Essential understanding
- Everything (in an artwork) is information
Making My Mark
I have no fears about making changes, destroying the image, etc. because the painting has a life of its own.
-Jackson Pollock, Abstract Expressionist
-Jackson Pollock, Abstract Expressionist
Create a series of two (2) or more artworks in which you respond conceptually to an initial collection of marks.
Note: You may or may not have some ideas about a "concentration" at this point. If you do, you may want to keep that in the back of your mind as you begin. Process:
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Making My Mark... again
Next steps:
6. Extend your ideas in order to create a small series of work. You must produce at least one more piece that organically evolves out of the first. Your second piece must come from one of the other media groups. See below.
Next steps:
6. Extend your ideas in order to create a small series of work. You must produce at least one more piece that organically evolves out of the first. Your second piece must come from one of the other media groups. See below.
Media Requirements
Your first artwork will focus on media from Category 1, Two-dimensional forms. Your second artwork should come from one of the other two categories.
Two-dimensional forms
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Three-dimensional forms
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Lens-based, electronic and screen-based forms
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Visual Arts Journal
The aim of the visual arts journal is to support and nurture the acquisition of skills and ideas, to record developments, and to critique challenges and successes. It is expected that much of the written work submitted for the assessment tasks at the end of the course will have evolved and been drawn from the contents of the visual arts journal. -Visual Arts Journal, First examinations 2016
The aim of the visual arts journal is to support and nurture the acquisition of skills and ideas, to record developments, and to critique challenges and successes. It is expected that much of the written work submitted for the assessment tasks at the end of the course will have evolved and been drawn from the contents of the visual arts journal. -Visual Arts Journal, First examinations 2016
Assessment Criteria
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Part Three: Exhibition
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Research
When carrying out research, students should be encouraged to consult a suitable range of primary and secondary sources. As well as the more obvious sources (books, websites, videos, DVDs, articles) research may also include art-making experiences and encounters such as workshops, lectures, correspondence with experts and visits to exhibitions. All sources consulted during the course must be cited following the protocol of the referencing style chosen by the school and be presented in a bibliography or as footnotes. -Visual Arts Guide, First examination 2016
Even if you rely on the internet there should be evidence of good quality sources. While there is nothing wrong with a regular Google search, the following are meant to help you find better resources faster:
When carrying out research, students should be encouraged to consult a suitable range of primary and secondary sources. As well as the more obvious sources (books, websites, videos, DVDs, articles) research may also include art-making experiences and encounters such as workshops, lectures, correspondence with experts and visits to exhibitions. All sources consulted during the course must be cited following the protocol of the referencing style chosen by the school and be presented in a bibliography or as footnotes. -Visual Arts Guide, First examination 2016
Even if you rely on the internet there should be evidence of good quality sources. While there is nothing wrong with a regular Google search, the following are meant to help you find better resources faster:
- Ms. Hunter's Pinterest Boards
- Ms. Hunter's Google Custom Search Engine
- Ms. Hunter's Dropbox
Subject-specific language
Use specialist art terminology. This includes the focus areas:
Use specialist art terminology. This includes the focus areas:
- Form (Elements and Principles, Composition)
- Media
- Subject Matter
- Artlex.com is a good source
What is mark-making?
Ms. Hunter's Making My Mark board on Pinterest.
Theoretical practice
I see - I think - I wonder
Work in a group of three or four. Select one (1) of the following images:
Work in a group of three or four. Select one (1) of the following images:
Art-making practice
Ongoing reflection
What did you do today?
What did you do today?
Developing media and technical skills
As you develop your image you may want to consider some of the following as possible techniques (as demonstrated in class):
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Silhouettes and stencils
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Photo-transfers
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Block-prints and stamps
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Mono-prints
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Developing concepts and meaning
TOK connection: What is the role of reason and logic in the Visual Arts in terms of meaning-making?
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Developing a body of work: Working in a series
The following artists are great to look at to see how artists create 'bodies' of work or 'series' of work:
The following artists are great to look at to see how artists create 'bodies' of work or 'series' of work:
- Antony Gormley's Sculpture (various series of work)
- Cindy Sherman's Film Stills series
- Edward Burtynsky's various photo projects
- Do-Ho Suh's Specimen Series
- Dulce Pinzon's Superheroes series
- Nancy Spero's Artworks
Developing intentions for YOUR artworks
Planning
- Make connections between the various aspects of your artwork (concept, visually, technically, artistic devices/ strategies) and the work of others (from a range of times and places).
- Pinterest collection to APJ (select your most significant pins)
- Mindmap/ brainstorming, annotations
- Thumbnail sketches, details, coloured roughs
- Compositional studies
The 4 Cs
The function of the artist is not to transmit news or information, but rather to ask questions, postulate problems, or posit situations. -Christian Boltanski, artist
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Relating to the Audience (Weintraub)
1. Review the following list which identifies various ways that artists can relate to their audience(s). 2. Circle those categories that you actively desire implementing. Cross out those that you actively reject. Add any categories that apply to you but are missing from the list. 3. Explain how you will implement the categories that you circled in your current work. teach | delight | calm | provoke | criticize | sympathize | arouse | flatter | mock | praise | excite | please | confuse | stabilize | soothe | amuse | frighten | disgust | exploit | manipulate | lure | encourage | warn | insult | attack | cajole | corrupt | console | aggravate | amaze | bewilder | nurture | defy | confront | dispute | judge | tease | taunt | involve | entice | engross | engage | motivate | annoy | irritate | reinforce | oppose | confound | incite | alarm | convince | delude | remind | stimulate | bore | entertain | repel | honour | dare | baffle | influence | support | exhaust | titillate | offend | challenge | pacify | explain | inform | suggest | infer | proclaim | imply | conceal | enlighten | instruct | guide | demand | command | assert | mystify | report | broadcast | propose | hint | advocate | announce | obscure | train | illustrate | inculcate | coach | control | describe | dominate | portray | declare | emphasize | televise | transmit | show | offer | disguise | recommend | publicize | counsel | order | intimate | insinuate | promote | decree | depict | highlight | allege | urge | advertise | expose | edify | indicate | contend | render | signify | camouflage |
Curatorial Practice
Final Evaluation and Reflection
- Evaluate both the strengths and weaknesses of your finished pieces. Consider technical/ media skills, composition/ aesthetics, expression of idea/ concept, etc. As you evaluate your work it will be helpful to write in terms of the elements that support your concept(s)/ intentions and the elements that do not support or distract from your concept(s)/ intentions.
- Reflection: problems/ solutions? what was easy/ challenging?; what do you like/ not like about your work? how do you feel about your work? what new ideas do you have? etc.
- What TOK connections can you make with your work, process, etc.
Exhibition Text
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Curatorial Rationale
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Works Cited
Weintraub, Linda. In the Making: User’s Manual: Creative Options for Contemporary Art History Classes and Studio Art Classes
2003, DAP.
2003, DAP.
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