Visual Arts Cat 2 Hong Kong #IBESF #IB #VISUALARTS #CAT2 DAY 1

Posted: March 7, 2015 in Uncategorized

“If it’s not Baroque, don’t fix it.”

The parallels with the old structures have been broken and the links to an extended written component have impacted on the classroom practice and planning approach. A great teacher driven approach to the development of skills in more than one expressive form has informed the structures of teachers first and second semester. Gently, gently is the approach to independent practice for students. Setting assignments for written comparative analysis.

The use of teacher driven approaches will obviously assist in the production of skills based work in the development of conceptual approaches in the second year.

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Excitement – What are we loving

  • Research driven component
  • Formalised
  • more teacher support
  • audience component of the exhibition / curatorial component
  • process portfolio ids a little more authentic
  • flexibility of screens
  • internal assessment of Studio work
  • assessment objectives are so much clearer./ specific
  • clearer and more supportive for the teachers.

Worrisome – 

  • the inconsistency
  • constructed Journals
  • teacher workloads
  • EAL students incapacity to handle language requirements
  • no exemplars
  • 40% assessment weighting on the Studio component.
  • teacher input/guidance will have a huge impact of the success of the student

Needs to know

  • Upload reliability
  • What can you actually do which is allowed?
  • The interview has gone.
  • Teacher input/ workload for students.

Suggestions for moving forward.

  • What about the interview?
  • Skritch App for annotating pages. or uPAD is similar.
  • Landscape format for pages may help.
  • Sign posting changes for students direction changes as an ongoing practice.

APPS

  • Suggested App for EE. –  EasyBib App. Scans and creates bibliography.
  • Zotero App plug-in for citations
  • A great app is CamScanner. Prepares and adjusts for you to email to teacher.

Core Areas

  1. Visual Communication
  2. Visual Art Methods
  3. Visual Arts in Context.

Theoretical, art-making, and curatorial practice. for the interlocking components which cross across the domains of the core areas.

Artmaking forms 

2- and 3-D and light and lens based media. (Fashion artworks must stitch their own work) It appears there is a focus on the Authorship of the work. SL will make for 2 columns, and HL will be at least 3 columns. The use of the first year gains significance in the covering of this areas.

Is the IWB is GONE? We no, but is can be used as a document to develop sequential documentation.

Notes from Powerpoint – “• the development of art-making skills and techniques • experiments with media and technologies • personal reflections • their responses to first-hand observations • creative ideas for exploration and development • their evaluations of art practices and art-making experiences • their responses to diverse stimuli and to artists and their works • detailed evaluations and critical analysis • records of valued feedback received • challenges they have faced and their achievements.”

Janet Echelmann TED Talk

Follow on Twitter – https://twitter.com/JanetEchelman

A great example of a process journal (not this approach for IB Art though as it needs to be in screens) and the development of signposted material development, intentions, and successes. Good documentation as it also brings in the audience interaction with the Concepts are identified and documented and presented.

What is great about this artists T.O.K. links about the appreciation of art. Imagination and the links to the real world. Taking scientific data and converting it to science.

Another Artist who is building great art process.

https://www.ted.com/speakers/shea_hembrey

Shea’s website.

How I became 100 artists.  The Perfect Biennial. The criteria for artists he created. (Our own little Joseph Beuys)

  • Has to be explainable in 5 minutes.
  • The three H’s (Head, Heart, and Hand.)

Two years of Studio work. All created by him. Video, land art, installation, sculpture, environmental art, painting, etc….

What is it that stands out to you about this person! Quiet interesting in general. What is he saying about the art world?  What is Art in general? The fact that he created the work himself and used others persona to represent it. What would the artist create next and why?

Sideline – possibility to map this to another year level as an activity about considering the Art Making Practice of an imaginary artist. A worksheet which outlines the intentions, Influences, heritage, and materials and techniques. Finish the activity with an illustration of their most famous piece.

Comparative Analysis

Students analyse and compare different artworks by different artists.

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SL: Compare at least 3 different artworks, by at least 2 different artists, with commentary over 10- 15 screens.

HL: As SL plus a reflection on the extent to which their work and practices have been influenced by any of the art/artists examined (3-5 additional screens).

Analyses and compare at least 3 artworks by at least 2 different artists from different times, places or cultural contexts.

  • Produce a personal and critically reflective analysis with consideration of the role of the artist, artwork and audiences and the interaction of the areas.
  • It is not an essay. It should be balance of visual and written content, with acknowledged sources and effective use of art language.
  • Assessed on-screen so work must be clear, legible and correctly orientated.
  • Teachers should read and give advice to students on one draft of the comparative study, but should not edit the draft. The next version handed to the teacher must be the final version for submission.

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In my group we looked at Criteria D – Making Comparisons and Connections 

Making comparisons and connections – effective identification and critical analysis of the connections, similarities and differences between the selected artworks, objects and artefacts.

Highest level of the criteria – critically analyses the connections, similarities and differences between the selected pieces. These connections are logical and coherent, showing a thorough understanding of how the pieces compare.

We believed that the use of artworks selection process is key to building the value of this section. If you chose artworks that feed into one another such as appropriated works such as Titian’s Olympia, Manet, and a contemporary version of Yasumasa Morimura this which is a post modern interpretation of this. Conversely, the

This criteria looks at the response as a holistically and demonstrates informed and logical evidence based opinions which show some insight beyond surface interpretation which demonstrates an understanding of the artwork across a period. An understanding of how the time period is different relative to the other artworks. The comparison of the formal qualities. It has a connection to formal qualities which build across the work and acknowledges the connection which these works have in the work. When looking at the connections it would also acknowledge that art functions change over time and the response would acknowledge the works place in this and the role that art has within its cultural context. The material manipulation or use can be a significant component but, not dominating the responses.

A great resource for students to see this comparison across time would be How Art Made the World.

E Criteria – Presentation and subject specific languages 

Visual qualities are assessed here. Legibility and visual communication is assessed here. Layout and presentation is important and terminology is essential. The structure of purposeful ideas. Formal qualities

Criteria F – HL OnlyMaking connection to own art making practice.

The selection of artists here shows a strong connection to their own art making, and extended, appropriate investigation relevant to their insights of their work. Stylistic links, past and present development of work, experimentation of media The student should be considering their own development in meaning, making skills, and material use.  An idea could be to connect prior art making in studio to the selection of their artworks. They need to be selection artists across the skills based classes/workshops that we run in the first year to build connections to their own work.

A starting point for you.

www.paintinganalysis.com

WWW.Voicethread.com also is a great way for students to look at a drafting to this and a way to use this at a class level. Visual doodling is a great addition. Here is a example.  Would love to hear what people think about this.

How do you do this?

The work that is included in the

Is it a block of time or is it an exam, connected to a museum visit, teacher driven lecture style structures, interview?

If no previous experience is needed in the Stage 6 Visual Arts course, how do we get students to respond at the appropriate level. What assumptions can we make about prior experiences?

These are the skills which we recognise as having a basis for the responses that are required;

  • Experience of comparing art and artists from different time and places.
  • Formally analyse art; understand, differentiate and draw conclusions.
  • Understand context: build vocabulary around themes of identity, culture, belief systems, symbolism, taboo and recognising one’s own visual culture.
  • Know what function and purpose means in regards to a work of art.
  • Be able to ask the right questions.
  • A solid grounding in the vocabulary or art and art criticism.

From this understanding we should be looking at the scaffolds.

Ideas one: A task 

Mini comparative study focusing on two artworks from 2 different cultures which explored a theme. These are about helping the structures to be in place for the next piece. This could be placed in the middle of the first year. A foundation component also as a written foundation skill. Pulling out two artists from their work.

Idea two: Assignment

Present requirements and benchmarks and deadlines at different points throughout the year.

Idea three: Post-Museum Visit

Some independent work following the selection of some artists and artworks from the visit and respond to these works abiding to the criteria.

Idea four: Prepare, respond, develop, and present.

Have students work on components throughout the year and respond to the specific areas which are required. Supply frameworks which can be then developed and compiled at the end ready for a combined product. This can inform the journal work and the longitudinal approach to the research rather than a ‘flash in the pan’ assessment task. This could form the structure of a formalised assessment task such as in GCSE and the external set assessment task. A block of formalised time which can be used to finalise the research and assessment which has been done earlier.

End of Day 1.

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Comments
  1. Sue boettxher says:

    This is great. Thank you for taking the time to get this together. I think voice thread is a grat tool but I am worried that at the moment it is too much of a leap for IB assessment. I hope to bring this up in Macau at the conference.

    • nickcoulter says:

      I agree, but I am hoping that pressure may well bring them forward as it did the new guide we are looking at. If not, it is a great tool for developing the CS screens content and the preparatory discussion at a class level prior to the creation of a more static document.

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