STUDIO ARTSWritten examination

Tuesday 15 November 2011 Reading time: 9.00 am to 9.15 am (15 minutes) Writing time: 9.15 am to 10.45 am (1 hour 30 minutes)

QUESTION AND ANSWER BOOK

Structure of bookSection Number of

questionsNumber of questions

to be answeredNumber of

marks

A 3 3 20B 3 3 30C 2 2 25

Total 75

• Studentsarepermittedtobringintotheexaminationroom:pens,pencils,highlighters,erasers,sharpenersandrulers.

• StudentsareNOTpermittedtobringintotheexaminationroom:blanksheetsofpaperand/orwhiteoutliquid/tape.

• Nocalculatorisallowedinthisexamination.

Materials supplied• Questionandanswerbookof11pageswithadetachableinsertinthecentrefold.

Instructions• Detachtheinsertfromthecentreofthisbookduringreadingtime.• Writeyourstudent numberinthespaceprovidedaboveonthispage.

• AllwrittenresponsesmustbeinEnglish.

At the end of the examination• Youmaykeepthedetachedinsert.

Students are NOT permitted to bring mobile phones and/or any other unauthorised electronic devices into the examination room.

©VICTORIANCURRICULUMANDASSESSMENTAUTHORITY2011

SUPERVISOR TO ATTACH PROCESSING LABEL HERE

Figures

Words

STUDENT NUMBER Letter

Victorian Certificate of Education 2011

2011STUDARTSEXAM 2

SECTION A–continued

SECTION A

Instructions for Section AYoumayselectthesameartworkoradifferentartworkfromthedetachableinsertforQuestions1,2and3.Answerallquestionsinthespacesprovided.

Question 1Selectoneartworkfromthedetachableinsert.

Artworknumber

Describehowmaterialsandtechniqueshavebeenusedtomaketheartwork.

6marks

3 2011STUDARTSEXAM

SECTION A–continuedTURN OVER

Question 2Selectoneartworkfromthedetachableinsert.

Artworknumber

Discusstheideasandmeaningsthatarecommunicatedintheartwork.

6marks

2011STUDARTSEXAM 4

Question 3Selectoneartworkfromthedetachableinsert.

Artworknumber

Discusshowtwoartelementshavebeenusedtocreateaestheticqualitiesintheartwork.

8marks

END OF SECTION A

5 2011 STUDARTS EXAM

SECTION B – continuedTURN OVER

Question 4When an artist makes a new artwork from another artist’s artwork they engage in a process of appropriation.The considerations listed below may affect this process. Define the following terms.

moral rights of artists

originality

copyright law

6 marks

SECTION B

Instructions for Section BAnswer all questions in the spaces provided.

2011STUDARTSEXAM 6

SECTION B–continued

ForQuestion5youmustselectanartworknot previously selectedinSectionA.

Question 5Selectoneartworkfromthedetachableinsert.

Artworknumber

Inordertopreserveorconservethisartworkinapublicgallery,whatcouldeachofthefollowingpeopledo?

theartist

thecurator

thepublic

9marks

7 2011STUDARTSEXAM

SECTION B – Question 6–continuedTURN OVER

Question 6Identifyanartgalleryorotherartspacewhereyouviewedanartexhibitionthisyearanddiscussthefollowing.• theroleoftheartgalleryorartspace• theintentionofthecuratororartist• thepresentationoftheartwork(s)

Nameand/orlocationofartgalleryorartspace

2011STUDARTSEXAM 8

END OF SECTION B

15marks

9 2011STUDARTSEXAM

SECTION C–continuedTURN OVER

Question 7Analysetwoartworksbyanartistwhoyouhavestudiedthisyear.Makereferencetoartelementsandhowtheyhavebeenusedtodevelopaestheticqualitiesandstyleintheartworks.

Artwork1

Artwork2

10marks

SECTION C

Instructions for Section CAnswerallquestionsinthespacesprovided.

2011STUDARTSEXAM 10

SECTION C – Question 8–continued

Question 8SelectadifferentartistfromtheoneyoudiscussedinQuestion7.Analyseoneartworkyouhavestudiedthisyeartoshowhowitreflectstheartist’s• historicalandculturalcontext• artisticinfluences• communicationofideasandmeaning.

11 2011STUDARTSEXAM

15marks

END OF QUESTION AND ANSWER BOOK

1 2011 STUDARTS INSERT

INSERT FOR QUESTIONS 1, 2, 3 AND 5

TURN OVER

81 × 60 cm1. Pablo Picasso, Spain/France, Woman with hands

joined, 1938, charcoal and pencil on primed canvas

21 × 44 × 20 cm3. Margaret Dodd, Australia, Holden with lipstick

surfboards, 1977, handbuilt, glazed earthenware Photo by Clayton Glen, National Gallery of Australia,

Canberra, purchased 1981

87 × 50 cm2. Dennis Nona, Australia/Kala Lagaw Ya people,

Malu lag a dapar – A urungu aidal (Sea, land and air creatures), 2000, hand-coloured linocut, edition 75

Due to copyright restriction,this material is not supplied.

2011 STUDARTS INSERT 2

81 × 53 cm4. John Everett Millais, England, The Blind Girl,

1854, oil on canvas

6. Daniel Crooks, New Zealand/Australia, Static Number 11 (man running), 2008, production still, 04:32 min, single channel HD/BluRay, stereo, edition of three

Courtesy of the artist and Anna Schwartz Gallery

39 × 29 cm5. Jill White, Australia, Max Dupain AC OBE, 1990,

gelatin silver photograph

3 2011 STUDARTS INSERT

TURN OVER

155 cm high9. Myron, Greece, c. 450 BC, The Discus

Thrower, marble, Roman copy

79 × 103 cm7. Callum Morton, Australia, Mac Attack, Wahroonga, NSW, 2001,

digital print – Auto Cad, 3D Studio max, Illustrator, Photoshop, edition of 30

Courtesy of the artist and Anna Schwartz Gallery

8. Kristin Leek, New Zealand, Mahuika-Guardian of the Fire Children, 1995, scarlet dyed silk shirt and trousers screen-printed with wax stencil, silk-screened cloak with green dyed feather cloak and head wrap of printed silk and scarlet dyed toetoe grass plumes

Wearable Art: Design for the body, ed. Naomi O’Conner, Nelson: Craig Potton Publishing, 1997.

Photo credit: World of Wearable Art Ltd.

2011 STUDARTS INSERT 4

END OF INSERT FOR QUESTIONS 1, 2, 3 AND 5

110 × 130 × 18 cm11. John Davis, Australia, Evolution of a fish: Traveller, 1990, twigs, cotton thread, calico,

bituminous paint

dimensions variable

10. Nele Azevedo, Brazil, Climate Change Artistic Campaign: Tiny Melting Ice Men Sculptures, 2009, (detail) Installation, 1000 tiny ice sculptures of men sitting on the steps of the Berlin Concert Hall, melting time about 30–40 minutes

Minimum Monument 2009

Due to copyright restriction,this material is not supplied.

Due to copyright restriction,this material is not supplied.

Due to copyright restriction,this material is not supplied.