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STUDIO ARTSWritten examination
Monday 10 November 2014 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 4 4 25B 3 3 24C 2 2 26
Total 75
• Studentsarepermittedtobringintotheexaminationroom:pens,pencils,highlighters,erasers,sharpenersandrulers.
• StudentsareNOTpermittedtobringintotheexaminationroom:blanksheetsofpaperand/orwhiteoutliquid/tape.
• Nocalculatorisallowedinthisexamination.
Materials supplied• Questionandanswerbookof12pageswithadetachableinsertinthecentrefold.
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.
©VICTORIANCURRICULUMANDASSESSMENTAUTHORITY2014
SUPERVISOR TO ATTACH PROCESSING LABEL HEREVictorian Certificate of Education 2014
STUDENT NUMBER
Letter
2014STUDIOARTSEXAM 2
SECTION A–continued
SECTION A
Instructions for Section AYoumayselectthesameartworkoradifferentartworkfromthedetachableinsertforeachquestioninSectionA.Answerallquestionsinthespacesprovided.
Question 1 (6marks)Selectoneartworkfromthedetachableinsert.
Artworknumber
Discusstheartist’suseofmaterialsandtechniquesintheartwork.
3 2014STUDIOARTSEXAM
SECTION A–continuedTURN OVER
Question 2 (6marks)Selectoneartworkfromthedetachableinsert.
Artworknumber
Describeconservationconsiderationsandmethodsinvolvedinstoringthisartwork.
2014STUDIOARTSEXAM 4
SECTION A–continued
Question 3 (6marks)Selectoneartworkfromthedetachableinsert.
Artworknumber
Discusstheroleofacuratorinpreparingthisworkforexhibitioninapublicgallery.
5 2014STUDIOARTSEXAM
END OF SECTION ATURN OVER
Question 4 (7marks)Selectoneartworkfromthedetachableinsert.
Artworknumber
Discusshowtheartisthasusedartelementstodevelopparticularaestheticqualitiesintheartwork.
2014STUDIOARTSEXAM 6
SECTION B–continued
Question 5 (6marks)Comparetherolesoftwo ofthefollowingartexhibitionspaces:• acommercialgallery• acommunityenvironment• avirtualexhibitionspace• anartist-runspace• analternativeartspace
SECTION B
Instructions for Section BAnswerallquestionsinthespacesprovided.
7 2014STUDIOARTSEXAM
SECTION B–continuedTURN OVER
Question 6 (10marks)Refertoartwork11inthedetachableinsert.Inthiscollaborativeartwork,MartinSharpandTimLewishaveappropriatedsubjectmatterfromAndyWarholandVincentVanGogh.
ExplaintheissuesrelatedtolegalobligationsandethicalconsiderationsassociatedwiththeuseofartworksbyWarholandVanGogh.
2014STUDIOARTSEXAM 8
END OF SECTION B
Question 7 (8marks)Discussthewaysinwhichoneartistyouhavestudiedthisyearhasexploredideasandcommunicatedmeaningsinoneartwork.
9 2014STUDIOARTSEXAM
SECTION C – Question 8–continuedTURN OVER
Question 8 (12marks)Discussthedifferentapproachestothepreparationandpresentationofartworksintwodifferentexhibitionspacesyouhavevisitedthisyear.
Exhibitionspace1
Exhibitionspace2
SECTION C
Instructions for Section CAnswerallquestionsinthespacesprovided.
2014STUDIOARTSEXAM 10
SECTION C–continued
11 2014STUDIOARTSEXAM
SECTION C – Question 9–continuedTURN OVER
Question 9 (14marks)Selecttwoartworksbydifferentartists.Analysehoweachartworkreflectsparticularinfluencesandculturalcontexts.
Artist1
Titleofartwork
Artist2
Titleofartwork
2014STUDIOARTSEXAM 12
END OF QUESTION AND ANSWER BOOK
1 2014 STUDIOARTS INSERT
INSERT FOR QUESTIONS 1–4 AND 6
TURN OVER
183 × 198 cm2. Juan Ford (Australian), Painting, phrenology
(abstraction), oil on canvas, 2004
71 × 40 × 95 cm3. Koji Ryui (Japanese), Self portrait looking at the work
of art, galvanised steel bin, wood, mirror, resin, stickers, installation view, Sarah Cottier Gallery, Sydney, 2008
213 cm wide1. Claes Oldenburg (American), Floor-burger (Soft Hamburger),
sailcloth and foam rubber, 1962
Due to copyright restrictions, this material is not supplied.
2014 STUDIOARTS INSERT 2
4. Film still from The Man from Laramie (1955), directed by Anthony Mann, written by Philip Yordan and Frank Burt, produced by William Goetz
6. Bamen Tomotsugu (Japanese), Armor of Gusoku type, lacquered iron and leather, shakudo, silver, silk, horse hair and ivory, Edo period (1615–1868)
51 cm high5. Stephen Bowers (Australian), Kangaroo hunt, North
Adelaide, hand-built, earthenware, underglaze colour, clear glaze, 2012; in Damon Moon and John Neylon, Stephen Bowers, Wakefield Press, 2013; private collection, Adelaide
Phot
ogra
ph: M
oMA
/Film
Stil
ls A
rchi
ve
Phot
ogra
ph: G
rant
Han
cock
Due to copyright restrictions, this material is not supplied.
3 2014 STUDIOARTS INSERT
TURN OVER
20.5 × 15.5 cm9. Olive Cotton (Australian), Cardboard Design, gelatin
silver photograph, c. 1935
7. Tania Joyce (British), In the Beginning (part of a series called ʻThe Enchanted Journeyʼ), digital image
127 × 94 cm8. Lisa Roet (Australian), Chimpanzee Fist No. 2
(Ham), charcoal on silk paper, 2004
2014 STUDIOARTS INSERT 4
END OF INSERT FOR QUESTIONS 1–4 AND 6
21.5 × 51.5 cm10. Noel Counihan (Australian), City, linocut (printed by Neil Leveson), artistʼs proof,
edition 11/14, 1978; collection: Geelong Gallery, Sybil Craig Bequest Fund, 193; image by permission of Counihan Artworks Pty Ltd
117 × 91.5 cm11. Martin Sharp (Australian) and Tim Lewis (Australian),
Still life: (Marilyn), synthetic polymer paint on canvas, 1973; © Martin Ritchie Sharp/licensed by Viscopy, 2015