VCE STUDIO ART UNIT 1 2015 - WSC Studio Art - WSC Studio …



VCE STUDIO ART UNIT 1 2015STREET ART Alexis Diaz and Juan Fernandez, form the globe La Pandilla mural collective 2013ARTS – UNIT 1& 2 SUMMARYArtistic inspiration and techniquesDeveloping art ideasThis area focuses on investigating sources of inspiration and individual ideas through the use of a wide range of materials and techniques.This area of study will include:Identifying sources of inspiration to be used as starting points.Using a variety of methods to record, interpret, translate and appropriate inspiration to be used in the creation of individual art works.The exploration of diverse approaches in developing starting points for the making of artworks.Developing various methods of recording inspiration.Reflecting on the development of ideas and artwork produced. (annotation)Materials and techniquesThis area of study focuses on:Developing skills and techniques and learning to control particular characteristics in using a variety of materials and techniques.The exploration of the expressive qualities specific to materials and techniques to convey individual ideas.Evaluation of the exploration of materials and techniques.Developing an understanding of how to use materials in a safe and responsible manner and consider their impact on the environment.Interpretation of art ideas and use of materials and techniquesStudents explore and research the way artists from different times and cultures have expressed ideas, sourced inspiration and used materials and techniques in the creation of individual art works.This are of study will include:The comparison and contrast of artists.Research and develop a broader understanding of how artists use different materials and techniques.Develop an appreciation for how artists resource ideas.Exploration of how artists interpret ideas in the development of individual pieces.Use materials safely and consider the impact on the environment.On completion of these units, students should produce a number of art works which reflect the sources of ideas and inspiration using a variety of materials and techniques. They should demonstrate knowledge of how key artists have expressed ideas, used materials and techniques in the creation of individual pieces of work.2015 COURSE STRUCTUREMaterials needed:Practical work A3 Visual Diary TheoryTaskbookA4 display folder.Pens, pencils and highlighter.Students are expected to be prepared for every class. All additional handouts (including handouts relating to practical outcomes and written outcomes must be placed in this folder).OUTCOMESAll tasks will be set as outcomes; this includes both theoretical and practical tasks. Outcome 1- Developmental work.This outcome focuses on the exploration & identification of sources of inspiration, the reflection and evaluation of ideas, the development and refinement of work and the exploration and development in the use of a wide range of materials and techniques as tools for translating ideas, observations and experiences into visual form.Outcome 2 – Folio of Artworks (1X Stencil and 1X Street Art Installation)These finished artworks are produced from the developmental work produced in components of outcomes one.Outcome 2 - will relate to all appreciation tasks (written and theoretical work). There will be several assessed components contained within this outcome.In these outcomes you will respond using appropriate art terminology to how artists from different times and locations have interpreted ideas and sources of inspiration and used materials and techniques in the production of artworks.NOTE: All Outcomes have due dates. They cannot be accepted late. There is no negotiation on this unless there are exceptional circumstances which has been established with the co-ordinators. If an Outcome is not of a pass standard extra time will be given only to raise it to a pass, not to improve the mark.Visual DiaryA Visual Diary is a type of journal. The content shows visual thinking or a visual journey.You should use your visual diary when:Recording ideas and collecting ideas or images that interest or inspire you.Expressing feelings and emotions in words and/or pictures.Recording events, information and experiences.Trying different materials or techniques.Exploring different approaches to making and presenting artworks.It should contain visual and written material which can be used as starting points. For instance:SketchesMagazine articlesPhotographsPersonally meaningful symbolsSongs, poems, extractsBrainstormingExploration ProposalFigure 1: Brainstorming page Figure 2: Annotations in Visual DiaryThe Visual Diary becomes a habit and should be used regularly.It is personal.Research is a necessary and vital part of Art. You should become an investigator (a researcher) using your Visual Diary as a vehicle to gather and sift through information and ideas.You are required to continually annotate, evaluate and document your work throughout your visual diary to clearly show your thinking and working process.Before you begin a task it is a good idea to:Establish what you know about the subject or art form and establish a plan to investigate or explore imagery.2. Establish the purpose of the artwork. For instance: Will you bemaking a statement about something or are you creating a realistic art work?(Concept)3. Consider the aesthetics of the piece. (Selected use of art elements & principles).4. Are there any practical considerations to be made in the creation of the artwork? (Technical and skill development).Remember don‘t inhibit your creativity by not experimenting with ideas, materials and researching before you commence each piece.Keep in mind….Not all ideas explored in your visual diary will be developed into ?major? artworks.Sometimes through your exploration and experimentation, new ideas can evolve.This process is so important that it will be assessed along with major pieces of work.Ideas can come from all sorts of resourcesBooks Magazines Newspapers Artworks Poetry Television MusicRadioDreams Fashion NovelsReal life events Family and friends Personal photos Feelings and emotions Cultures and societiesPoliticsObjects around you The Environment InternetYour Diary Videos/films/DVD Galleries Cartoons Computer gamesFigure 4 Jackson POLLOCK Blue poles[Number 11, 1952]Figure 5 Robert ArnesonThe Eye of the Beholder, 1982 Acrylic, oil pastel and alkyd on paper. 4ft 4in x 3ft 6inFigure 7 Nick Nolan (Studio Arts 2010)Each month, TATE ETC. publishes new poetry by leading poets who respond to works from the Tate Collection. Subscribe to the Poem of the Month RSS feed.Christopher James’ poem, A Star Shell, is based on Christopher Richard Wynne Nevinson's work of the same nameChristopher Richard Wynne NevinsonA Star Shell exhibited 1916? TateOil on canvas 50.8cm x 40.6cmA Star ShellIn a moment the world is shattered, sub-divided into fractions of itself. We freeze in its mathematics.The trench floods with rivers of light; mud quickens into life and the barricades become the linked arms of children.All of the universe turns on this point, a precursor of the final reckoning,the second before the sun implodes; a flash of beautiful clarity when Godpresents himself, shining on the wasteland: a tender eye over his razed creation.It is not the moment after I remember but the fabric of our tunics, the accent of light on our helmets, the spots of rust on our belt brass and the olive green of the subaltern‘s eyes; the star driftspeaceably to the earth and in an instant –gunfire.BEFORE DOING A FINAL PIECE YOU SHOULDLook at other artworksCollect images and ideasExperiment and explore imagesRecord ideas and thoughtsExperiment with mediums and techniquesAnnotate your explorationsAlways acknowledge sources of inspiration from other sourcesResolve which art elements and principles will be used to enhance the aesthetics of the piece.Back-up is the process of development.Final Piece must show evidence of the process of development.Tips for annotating your workTry to keep notes sequential.Always date your entries.Write as neatly as possible and keep spelling accurate.Make regular entries in your visual diary. Don‘t leave it until just prior toassessment!Consider placing headings to ensure you cover all areas, i.e.CONCEPTS & IDEASINSPIRATIONSELECTION OF AESTHETIC QUALITIESEXPLORATION OF MATERIALS AND TECHNIQUES.Remember if you are doing an extended task, reflect on what you have done every week so you can resolve what has or hasn‘t worked and plan the direction your work will continue to take.Establishing a time line can help keep you focused and on task.Identify in as much detail as possible the materials and techniques you propose to use, providing reflection on why specific materials have been selected. For instance if you use drawing as your preferred art making process then discuss specifically the drawing equipment you are using and then describe how it is being used. For instance are you using grey lead pencils that are quite sharp? Do these provide you with the ability to create sharp lines and smudged tonal areas?Ensure in your annotation that you are describing the way the mediums, surface or support, the tools (paint brush, palette knifeetc) and techniques are being used to achieve your ideas, subject matter or focus.If you look at artists work to draw inspiration from then you must discuss the qualities that are evident in their work and importantly how this will help in the development of your own work. It is crucial that you don‘t simply supply names!The more detail you provide about the materials and techniques you have applied and observed in the work of other artists, thebetter you can demonstrate the depth of your understanding.Figure 8: Andre Sutherland 2010You need to discuss the concept or idea behind your work. As your work develops and changes it is critical that this is evident through visual material and the annotation.You need to consider the style of your work and the use of aesthetic qualities. Initially some of these things may not be evident but as decisions are made they must be recorded visually and through annotation.Where you cannot directly annotate what you are doing in your visual diary for instance because you are producing sculptural work, include photographic evidence to support your annotation.Figure 9: Kristian Criggs 2010STREET ARTYear 11 Studio Art Unit 1: Outcome 2TERM 1: STENCIL ARTWORKThe stencil you produce must be based on a human rights, social or political issue (this issue must be run past me before starting). The stencil does not need to be completely serious, often street artists use satire and humour to get their point across. It is encouraged that you use metaphor, satire and humour in your work. You can also look at one of these issues from a positive point of view i.e. if you choose ‘Poverty’ you may create a stencil of someone helping a homeless person. You must produce a major stencil or series of stencils and back-up work for assessment. This major stencil/s can be spray painted or airbrushed on wood, canvas or any found material or object as long as it can be hand in and is larger than A4 in size. WARNING! You are not permitted to use this stencil to graffiti any public property- you will be caught and I will know who it belongs to!What are some human rights, political or social issues to look at?Poverty Animal rights IsolationRefugees Mining Genetic Modification/scienceDepression Global Warming StereotypesWar Identity Individual FreedomFamine Power Capital PunishmentCelebrity Death GraffitiHuman rights are "rights and freedoms to which all humans are entitled."When we consider this statement, we may think that all Australians have these ?human rights‘ but there are many who think there are minority groups in Australia who do not. Consider for instance the plight of many of our Indigenous population or people seeking asylum in Australia.Australia does not have a Bill of Rights so our own courts cannot hear complaints about human rights violations.Web addresses which may assist with the investigation and research of your topic. process (evidence) shouldinclude the following: Artwork by Banksy A description of your inspiration/theme/issue and an explanation on how this theme relates to the humanrights/political/social issue. (Exploration proposal).Research and Images you collected and explored to help you develop your piece.Sketches and brain storming of your design.This work must demonstrate the consideration of two art elements and principles. (4 in total)Experimentation with a techniques and presentation of your idea.This may involve the exploration of different papers and surfaces.Experiment with colours and air brushing/ spray painting techniquesHand colouring of your stencil.The use of collage, frottage, or reprinting and overlaying the design.Annotate your work throughout the process.Focus reflection & evaluation document. Final Stencils & PresentationAfter you have created a suitable amount of research and developmental work you are to create either a major stencil or a series of smaller stencils which include text that says something about your issue.Street Artist Meek Due Date: Friday 20th MarchYear 11 Unit 1 Outcome 1Exploration proposalDue date for ?Exploration Proposal?: No later than Monday 9th February1.Outline the human rights issue/theme which you will focus on for your stencil. Consider what opinion or viewpoint you will be establishing through your work. What will are trying to say?2.Select two artists to research who will influence your work this unit. Explain the resources you will be utilising to gain inspiration, knowledge or visual material from.3.Outline the material/ method you will be exploring and explain why you have selected this particular material/ method to express your theme.4.Describe presentation options you would like to explore and outline how they may add to the aesthetics of the piece.?Student: Year 11 Studio Art /50Stencil Art RubricCategory10 - 9 marks8 - 6 marks5 -3 marks2 – 0 marksThe production of an exploration proposal..Highly detailed explanation of theme which is thorough in both content and presentation.Detailed explanation of theme and the considered approach to the content and presentation.Adequate explanation of the theme which has been clearly expressed.Simplistic explanation of the theme, with limited consideration for the presentation of the material.Development of support and resource material which can be used in the development of the artwork.Development of preliminary and preparatory drawings for the stencil making prehensive and thoughtful collection of material which can be drawn on in the development of the print prehensive production of preliminary work which shows the detailed progression and refinement of ideas.Substantial collection of material which may be used to influence the development of print design.Substantial production of preliminary work showing progression and refinement of ideas.Sound collection of material which may contribute to the development of the print design.Sound production of preliminary work showing some progression and refinement of ideas.Limited collection of material which can be used to develop the print design.Limited production of preliminary work.Development, exploration and refinement of Stencil making skills.Extensive and thorough exploration of stencil making techniques and the progressive refinement of skills.Consistent and considered exploration of stencil making techniques and the refinement of skills.Adequate exploration of stencil making techniques and some refinement of skills.Limited exploration of stencil making techniques and no refinement of skills evident.Presentation of the final stencil/s.The artwork conveys the original political, social or human rights issue in a novel, clear and creative way. The subject is complex and well thought out. Strong spray paint/ airbrush skills, many layers and neat edges.The artwork conveys the original political, social or human rights issue in a creative and clear way. Good stencil making and airbrush/ spray painting skills. Layers and neat edges.The artwork conveys a political, social or human rights issue in a relatively clear way. Good stencil making and airbrush/ spray paint skills. Most edges are neat.The link between the issue and the artwork is unclear and the issue is presented in a simplistic manner with little thought demonstrated. Production of a basic stencil which shows limited stencil making and airbrush/ spray paint skills. Paint edges are messy.Class Cooperation and use of equipment Student cooperates with teacher and fellow students in class and always respects and packs up art eqipmentStudent cooperates with teacher and fellow students and respects the art equipment.Student generally cooperates with teacher and fellow students and shows some care of classroom equipmentStudent generally doesn’t cooperate with teacher and other students and shows little respect for classroom ments: STREET ART Year 11 Studio Art Unit 1: Outcome 2TERM 2: A Street art Installation PieceThis project continues on from the stencil artwork you created last term as we continue to look at public space as a way of making social, political and human rights commentary. Your final stencil piece and Installation piece will make up the total mark of outcome 2 for this unit. You must continue on with the theme that you selected in term 1 however you may choose to take on a different angle. For example if you chose to look at the treatment of refugees in Australia last term then you may choose to explore the story of why they came here this term.Student: STREET ART: Year 11 Studio Art /50 Street Art Instillation RubricCategory10 - 9 marks8 - 6 marks5-3 marks2 – 0marksThe production of an exploration proposal.Highly detailed explanation of theme which is thorough in both content and presentation.Detailed explanation of theme and the considered approach to the content and presentation.Adequate explanation of the theme which has been clearly expressed.Simplistic explanation of the theme, with limited consideration for the presentation of the material.Production of reflection and evaluation prehensive, thorough and informative reflection and evaluation of both their own and their classmates artwork, and the developmental Process.Thorough and informative reflection and evaluation of the final Installation piece and the developmental process.Simplistic reflection and evaluation of the final Installation piece and the developmental process.Limited reflection and evaluation of the final Installation Piece.Development of preliminary and preparatory drawings for the Installation making prehensive production of preliminary work which shows the detailed progression and refinement of ideas.Substantial production of preliminary work showing progression and refinement of ideas.Sound production of preliminary work showing some progression and refinement of ideas.Limited production of preliminary work.Presentation of the final Installation Piece.Presentation and documentation of the final Installation process.The artwork conveys the original political, social or human rights issue in a novel, clear and creative way. The subject is complex and well thought out. Highly creative and personal installation reflecting excellent technical and conceptual skills. There is a strong relationship between the location, subject and audience. The installation process hasThe artwork conveys the original political, social or human rights issue in a creative and clear way. Creative and effective Installation reflecting good technical and conceptual skills. There is an understanding of location and theme. The installation process has been documented.The artwork conveys a political, social or human rights issue in a relatively clear way.Effective installation which shows some understanding of the relationship between location, audience and subject matter. The installation process has some documentation.The link between the issue and the artwork is unclear and the issue is presented in a simplistic manner with little thought is demonstrated. Production of a basic installation which shows limited skill and understanding between audience, location and subject matter. The installation process has been documented poorly.Class Cooperation and use of equipment Student cooperates with teacher and fellow students in class and always respects and packs up art eqipmentStudent cooperates with teacher and fellow students and respects the art equipment.Student generally cooperates with teacher and fellow students and shows some care of classroom equipmentStudent generally doesn’t cooperate with teacher and other students and shows little respect for classroom mentsFocus reflection & evaluation1. Explain the idea and motivation behind your theme.2. Outline which specific art elements and principles you focused on in the development of your design and why these specific ones were used.3. Outline what you would change if you could re-do your print?4. Outline which techniques you developed and refined. Consider how the skill added to the aesthetic qualities of the piece and highlight whether you consciously evolved it or whether it developed by chance.‘Self Portrait with Monkey’, Frida Kahlo, 1943Art wordsCircle the correct definition of each term, then write the word and the definition into your?Word Bank?.Body of workA series of paintings about the body.Collection of artworks produced by an artist to explore a particular interest or theme.A collection of artworks in a museum.Art practiceA painter who practises the same style of painting each day.Classes artists attend to learn about painting.How and where an artist works, what they make their art about, who they work with and how they present their work.StudioThe environment in which an artist works.A school where artists study.An exhibition space for artworks.ArtformAny artwork that is three dimensional.The shape of a painting canvas.The materials, media and appearance of an artwork.TechniquesProcesses artists use to make an artwork.A name for a style of sculpture.The only thing written on the label of an artwork.Visual qualitiesThe visual effects shown only in video installations.The visual effects created in an artwork by the way art elements and media are used.A style of electronic art.Materials and mediaWhat an artwork is made from.The combination of wood and plaster used when creating sculptures.The name used to label an artwork.Subject matterThe label for an artwork.A style of realism in art.What an artwork is about.Art elementsThe tools used to make an artwork, such as brushes and paint.Materials used in an artwork.The basic visual elements in an artwork, such as line, shape and colour.Art principlesThe rules that are written out for artists to follow when they make artworks.Ideas that explain the arrangement of art elements in an artwork.A list of the different styles of art throughout history. ART TERMSRemember ?art‘ has its own vocabulary and therefore it is important to write any new terms or art expressions into this Word Bank for your reference. Remember that you need to continue this task through out the year.TermDefinitionJuxtapositionART ELEMENTSLine: is a mark made by a pointed tool, brush, pencil, stick, pen etc.Words which can be used to describe the use of this art element.Outline, contour, calligraphic, organic, bold, flowing and directional line.Colour: is a sensation seen by the eye and is created from light.Key characteristics include:It has three properties, hue, value and intensity.Words which can be used to describe the use of this art element. Primary, secondary, intermediate, tertiary, complementary, monochromatic, analogous warm, cool.Tone: is the degree of lightness or darkness.Words which can be used to describe the use of this art element. Highlights, shadow, tint, shade, high key, low key, chiaroscuro, dramatic.Texture: is the surface quality of an artwork.Words which can be used to describe the use of this art element. Simulated, actual, implied, and real texture.Shape: refers to a two dimensional (2D) area that is defined by a boundary.Key characteristics include: Shape has length and width. Words which can be used to describe the use of this artelement.Geometric, organic, positive, negative, static, dynamicForm: refers to a three dimensional (3D) object.Key characteristics to understand include:Form has length, width and height. Words which can be used to describe the use of this art element. Geometric, organic, complex, random, geometric.In contemporary artworks, the following elements may also need to be considered:Sound, Light; Time.Art PrinciplesArt Principles are visual conventions used by artists to position and order art elements to create a composition, including:Emphasis/Focal PointBalanceSpaceUnity/HarmonyContrastRhythmMovementPatternProportion/ScaleEmphasis/Focal Point: Is the area of interest towards which the eye is drawn or the dominant area.Techniques used to create emphasis include contrast, isolating forms, directional lines, placement of forms centrally, isolation of objects, pattern or detail.Words which can describe the use of this principle: dominate, emphasis, centre of interest, obvious, focus, centre of interest, main subject, captivating, stands out.Balance: Is a sense of stability in the artwork achieved through the equalising of elements in the design.Categories of balance: Symmetrical balance (Formal balance), Asymmetrical balance (Informal balance), Radial balance.Words which can describe the use of this principle: symmetrical, asymmetrical, radial, radiating, centred, informal, formal, irregular, random, parallel, counter balanced, even, juxtaposition, unbalanced, uneven.Space: Is the illusion that creates a sense of depth and is the distance or area between, around, above or within.Techniques used to create the illusion of space include overlapping shapes, scale or size, position, detail, colour, tone, linear perspective.Words which can describe the use of this principle: flat, busy, cluttered, positive, negative, empty, bare, open, deep, shallow, distance, perspective (linear perspective, aerial perspective), foreshortening, overlap, isolated, void, solitary, ambiguous, illusion, background, foreground, middle ground.Unity/Harmony: Is the visually satisfying effect of combining similar, related art elements.Techniques to create unity include continuation, repetition, proximity and overlapping, Words which can describe the use of this principle: even, regular, consistent, repetitive, calm, rhythmic, peaceful, subtle, equality, uniformity, chaotic, cohesive, disjointed, flow, pleasing, repeated, unified.Contrast: Describes noticeably different qualities in any of the art elements. Possible contrasts: heavy/light, solid/transparent, thin/thick, smooth/rough, natural/man- made, large/small, dark/light, curved/angular, moving/inert, saggy/rigid, soft/hard.Words which can describe the use of this principle: different, obvious, variety, sharp, stark, opposing, extremes, dramatic, theatrical, strong, bold, clash, discord, harsh, juxtaposed, emphasis, dominant.Rhythm: Is created by the repetition of art elements and helps the viewer?s eye to move around the artwork. Categories of rhythm include regular, irregular, progressive, staccato and flowing.Words which can describe the use of this principle: movement, action, flowing, energetic, vigorous, swift, steady, uniform, calm, static, graceful, dramatic, distorted, chaotic, repetition, recurring, connecting, random, flowing, exciting.Movement: Is the suggestion or illusion of motion in an artwork. Categories of movement include implied movement and actual movement. It shows action and directs the viewer‘s eye around the artwork.Words which can describe the use of this principle: shifting, flowing, kinetic, rush, energetic, motion, action, vigorous, static, chaotic, whirlwind, agitated, busy, circular, constant, dramatic, explosive, floating, graceful, interrupted, irregular, linear, peaceful, relaxed, swirling.Pattern: Is the use of the art elements in planned or random repetition. It is often used for decorative effect or to create visual rhythm.Words which can describe the use of this principle: repetition, repetitive, decorative, motif, abstract, geometric, organic, arrangement, detailed.Proportion/Scale: Proportion is the relationship between the size, height and width of one part of a composition to another part. Scale refers to the size of an object as measured against something.Words which can describe the use of this principle: realistic, balanced, dominate, manipulated, huge, perfect, enlargement, ideal, intimate, life size, massive, miniature, natural, overpowering, positionComposition is the way that the various parts of an artwork are position is the plan, placement or arrangement of the elements of art in a position can also be thought of as the organization of the elements of art according to the principles of art.The artist determines what the centre of interest of the art work will be, and composes the elements accordingly. The gaze of the viewer will then tend to linger over these points of interest.Elements are arranged with consideration of several factors, known as the principles of art, into a harmonious whole which works together to produce the desired statement or effect.Words which can describe composition are: centre of interest, structured, unplanned, simple, complex, symmetrical, asymmetrical, high angle view, aerial view, open composition, closed composition, framed, narrative, rule of thirds.The rule of thirds is a guideline commonly followed by visual artists. The objective is to stop the subject(s) and areas of interest (such as the horizon) from bisecting the image, by placing them near one of the lines that would divide the image into three equal columns and rows, ideally near the intersection of those lines.Rule of thirds: Note how the horizon falls close to the bottom grid line, and how the dark areas are in the left third, the overexposed in the right third.Style – What is it? What does it mean?Understanding and being able to describe an artist‘s ?style‘ is a skill which is developed over time by continually looking at, exploring and comparing the work of a range of artists. Describing the style of an art work is like putting a label on it or trying to put it into a category that has a generally understood meaning. It is like a signature that exhibits identifiable characteristics which identify the artwork as fitting into a group style or can be attributed to a specific artist.Students should be able to use a few words or phrases to describe the distinguishing features of the artwork. For example, ? The loose heavy brushwork, strong dark colours and highly emotive, yet simplified figures contribute to making the work of Peter Booth highly expressive in style‘.Figure 16: Peter BoothDefinition:Distinctive style: Is how artists treats the subject matter and use materials and techniques to create a unique look that is identifiable to them and/or to a particular period in art history.Points to consider in determining the use of a distinctive style.What are the distinctive stylistic qualities of the artwork? In what ways do the ?visual qualities‘ give the work a particular look? This can then be considered the distinctive style of the artwork.How do these distinctive stylistic qualities contribute to the meaning?How does the work relate to other works in a similar style or from the same historical period or cultural background?Group styles:These group styles contain definable common features and can also be referred to as art movements or periods of art.When looking at group style you also need to consider if it places the work within a historical or cultural context and how this contributes to the meaning and intent of the artwork?Examples:Surrealism: Began in Paris in the mid 1920s and literally means ?above reality‘. The Surrealists created mysterious images and forms that defy conventional logic and suggest a strange, new reality. The art movement was concerned with the projection of the subconscious mind and dreams which were explored using traditional techniques.Figure 17: Salvador Dali The Persistence of Memory 1931 Oil on canvas, 9 1/2 x 13" (24.1 x 33 cm).Fauvism: This Paris based art movement was short lived taking place between 1094 -07. This group painted everyday scenes using both colour and paint with great freedom which distorted the natural appearance of their subjects.Pop Art: Emerged in England around the mid 1950‘s and soon after in America. The Pop artists shared an interest in popular culture, enthusiastically borrowing images and objects from everyday life. The imagery of Pop Art had a distinctively American flavour. The Pop artists worked in highly individual styles and in a variety of artforms.Figure 18: Henri Matisse The red roomFigure 19 : Roy LitchsteinMasterpiece1964 Oil on canvas137.2 x 137.2 cmIndividual style:ExpressiveAbstractRealisticTraditionalNarrative, i.e. Was the artwork designed to tell a story?SimplifiedSemi-abstractContemporarySimplified in style.Traditional in ?style?.Expressive in style.Often artists are described as having a distinctive style when they use the same combinations or subject matter, materials and techniques giving the work a particular look. While the style of some artists remains remarkably constant throughout their art life, the style of some artists can also vary over a period of time.Researching artworksTypes of artworksSearch Art books for three different types of artworks and complete the table below. For each artwork, find:The artist.The title of the artwork.When the artwork was made.The art form and materials used.Intended audience & where the artwork can be viewed.ArtistTitle of artwork Date producedArt form Materials used.Intended audience Location of artwork1.2.3.Group discussionForm groups of three or four and select one artwork from your research in question 1. In your group discuss and record:Introduce the artwork Points to consider:Can you consider describe the subject matter, i.e. is it a landscape.Can you place the work into an historical or cultural context?Can you use descriptive words to discuss the style of art?Reference specific aspects of the artwork to support the groups view.You are to present the information about the chosen artwork to the rest of the class and they must be able to see a visual image of the art work.Art AlmanacWhat is art Almanac?When is it available and where can you purchase it from?Can you locate where you may be able to view some Brett Whiteley artworks?Find the Anna Schwartz Gallery. Provide the address, operating hours and the email address.There is a huge array of information provided in Art Almanac. Outline the different types of information available and explain who this information would be catering for?Make a list of all the commercial galleries in Flinders Lane.Locate a major gallery in another Australian State. Indicate what it is, where it can be located and the type of art which could be found there. _Art and audiencesConsider the role of the audience in artLook through the visual examples (from top left through to bottom right) consider the different audiences they were produced for. Write a brief description of the subject matter and ?type‘ of artwork, its location and the type of art audience in the table below.Artwork description and materialsLocationAudience1.2.3.4.5.6.Homework taskFind two artworks which you have been able to view first hand. Provide visual examples of each of the artworks. Outline the audience they have been created for and the role of the artwork.POINTS TO HELP WITH THE ANALYSIS OFANARTWORKIf you follow the steps outlined below it will make your task little easier!!!Describe the artwork. This question focuses on what you can see and how the artwork has been created. For instance: is the artwork realistic or slightly abstracted? The description can include the following dot pointsStyle.Subject matter/theme.Where the main subject matter is placed.Discuss the meaning &/or intention of the artwork.What was the artist trying to achieve in producing the artwork?Was the artist trying to tell a story, or make a comment or judgement?Was the artist primarily concerned with capturing images in nature, or concerned with creating their own image?Consider how the artist has used the art elements and principles in creating the meaning/intent of the work.Analyse the art elements and principles.Colour, Line, Shape & Form, Tone, TextureWhen discussing the use of colour here are some possible thingsto consider…….are they primary, secondary, tertiary, complementary, harmonious, contrasting, warm, cool, monotone, dull, dark, dramatic, subdued, bright or vibrant colours?Principles are used by artists as guidelines to control the use of the elements of art. They involve the composition, emphasis/focal point, balance/unity, movement/rhythm, space, contrast, pattern, proportion/scale.Analyse the techniques used.MediaHow it has been used.Where and how was the artwork created? Is it a plein-air painting? Was the subject matter worked from photographs?Researching the artist and artwork will enable you to make a more informed statement regarding the meaning and/or intention of the artwork. Does the artwork reflect its time? Has it historical significance? Consider the social, economic and political time in which it was created.Evaluate the artwork.What are the main artistic qualities in this artwork? What makes this artwork special? Here are some words you could use to discuss the quality of the artwork. EXCITING, IMAGINATIVE, HORRIFYING, IMPORTANT, INNOVATIVE, CREATIVE, WELL RECORDED, BEAUTIFUL, PLEASANT, ADVENTUROUS, MYSTERIOUS, DREAM LIKE, NATURAL, PEACEFUL.Do you like the artwork? If so why?Is it considered an important artwork? If so why?Remember it is crucial to support points by referring to specific aspects of the artwork.How to annotate an artworkYou can use annotations on a sketch, diagram or copy of an artwork as part of your analysis when studying an artwork.When annotating an artwork, make a simple line drawing or paste your copy of the artwork in the middle of your page so that you have space above and below to write your notes.Use arrows to link your notes to the artwork‘s various features.The things you should indicate when annotating an artwork are:the style and background influences on the artwork.use of art elements and design principlessymbols used in the artwork to express ideasthe subject and composition of the artworkexamples of techniques, materials and media usedIt is helpful to remember that sometimes you will only be studying a certain aspect of an artwork, e.g. the artist‘s use of line. In these cases you would be only annotating features of the artwork that are related to the aspect you are studying.The example of an annotated artwork by Peter Booth‘s Painting (1977), shows the following features:visual qualities – art elements and art principles (VQ)symbols used by the artist to represent different ideas or expression (S)features that assist you in your description of the artwork (F)Techniques used by the artist (T).The city is described using dark forms (VQ). This could be symbolic of Booth‘s upbringing in Sheffield and the coal mines. (S)The flames could represent the self-destruction of humanskind and greed. (S)The impasto texture is created using a palette knife and broad brushstrokes. (T)Symbolic shapes from nature and mythology. (S)The path suggests a journey or passage. The path is painted with lines and strokes of colours.(S) The path leads the eye back to the city, establishing a relationship between the figure and the city. (F)The hot orange, yellow and reds contrast with the dark tones of the city and landscape. (VQ)A man with red eyes creates a strong focal point. He could be the artist himself or a survivor of the apocalyptic scene. (S)A light on the horizon indicates a sign of hope. (S)The red disc echoes the eyes of the figure (VQ) and reflects the burning city and sky.The organic forms balance the composition & establish a relationship between the natural and the artificial worlds. (VQ)The dog, ?man‘s best friend‘, could symbolise a guardian or death spirit. (S) The white dog contrasts with the dark background. (VQ)Peter Booth Painting (1977)The symbolic shapes are outlined with warm colours and line. (VQ).Social Commentary and MessagesMany artists have used their work to comment on or criticise aspects of the society in which they live.Satire was frequently used by Hogarth and Daumier to comment on the social and political issues of the times in which they lived. Their work reached a wide audience in the form of original prints.Many artists have created images that highlight the inhumanity and suffering associated with dramatic events such as war (p. 31) and revolution. Some artists, including Goya, have focused on the violent and brutal actions of such events. Other artists have created images of great emotional impact by focusing on the aftermath of such events, as we see in many works by Kollwitz.In many works that comment on or criticise society we find artists using new approaches to image making. The Berlin Dada artists, including Hoch, used photomontage to great effect to comment on the political, social and economic tensions that plagued Germany in the aftermath of World War I. The artists associated with the New Objectivity movement in Germany created powerful images, using expressionist devices such as distortion and exaggeration, to show their feelings about German society between the world wars.Diego Rivera (1886—1957, Mexico) is one of a number of twentieth-century artists to have worked in a Realist style to create images with a strong social and political message.During the 1920s he was employed by the Mexican government to produce murals to visually educate the public—who were mostly illiterate—about Mexican history, cultural traditions and the socialist values of the Mexican Revolution (1910—17). He became one of the leading figures of the Mexican Mural Movement.In Australia in the 1940s numerous artists, including Yosi Bergner (b. 1920, Austria), Noel Counihan (1913—86) and Vic O‘Connor (b. 1918) worked in realist styles to create images related to social issues such as poverty, unemployment and oppression.The camera has been a valuable tool for many artists interested in commenting on the society in which they live. Lange was an established portrait photographer when, during the Depression, she began photographing the social tragedy around her. She later travelled widely for her work.Migrant Mother Pea Pickers, Nipomo, California was one of many images she created for the Farm Security Administration, who employed her to document poverty in rural communities. Like other photographs by Lange it focuses on an individual, but suggests the plight of a whole group of people. This photograph was widely reproduced in newspapers and magazines across the United States, and played an important role in raising awareness of the rural poor.Social commentary and criticism continues to be a concern for many contemporary artists, who have variously addressed a wide range of issues including racism, sexism, the environment and AIDS. Holzer has dealt with many different issues and used a variety of innovative approaches to take her messages to the public. In 1993 she was commissioned to make a work for a German newspaper, which each year invites an artist to create its colour supplement. The work she made, partly in response to the atrocities of the recent war in Bosnia, addressed the issue of rape and violence perpetrated against women during wartime, and in society generally. For the project she had small cards, which were stuck to the front cover of the magazine, printed with the words (in German) I AM AWAKE IN THE PLACE WHERE WOMENDIE. The ink used to print the cards had human blood in it. The pages inside the magazine were photographs of human skin on which other short statements on a similiar theme had been written. Her intention in using skin and blood in this work was to make the issue of war and violence seem real to people. The circulation of the newspaper meant that her work reached an audience of 400 000 people.Art Investigator; Michele Stockley HeinemannISBN 0 85859 833 7ART CAN MAKE POWERFUL STATEMENTSArt is a powerful form of visual communication and expression. Art has the potential to create change in a world by communicating messages that change the way people think. The expressive power of art has been used by artists to raise awareness of social issues.Figure 21:Jan Nelson International Behaviour, 2000 Oil on canvasArtworks by Indigenous Australian artists have played a significant role in educating non- Indigenous audiences about Indigenous culture and to make political claims. The Ngurrara canvas is a collaborative piece measuring 8 x 10 metres which maps the lands that form part of the Great Sandy Desert. The canvas was presented to The Native Title Tribunal as evidence during a land claim in 1997.“The work [is] a collaborative effort with each of the claimants painting his or herown piece of country, the area for which they have special responsibility”.Figure 15: A painter works on theNgurrara canvas in 1997Figure 22: Ngurrara canvasHomework Task: Collect an image from a newspaper or magazine that has a political message.Describe the image.Where did you find it?In what way has it impacted on your viewpoint? Explain.Is it an important issue for the public to debate? Explain.Guan WeiWorld events can significantly affect art. Chinese- Australian artists Guan Wei left China after the Tiananmen Square Massacre. The subject matter of Guan Wei‘s art work has been influenced by political events in Australia, including the issue of asylum seekers.After the ?white Australia policy‘ was abandoned in 1970, coloured races, especially Asians, started to migrate to Australia. While welcomed by most over the past forty or so years, migration and the consequent 'multi-culturalism' this engendered, has continued to cause some division in the community - exploited by (in particular) the Howard government,which began to cut the numbers of immigrants, especially from Asia during its 10 year term. Also, there is now punitively tight security surrounding Australia, in order to deter refugees arriving by boat.' However, there are still large number of refugees coming to Australia.The leaky, dangerously overloaded boats still, despite the perils, bring hundreds of refugees from South East Asia - people who dream of participating in a life rich in possibility for themselves and their children. The work of Guan Wei conceptually explores the enormously important social and political issue of migration. There continues to be unease about migration and suspicion of 'outsiders' with some people in the Australian community.A Passage to Australia Guan Wei 2003I will paint many boats on the wall - filled with naked human figures. They can be seen as either migrants or refugees. The boats become a flotilla sailing to the door where the Australian exhibition is on. Pink bodies, brown boats, the little lines surroundingthe boats representing water. The figures on the left hand side will represent (with graceful bearing and romantic charm) people whoexpect to arrive in Australia successfully. The two big-mouthed little ghost figures on the upper right side of the door will show the difficulty of the journey. The background will be the same colour as the wall.Figure 23 Detail from a passage to AustraliaGuan Wei 2003Passage to Australia (2003), reflecting the oscillation of dreams and fears in a time of national crisis about who decides who or what can be Australian.Figure 24 A Passage to AustraliaRoom 2. (Concept) Illegal immigrationI will paint lots of heads on the both side of the room. Lawn covers the floor with a kangaroo sign in the middle.There are two painted signs for 'No enter' on the sides of the door. These faces on the wall are watching intently. After long journey to Australia on the boats, these refugees are locked in the refugee camp.The only thing they could do is wait for their case to be viewed.The lawn and kangaroo are symbolize the beauty and peaceful of Australia. A flat line drawing method will be used for this work. These images will remind people of the history of immigration to Australia. The work will be succinct, lucid and alive with humour.Art of protestGuernicaPablo Picasso (1881 – 1973) was born in Spain but moved to Paris in 1900, where he established his career as an artist. Picasso strongly opposed the Spanish Nationalists, led by General Franco, who in 1936, after years in turmoil in Spain, sparked a civil war with a military uprising against the elected Popular Front government. In April 1937 Picasso was devastated to learn of the bombing of the Spanish town Guernica by German forces that were assisting the Nationalists. Both Nazi Germany and Fascist Italy supported Franco and helped him achieve power in Spain.Several days after the bombing of Guernica, the first photographs of the destruction reached French newspapers. The town had been subjected to several hours of intense bombing and fleeing citizens were gunned down by the aerial fire: 1600 people are believed to have died, with hundreds wounded.Picasso has been asked to make a painting for the Spanish Pavilion at the 1937 World Fair and had been struggling to find a subject. It was now clear to him. He began making sketches for Guernica immediately. The huge painting was finished within three months. Guernica is a harrowing image, focusing on the suffering and despair that followed the bombing. The distortion and fragmentation of the forms powerfully conveys the violence and fear associated with war.Picasso‘s interest in symbolic meanings is also important in Guernica. The symbolic meanings of the various elements in the painting have been interpreted in different ways. For example, the horse is often seen as representing the people, while the bull is associated with brutality. s_Guernica&video_id=188180Pablo_Picasso_Annotate the diagram on the following page to assist with your analysis of the work.Describe how Picasso conveys his strong feelings about the bombing in Guernica(1937).Consider his use of scale. Why do you think that Picasso chose to make Guernica such a large-scale painting? Consider at least three reasons. Consider factors such as the differences between watching a movie on television and at the cinema and traditional historical works.Consider the ?style‘ used by Picasso in the depiction of the subject matter. What words could you use to describe the style of work.Consider the use of art elements colour, shape and line in portraying the meaning and message in the piece. For instance why would Picasso restrict the colours used to Grey, black and white?Look for symbols in the artwork and suggest what they might mean and how do they add the meaning of the artwork?At one stage in the design of Guernica Picasso had an arm with a clenched fist upright in the centre of the painting. He changed the design when he realised that this served as a symbol of retribution and vengeance. Picasso did not want to make such a statement.In your answer consider the emotions and ideas suggested by the symbols Picasso used.Figure 25 Guernica by Pablo PicassoGrey, black and white, 3.5 metres (11 ft) tall and 7.8 metres (25.6 ft) wide, a mural-size canvas painted in oil.Write down the following responses to the art works presented.Art formMaterialsTechniques1.2.3.4.5.Question: Discuss the meaning in Gordon Bennett?s art work the Bounty Huntersand the way materials and techniques have been used.Analyse Gordon Bennett’s the Bounty HuntersDue Date:The first thing you must do is outline who produced the artwork and the title of the work, the materials used and the date it was produced.2. What is the artwork about? How are you forming this opinion? (What visual clues can be seen in the artwork to assist you with working out the meaning of the artwork?).How has the artist structured the artwork to get the message or meaning across? (For instance have some areas made to stand out from others or have focal points been created?)What skills and materials have been used and how do they make the artwork more powerful or enhance the meaning/intent of the artworPoints from Gordon Bennett regarding his work which may assist you with interpreting the artwork:The decapitated and mutated Aboriginal bodies ?pollute‘ the serene colonial images depicting ?peaceful settlement‘ of the Australian landscape.Challenges the white ?myth‘ of ?peaceful settlement‘. History has been sanitised.People naively say that ?we‘ should forget the past and get on with the future. My response to that is ?lest we forget‘. Why should we forget the experience of peoples who fought for their country and way of life against overwhelming odds, people who are still fighting for something as basic as human dignity. In a country that reveres the ?fallen warrior‘ in monuments right across the land, why should it be that Australians who bled on their own soil be excluded?In a country that celebrates its past with a nationalholiday, why is it that for Aboriginal Australians the past should be forgotten?I believe it is important for all Australians that an Aboriginal historical experience be recognised as an integral part of Australian history.―I feel saddened, and not even a little disgusted, that people expect Aboriginal people to keep quiet about our history, quiet about our experiences‖.It seems that any expression of an ?Aboriginal‘ perspective is derided by some.It tends to make a mockery of Australians moralising about human rights abuses inother countries and the myth of a ?fair go‘ and ?free speech.‘Most of Gordon Bennett‘s are large scale works so our perception of them changes according to how they are viewed, i.e. up close or far away.Gordon Bennett‘s style shifts and changes as he doesn‘t want to be labelled, so heintentionally changes his style.His own life weaves into his artwork. His mother was an Aboriginal woman and his father is of English/Scottish decent. He is often ?labelled‘ as an Aboriginal, yet he had an Anglo- European upbringing. Gordon Bennett didn‘t relate to them because of the stereo-type that existed of Aboriginal people. i.e. They were seen as savages, uncivilised. This is how they were portrayed in history books, which was part of Gordon Bennett‘s education. Didn‘t know until he was 11 years old that his mother was Aboriginal. People thought that she was Indian in origin because of her colour and features. His mother was part of the stolen generation. She was put into a mission and trained as a domestic servant. (Remember Aboriginal people were not recognised as Australian citizens until the referendum of 1967. This meant that Gordon Bennett‘s mother would have had to carry papers around with her when she left the mission and was not allowed to move around freely.)Gordon Bennett doesn‘t want his work to be seen as he is a ?tortured‘ sole. Rather his work is steeped in the Post Modern movement of questioning society‘s structures and the way we receive knowledge. Both of these things make us who we are as individuals. He believes it is important to recognise that there are different ways of understanding theworld through being open to different cultural beliefs. White Australia has tended to ignore, rather than recognising this. Gordon Bennett wants us to be part of the issues, to take ownership of them.The role of language is a key aspect of his work as he sees it as a system that underpins our society and we start to understand this system as a child.History is understood through language.Blocks and boxes are used symbolically to represent a certain structure. Gordon Bennett, like us is defined by words and structure.Opposites are constantly symbolically reflected in his work i.e.Black/White ................
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