Class Activities Unit Three

“Random Artist / Artworks.”
In this unit, students will practice writing for exam type questions based on numerous type artist that will allow students to write concise, articulate responses. Students will gather information from various sources that will further help their understanding. Teaching students to write meaningful essays that will fulfil every component of the frameworks.

Students will have the option to work on their major works or continue to study art theories following course outlined. Revision of past and present artist will be investigated to practice student responses as their understanding of complex issues grows. Students will construct a body of significant art theories, critical narratives and other documented accounts of visual representation.

 





Unit 3: “Random Artist / Artworks” (revisions)

Outcomes: Frames / Conceptual Framework / Practices
Time:10-Weeks (approx)

Term 3 | Week 1-3

Revision: Week 1-3 

Students work on Major Works: 

  • Week to week action plan - Development of body of work – including VAPD and works under development (students showing their process of Major Work) 
  • Students hand in development of body of works, VAPD and self-instigated Case Studies
  • Internal Assessment as follows:
  • Students must develop evidence of body of work throughout the year – works under development; VAPD, oral or written presentation about intentions, conceptual framework relationships, and viewpoint/s
  • Students select a past examination essay question to create a Case Study. This will allow students to study an artist that will help further their studies.

Major Works - Practical Project: Record of Students Project 

 

Lead-up work in a student’s Visual Arts Process Diary, along with other lead-up work, and other tasks produced and not submitted as the body of work, must be available to verify and provide further evidence of a student’s artmaking. 

 

Due date is 20th August Monday: This is throughout Term 3 Week 9.

 



Week 4

 

 Revise - Case Study 2 - 5
You can continue to use the artists studied or begin new artists of interests. I have given you examples of past case studies done by former students to give you an idea to write and complete a case study of your own.


Think about these four points:

  1. How can I maximize my knowledge of the visual arts through these case studies?
  2. How can I structure my case studies so my understanding and written expression best prepare me for examination?
  3. Are there any exhibitions I can visit that may be incorporated into my case studies and major work?
  4. Are you interested in these artist models that they will help you in your Major work?

Students are to look at the ideas and concepts through the "frameworks." 

Revision: The frameworks involve the ideas and aspirations of the artist, audiences, world opinion, artist historians, art critics and journalist etc all seeking to judge better and critique the works of art that are popular.


Major Works - Practical Project: Record of Students Project 

 

Lead-up work in a student’s Visual Arts Process Diary, along with other lead-up work, and other tasks produced and not submitted as the body of work, must be available to verify and provide further evidence of a student’s artmaking. 

Major Works / Class Activities: Week 5

Students will study artist models based on

The “Frames – Practice – Conceptual Frameworks.” 

EUGENE von GUERARD
Born Vienna 1811, Died London 1901

MOUNT WILLIAM FROM MOUNT DRYDEN, 1857
oil on canvas, 61.5 x 91.5 cm
Collection: Art Gallery of Western Australia

 

Students Read pg 6 of Artwise:

Discuss Mr. Blanchflowers ideas and critical evaluations and Answer questions 1-3

List any evidence of Blanchflower's admiration of Von Guerards work, as well as any criticism.

Blanchflower is an artist who lives and works in Perth. Do you think as a critic he influences others point of view in questioning the artist approach?

Identify the frame used by the critic. Give evidence that supports your judgement. (Remember: the subjective frame is concerned with personal responses, memories, the subconscious and emotions; structural frame considers symbols, signs and the arrangements and structure of an artwork; cultural frame is concerned with identity with a particular country, social comment on class, race, gender, politics and technology; Postmodern frame challenges the past and the concept of originality, use of appropriation, use of non-traditional media, parody, pastiche.)


James Gleeson - Looking at his artworks with critics responses

  1. Structured essay question - Paragraph responses
  2. Look at one of Gleeson's artworks and describe his approach to landscape painting.
  3. How is his technique similar to that of Dali? How does it differ?
  4. Select one of Gleeson's work that would be of interest to an international audience if it were to tour as part of an exhibition of Australian art. Give reasons for your choice.

 

  

 



Major Works - Practical Project: Record of Students Project 

Lead-up work in a student’s Visual Arts Process Diary, along with other lead-up work, and other tasks produced and not submitted as the body of work, must be available to verify and provide further evidence of a student’s artmaking.

 Major Works / Class Activities: Week 6

Students will study artist models based on

The “Frames – Practice – Conceptual Frameworks.”

Damien Hirst, 1965 - Case Study 3 Hannah Doods

Is a very famous British artist, born in England 1965. 

Damien Hirst first became well known due to his exhibitions called ‘FREEZE’ in 1988. This Exhibition was quite a famous exhibition run by his college at Goldsmiths in 1988. Damien was lucky enough to have been one of the 16 students involved in this exhibition that held several of Damien’s artworks. This exhibition is widely believed to have been the starting point for the "Young British Artists" movement, the way that many British artists were noticed. 

Damien has gone on to create many other different artworks which have been well known and stood out in the art world due to it's strange and very shocking nature.

One of these artworks he created was titled The Physical Impossibility of Death in the Mind of Someone Living or The shark. 

This artwork is a 14-foot tiger shark, preserved in formaldehyde, presented in a glass tank. The artwork caused discussion as to whether something so simple could be seen as art, to which the conclusion was yes.

Damien Hirst’s artwork commonly referred to as The Shark, expressed his obsession with mortality and death. This artwork was a shock to the art world as it was so different but it did catapult Hirst into art superstardom.

 

 

http://www.artchive.com/artchive/h/hirst/hirst_impossibility.jpg

 

      1. How did the world see his artworks through the materials he used?
      2. Why were some critics opposed the idea of Damien Hirst preservation concepts? Some thought it was not art.
      3. How did he shock his audiences and what was his artworks commenting about?


    Major Works - Practical Project: Record of Students Project 

     

    Lead-up work in a student’s Visual Arts Process Diary, along with other lead-up work, and other tasks produced and not submitted as the body of work, must be available to verify and provide further evidence of a student’s artmaking.


    Major Works / Class Activities: Week 7

     

    Students will study artist models based on

    The “Frames – Practice – Conceptual Frameworks.”

     Ron Mueck - Case Study 3 By Rachel Mercy

    Ron Mueck is a London-based photo-realist artist. Born in Melbourne, Australia, to parents who were toy makers, he labored on children’s television shows for 15 years before working in special effects for such films as “Labyrinth”. He then started his company in London, where he made models to be photographed for advertisements. Eventually, Mueck came to the conclusion that photography pretty much destroys the physical “presence” of the original object, and so he turned to fine art and sculpture. Mueck was commissioned to make something highly realistic and was wondering what material would do the trick.

    Latex was the usual, but he wanted something harder, more precise. Luckily, he saw a little architectural decor on the wall of a boutique and inquired as to the nice, pink stuff’s nature. Fiberglass resin was the answer, and Mueck has made it his bronze and marble ever since.

    Mueck’s sculptures are some of the most widely acclaimed, prominent and identifiable works of art in the international contemporary art arena. He does not make models, giant or tiny puppets. He employs all the techniques of technological advance to create works of art. His sculptures authentically reproduce the minute detail of the human body but play around with the scale to produce disconcertingly jarring visual images. Mueck’s work is always out of scale from reality, as his figures are either oversized or undersized. Mueck’s sculptures are most often naked and are displayed in states of self-consciousness, introspection or deep contemplation; his figures present both emotional and physical states of exposure. Viewers of the artworks experience a level of unease that is borne of voyeuristic awkwardness, as though some personal space has been invaded. The audience also identifies with the human condition these emotional moments express. Astonishing in their apparent realism and compelling in their ability to evoke interaction Ron Mueck’s works have earned him a place as the creator as some of the most evocative sculptures of our time.

    Mueck invites people to take a close-up look at his work, to inspect the hairs, freckles, and blemishes, to scrutinize the carefully modelled expression and contemplate the difference between artist-made reality and the world in which we live.

    "I never made life-size figures because it never seemed to be interesting. We meet life-size people every day.'" Says Mueck

    'There's no denying that I have more information readily at hand when I have a live model. Even when I have had a model, however, what I have to do in the end is to consciously abandon the model and go for what feels right.'

    Ron Mueck


    Major Works - Practical Project: Record of Students Project 

    Lead-up work in a student’s Visual Arts Process Diary, along with other lead-up work, and other tasks produced and not submitted as the body of work, must be available to verify and provide further evidence of a student’s artmaking.  



    Major Works / Class Activities: Week 8

     

    Students continued with their major works - Lead-up work in a student’s Visual Arts Process Diary, along with other lead-up work, and other tasks produced and not submitted as the body of work, must be available to verify and provide further evidence of a student’s artmaking.

    Individual works have not been sited, but I trust my students but continue to document the progress of each student.



    Major Works / Class Activities: Week 9

    Students will study artist models based on

    Case Study 3 By Sarah Norberry


    Anne Zahalka

    Anne Zahalka was born in 1957 in Sydney Australia. 

    Anne Zahalka’s talent is one of the most recognised in the photo media world throughout Australia.
    She has created some amazing works over her 20years of photo media practice. Anne uses familiar settings around Australia to create her images and artworks.
    Her work is shown in major museums in Australia and has held numerous solo shows in not only Australia but also overseas. 

    The Exhibition I have chosen to discuss is her Installation “Leisureland.” This show was documented on the stuff we do in life like leisure, sport, and entertainment within our Australian culture. She shows this through colour, detail, and conventions of photographic realism. The photographs are taken from real locations which seem to focus on theme parks, entertainment centres, shopping arcades, indoor rock climbing, gyms, museums, aquariums, video parlours, cinemas, and sporting complexes.
    Anne is trying to convey our fascination of these environments and display them in her artwork. 

    When walking through the exhibit, Anne wants her viewers to encounter their critical appreciation and experience of the different environments displayed.


    Major Works - Practical Project: Record of Students Project 

    Lead-up work in a student’s Visual Arts Process Diary, along with other lead-up work, and other work produced and not submitted as the body of work, must be available to verify and provide further evidence of a student’s artmaking. 


    End Term 3 | Week 10

    Major Works - Practical Project: Record of Students Project 

    Lead-up work in a student’s Visual Arts Process Diary, along with other lead-up work, and other work produced and not submitted as the body of work, must be available to verify and provide further evidence of a student’s artmaking.