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

Posted: March 8, 2015 in Uncategorized

Gustave Courbet self-portrait, “The Desperate Man” (c. 1843–1845)

SO, Day 2, is this how you feel? I think possibly some may have that clarity that they sort, but other have found more questions that have arisen through more awareness of the details of the Comparative Analysis component.  One of those questions is “who is the audience for this study and who should they be writing to?”

Today we look at the Process Portfolio and the Exhibition component, which inevitably will be bringing up questions of its own.

Process Portfolio

External Assessment:

 Weighting: 40% Students at SL and HL submit carefully selected materials which demonstrate their experimentation, exploration, manipulation and refinement of a variety of visual arts activities during the two-year course.

Student have to focus on the following points.

  • The emphasis on the PP is on the making of art.
  • Show focused, developmental, observational, skills-based, reflective, imaginative and creative experiments which have led to refined outcomes.
  • The work, which may be extracted from the visual arts journal and other sketch books, notebooks, folios and so on, should have led to the creation of both resolved and unresolved works.
  • Note that resolved works are allowed to appear in the PP, but not the same ones that are in the exhibition.
  • The PP encourages students to carry out sustained exploration and experimentation in a variety of media. Successful failures are fine: there is no need to resolve all experiments.

What are we looking for in the Process Portfolio (PP) 40%

Every image used within the process portfolio must be appropriately referenced to acknowledge the title, artist, date and the source (if is a culturally obscure image is more so required) , following the protocol of the referencing style chosen by the school. Students must ensure their own original work is identified and acknowledged in the same way to ensure examiners are clear about the origins of the materials. When the student is aware that another person’s work, ideas or images have influenced their conceptual or developmental work but it has not been referred to directly in their work, the source must be included as a bibliography reference within the submitted portfolio screens. The submitted screens must not include any resolved works submitted for part 3: exhibition assessment task.

Examining the Criteria.

The final works should not be appearing in the PP. Firstly this would be wasting your screens where these should be appearing in the Exhibition.

The Criteria 

A Skills, techniques and processes sustained experimentation and manipulation of a range of skills, techniques and processes, showing the ability to select and use materials appropriate to their intentions?

Highest level of the criteria would be: assured and sustained experimentation and manipulation of a range of skills, techniques and processes, and a highly appropriate selection of materials, consistent with intentions.

  • Material use which is related and poignant to the development of the artwork.
  • The demonstration of “sustained” is necessary for the highest level. It is evidenced in the works development through experimentation, or developed through a number of artworks.
  • The same use of the visual language explored in the materials.
  • Resilience and continuous exploration of the ideas, materials.
  • A variety of media been explored
  • Growth in the media been used which is selected over time.
  • Shows a elements of student ownership and independence from the teacher directed.
  • As a value of 12, this is biased to the assessment objective.

B Critical investigation

critical investigation of artists, artworks and artistic genres, communicating the student’s growing awareness of how this investigation influences and impacts upon their own developing art-making practices and intentions?

Highest level of the criteria would be: in-depth critical investigation, clearly communicating a secure and insightful awareness of how this investigation has impacted upon the student’s own developing practices and intentions.

  • Influences to intentions
  • Originality of artists shows breadth of the awareness
  • A documentation of the journey
  • Criteria A is the umbrella for the whole process portfolio, B is the how of the artists and relationship to them.
  • The links to current events possibly
  • Commitment to an idea
  • Validating the effect of these influences on their development.
  • Greater depth of the Criteria A elements.
  • A strong sense of integration of this content.
  • Documentation of the change and effect which has impacted their work.
  • No man is an island” – show connections to the world around them.
  • Connection to the artists and their use of the media.

C Communication of ideas and intentions

the ability to clearly articulate how their initial ideas and intentions have been formed and developed and how they have assimilated technical skills, chosen media and ideas to develop their work further?

Highest level of the criteria would be: clearly articulates how initial ideas and intentions have been formed and developed. The work effectively communicates how technical skills, media and ideas have been assimilated to develop the work further.

  • a variety of communication and exploration skills
  • documentation of the ideas and applications skills
  • developed personalised assimilated skills which build on ideas in the work
  • concise  documentation

D Reviewing, refining and reflecting

the ability to review and refine selected ideas, skills, processes and techniques, and to reflect on the acquisition of skills and their development as a visual artist?

Highest level of the criteria would be: highly effective and consistent process of reviewing and refining ideas, skills, processes and techniques. The work presents a meaningful and assured reflection upon the acquisition of skills and analysis of the student’s development as an artist.

  • ensuring they use examples and exploration.
  • written notes and the use of annotation
  • language to demonstrate consistency with application
  • extension of reflection back to the work
  • evidence of the product of refinement

We looked at Criteria E

Presentation and subject-specific language ensure that information is conveyed clearly and coherently in a visually appropriate and legible manner, supported by the consistent use of appropriate subject-specific language?

Highest level of the criteria would be: clearly and coherently conveys information which results in visually appropriate, legible and engaging work. Subject-specific language is used accurately and appropriately throughout.

  • Maintain a balance between written text and Visuals
  • Correct spelling
  • Presentation of materials and layout of slides
  • Aesthetically pleasing structures, don’t overcrowd.
  • Appropriate terminology for the techniques and materials discussed.
  • Appropriate length of slides for the HL (13-25) or SL (9-18)
  • Legibility of text on slides
  • Consistency of the presentation from beginning to end.

In summary, we can see that this format will be much more authentic use of the students work that will sample the students Journal work and the traditional use of the visual exploration on paper, screen shots from their digital work, and extra ‘floor work’ that was originally used. The work for this PP will be a selection of pages (either sections and whole pages) to demonstrate this evidence.

Overall, examiners are looking for;

  • Sustained selection, experimentation and manipulation of a variety of media and techniques appropriate to stated intentions.
  • Sustained practice that has been informed by critical investigation of artists and evidence of how these have influenced practice.
  • How initial ideas have been formed and how connections have been made between skills, chosen media and ideas.
  • How ideas, skills, processes and technique are reviewed and refined.
  • Clearly and coherently presented pages with good use of art language.

Other discussion, does the new Guide (2016) allow for the use of audio in the work at any stage, including the links to the Process Portfolio and the embedded video links. Where does equity for other schools who don’t have the facilities to create ‘visually strong and technically rich” process works. Internet connection speeds and download upload students. 

The reality is that the third column below highlights the needs for the use of audio in visual moving forms now. 

Snip20150308_3

The Exhibition

Internal Assessment: Exhibition Weighting: 40%

Students submit for assessment a selection of resolved artworks for their Exhibition: SL (4-7) HL (8-11) that show evidence of;

  • their technical accomplishment.
  • a statement of 500 characters per artwork which discusses elements of each artwork.
  • an understanding of the use of materials, ideas and practices appropriate to visual communication.
  •  a curatorial rationale: SL 400 words HL 700 words which explains any challenges, triumphs, innovations, or issues that have impacted upon the selection and presentation of the art works. The rationale should also demonstrate an awareness of the decision-making process/criteria for the selection of this cohesive body of work.

Students will select a sample of resolved work and reflect on what makes these effective pieces for exhibition, particularly in response to their own clearly stated intentions and the messages they wanted to communicate about their artwork. The curriculum interpretation and structure should be flexible enough to ensure that students can create and display a range of artworks. An integral part of this experience is the process of self-reflection and an awareness of how viewers can engage with artwork in different kinds of exhibition contexts and venues.

Students can submit 2 photographs of the exhibition (not assessed.)

Curatorial practice

Teachers must ensure that students at SL and HL have experience of selecting and presenting resolved works for exhibition, explaining the ways in which the works are connected and discussing how artistic judgments impact the overall presentation.

The submitted works must not include any resolved works submitted for the exhibition assessment task. Page 45 Any resolved works submitted as part of the PP cannot be resubmitted in the Exhibition. Preliminary work as studies for resolved work in the exhibition is of course encouraged in the PP.

The Criteria

A – Coherent body of works

To what extent does the submitted work communicate a coherent collection of works which fulfil stated artistic intentions and communicate clear thematic or stylistic relationships across individual pieces?

Highest level of the criteria would be: The work selected for assessment demonstrates that the student fully considers their stated intentions in the effective selection and application of media, processes and techniques. The body of effectively resolved and refined works displays sensitivity to materials.

  • has each piece equal value.
  • a balanced approach to the overall exhibition.
  • the idea of coherent is backed up by a sequenced and logical development of work.
  • has made connection in the rationale to support the inclusion in the exhibition.
  • The work shows a relationship to the selected artworks media use, process and techniques.

B – Technical competence

To what extent does the submitted work demonstrate: effective application and manipulation of media and materials and effective application and manipulation of the formal qualities?

Highest level of the criteria would be: The work selected for assessment displays effective application, manipulation and refinement of skills to reach an assured level of technical competence with the selected materials in the chosen media.

  • refined and resolved works are evident in the quality of work
  • the uses of media is understood in its application
  • technical competence is refined throughout the work.
  • this is a body of work
  • does the work stand up on its own technically
  • is it appropriate use of media for the works idea?

C – Conceptual qualities

To what extent does the submitted work demonstrate effective resolution of imagery, signs and symbols to realise the function, meaning and purpose of the art works, as appropriate to stated intentions?

Highest level of the criteria would be: The work selected for assessment visually elaborates ideas, themes or concepts to a sophisticated point of effective realisation with consistency across the body of work. There is evidence of the subtle use of complex imagery, signs and symbols that afford effective communication of stated artistic intentions.

  • ability to convey and communicate the personal ideas, concepts and evidence to support this.
  • the rationale and awareness of the works layers of interpretation
  • evidence is supported through the use of text references to the work

We discussed in our group;

D – Curatorial practice (SL only)

To what extent does the curatorial rationale justify the selection, arrangement and exhibition of a group of artworks within a designated space?

Highest level of the criteria would be: The curatorial rationale fully justifies the selection of the exhibited works, which are presented and arranged clearly, as appropriate to the student’s stated intentions in the space made available to the student.

  • Should be concise and clearly communicate the intention of the exhibition.
  • Utilises the exhibition text to leverage the depth of the rationale.
  • Could / possibly have an overarching philosophy or idea which binds the work.
  • The arrangements and placement of works (as a sequence or stand alone) in the exhibition should be acknowledged and discussed.
  • The student acknowledges the role that the space/arrangement has on the work and the journey that the audience takes through their exhibition. Could be linear, thematic, media, or stylistic.

D – Curatorial practice (HL only)

To what extent does the curatorial rationale demonstrate the justification of the selection, arrangement and exhibition of a group of artworks within a designated space and reflection on how the exhibition conveys an understanding of the relationship between the artworks and the viewer?

Highest level of the criteria would be: The curatorial rationale concisely justifies the selection of the exhibited works, which are presented and arranged clearly, as appropriate to the student’s stated intentions. The student provides an appropriate and clearly justified reflection on how they attempted to establish a relationship between the artworks and the viewer within the space made available to the student.

  • Should be concise and clearly communicate the intention of the exhibition.
  • Utilises the exhibition text to leverage the depth of the rationale.
  • Could possibly have an overarching philosophy or idea which binds the work.
  • The arrangements and placement of works (as a sequence or stand alone) in the exhibition are acknowledged.
  • The student acknowledges the role that the space/arrangement has on the work and the journey that the audience takes through their exhibition.

AND

  • The rationale identifies the connections between the work as individuals as well as what it adds to the overall exhibition meaning / context  / impact.
  • Acknowledges that the audiences have a relationship and a dialogue with the artwork and the links between them.
  • The presentation of artworks contributes to the audiences ability to interpret and understand the intentions and meanings within the artworks exhibited.

In summary;

It is important that as a teacher producing a grade, you mark from the evidence which you are providing to the examiner. Use the artworks, pages, statements and materials supplied to the examiner.

Any images, texts, artworks or references to other people’s work are clearly acknowledged and referenced in the statement. Make it clear that this is a deliberate appropriation or pastiche of the nominated work and the value which that adds.

Organisation and collection of information

Sue suggested that the use of key words for their statements and a format which allows students to document the required components is very useful. An Excel sheet which has descriptions of what is required for students to complete the various components. This could be broken into different sheets which outline the details of each component for the students to complete; title, size, media, date, statement, etc.. One for the artwork details is particularly useful.

AFTER LUNCH!

Working on exemplars for the application of the criteria. This will be interesting!

SL Process Portfolio – Student A

Notes on the marking;

A- 6, B – 4, C – 4, D – 4, E – 2

The fragmentation of the ideas made it difficult to track if the ideas were fragmented or the work was incomplete. It contained a linear development but not exploring the media. Drawing with pen was strong, but the pencil and paint was lower standard. Annotations were very literal in some areas, yet in others this was helpful for understanding the intention. All 2D forms

SL Exhibition – Student A

Notes on the marking;

A – 3/4, B – 3,  C – 3, D – 1

They don’t need to use more than one media in exhibition, this student has painting in oil and ink . Justification in the rationale is very fragmented and the concepts are not supported in the artworks in a consistent way.

SL Comparative Study – Student A – 

Notes on the marking;

A -3 , B -3 ,  C -3 , D -3 , E -2

  • Density of information is low
  • not synthesised
  • text and background is competing
  • Historical study, rather than the comparative analysis. Page 7 before any analysis is made.

What did we learn from our marking-

  • clear documentation of student works is vital.
  • the overall exhibition image is important to see the relationship of artworks.
  • frameworks are important.
  • guide the students to concise and easy to follow information.
  • consider the space of a screen as important real estate.
  • a comparison is a comparison, not a segmented/blocked effort.

The Gallery visit- 

Find two works to compare and the third artist is one we choose from outside of the gallery space.

Below are images from the visit.

HKPD_Out_and_About075 HKPD_Out_and_About068 HKPD_Out_and_About074 HKPD_Out_and_About073 HKPD_Out_and_About072 HKPD_Out_and_About070 HKPD_Out_and_About069 HKPD_Out_and_About077 HKPD_Out_and_About076

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Comments
  1. Amanda Marcon says:

    Thanks again Nick. Fantastic recap on the day which will be a reminder further down the track I’m sure.

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