborated on to support a sophisticated explanation of the critical and historical discourses surrounding the visual language of artists and artworks.

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Jun 06,  · Othello notes for Prelim exam. chantel Sep 8, Critical Study of Literature. provides TEE of quotes, the theme of power and structure. star (s) 2 ratings Board Of Studies English Sample Essays, Speech Writer Site Online, Essay On Importance Of Believe In Yourself, Analytical Essay Free Analytical Essay/10() The structure of the Arts essay generally has an introduction, main body and conclusion. The introduction is the first piece of the essay and is commonly written alongside the conclusion. A good Arts essay requires the introduction to grab the reader’s interest immediately. Advice to the writer is to start with his/her claim right blogger.comg: board of studies