IB Diploma Visual Arts Survival Guide - Weebly · Visual Art Student Guide The Basics: The Visual Arts Journal This is a record of your studies which will include research, reflection,

"

IB Diploma Visual Arts" Survival Guide!

"Name: ___________________________

!

cdayton

Chandler Dayton

DP Visual Arts Assessment Calendar – class of 2016

Due Dates for Units 2014/15 Unit Week beginning with

1 Object Study 4th September 2014

2 Culture/Identity 6th October 2014

3 Text 10th November 2014

4 Get up/ Appropriation

12th January 2015

5 Student Choice 9th February 2015

6 Student Choice 23rd March 2015

Linking the visual arts core syllabus areas to the assessment tasks

Linking the visual arts core syllabus areas to the assessment tasksVisual arts guide2727

As part of the core syllabus students will be expected to: (in a variety of media selected from the art-making forms table)

For assessment students will be expected to: (in a variety of media selected from the art-making forms table)

Practices

Visual arts in context

Artists and why they make art

Visual arts methods

Ways of making artwork Communicating visual arts

Ways of presenting art

Combining all they have learned from visual arts in context, visual arts methods and communicating visual arts core

syllabus areas:

Ext/Int SL HL

Theoretical practice

Examine and compare the work of artists from

different times, places and cultures, using a range of

critical methodologies. Consider the cultural contexts (historical,

geographical, political, social and technological factors) influencing their

own work and the work of others.

Look at different techniques for making

art. Investigate and compare how and why

different techniques have evolved and the processes involved.

Explore ways of communicating through visual and written means.

Make artistic choices about how to most effectively

communicate knowledge and understanding.

PART

1

Comparative study: Students analyse and compare different artworks by different artists. This independent critical and contextual investigation explores artworks, objects and artifacts from differing cultural contexts.

Ext 20% 20%At SL: Compare at least 3 different artworks, by at

least 2 different artists, with commentary over 10–15

screens.

At HL: As SL plus a reflection on the

extent to which their work and practices

have been influenced by any of the art/

artists examined (3–5 screens).

Art-making practice

Make art through a process of investigation,

thinking critically and experimenting with techniques. Apply

identified techniques to their own developing

work.

Experiment with diverse media and explore

techniques for making art. Develop concepts

through processes that are informed by skills,

techniques and media.

Produce a body of artwork through a process of

reflection and evaluation, showing a synthesis of skill,

media and concept. PART

2

Process portfolio: Students submit carefully selected materials which evidence their experimentation, exploration, manipulation and refinement of a variety of visual arts activities during the two-year course.

Ext 40% 40%At SL: 9–18 screens. The

submitted work should be in at least two different art-making

forms.

At HL: 13–25 screens. The submitted work should be in at least three different art-

making forms.

Syllabus

Linking the visual arts core syllabus areas to the assessment tasks

Visual arts guide28

As part of the core syllabus students will be expected to: (in a variety of media selected from the art-making forms table)

For assessment students will be expected to: (in a variety of media selected from the art-making forms table)

Practices

Visual arts in context

Artists and why they make art

Visual arts methods

Ways of making artwork Communicating visual arts

Ways of presenting art

Combining all they have learned from visual arts in context, visual arts methods and communicating visual arts core

syllabus areas:

Ext/Int SL HL

Curatorial practice

Develop an informed response to work and exhibitions they have

seen and experienced. Begin to formulate

personal intentions for creating and displaying

their own artworks.

Evaluate how their ongoing work communicates

meaning and purpose. Consider the nature of “exhibition” and think

about the process of selection and the potential impact of

their work on different audiences.

Select and present resolved works for

exhibition. Explain the ways in which the works are connected. Discuss how artistic judgments

impact the overall presentation.

PART

3

Exhibition: Students submit for assessment a selection of resolved artworks from their exhibition. The selected pieces should show evidence of their technical accomplishment during the visual arts course and an understanding of the use of materials, ideas and practices appropriate to visual communication. Int 40% 40%

At SL: 4–7 pieces with exhibition text for each. A

curatorial rationale (400 words maximum).

At HL: 8–11 pieces with exhibition text for each. A curatorial rationale (700 words

maximum)

Visual arts journal

The visual arts journal underpins every aspect of the course. Students will use the journal, which can take many forms, to record all aspects of their art-making journey, including experiments with media, research, reflections, observations and personal responses. Although not directly assessed, elements of this journal will contribute

directly to the work submitted for assessment

This table illustrates a snapshot of the visual arts course at a glance. The assessment tasks (on the right) are drawn horizontally from across the three core curriculum areas (on the left). Please refer to the relevant core syllabus or assessment task sections of this guide for the full requirements of each area or task.

Students must follow the principles of academic honesty in all their work in this visual arts course; they must ensure they acknowledge sources as well as the work, words and ideas of others in line with the consistent referencing style adopted by their school.

Being&a&DP&Visual&Arts&student&means&……&&• being&playful&with&materials&and&ideas&• looking&at&things&more&closely&or&from&different&perspectives&

• thinking&critically&• finding&beauty&or&something&interesting&in&everyday&things&and&situations&

• making&connections&between&different&ideas&• making&connections&between&different&‘areas&of&knowledge’&

• going&beyond&ordinary&ways&of&thinking&and&doing&things&&

• being&a&risk&taker&&• arranging&things&in&new&and&interesting&ways&&• persisting&• exposing&yourself&to&possible&failure&• day&dreaming&&• concentrating&your&effort&got&long&periods&of&time&

• working&hard&&&&

Visual Art Student Guide

What is the IB Visual Art Course? How is Art made?

+ Why is Art made?

= IBO Visual Art

There are three core areas:

Visual Art in Context: This is about the why of art? Why do different cultures make art? What does it tell us about our history and us? Are there rules to making art and can I break them? You will write and you will experiment with media to develop art works in response to your research.

Visual Arts Methods: This is making art; in other words all the activities that you would expect to do in the studio using a wide range of media from photography and digital manipulation to painting, sculpture, installation, textiles and more. This course encourages you to explore

different ways of making art; not just what you are comfortable with.

Communicating Visual Arts: This is you as an artist.You will produce a series of artworks for an exhibition. You will decide how best to present this exhibition so as to make an impact on the viewers.

In following this course you will:

Learn the practical skills needed to express your ideas in different media.

You will explore:

What is important to you? How can you use Art to express your ideas and identity? What do we mean by truth and reality in Art? What are the moral obligations of an artist? What do we expect from Art? How do your ideas relate to worldissues? How do you use art in response to world cultures and issues? This course will change the way you think.

Mike Kelly in his studio

Maurzio Anzeri

38/100


The Basics: The Visual Arts Journal This is a record of your studies which will include research, reflection, responses and creative ideas for exploration and development. The Comparative Study (20% of the marks) This is a critical and contextual investigation. (Which means considering why art is the way it is?) You will analyse and compare art and artefacts by different artists and from different cultures. You will then develop a practical outcome from your study. This is all about looking at art and responding to what you see. The Process Portfolio (40% of the marks) You will explore different techniques and develop your skills. You will make art using media both familiar and new. This is all about experimenting and learning new skills. The Exhibition: (40% of the marks) This is the culmination of your course. You will put on an exhibition of your finished art work. This is about you as an artist. What is the difference between Standard and Higher Level? Standard Level Higher Level Weighting Externally assessed from an electronic submission. Comparative Study

10-15 screens which examine and compare at least three artworks from contrasting cultures.

10-15 screens which examine and compare at least three artworks from contrasting cultures.

20%

3-5 Screens which analyse how your work has been influenced by the above.

Process Portfolio 9-18 screens showing experimentation and refinement of art making in a variety of media.

13-25 screens showing experimentation and refinement of art making in a variety of media.

40%

Must show at least two art making forms.

Must show at least three art making forms.

Internally Assessed and externally moderated. Exhibition A selection (4-7) of

resolved artworks from your exhibition. A rationale (400words) Two exhibition photos.

A selection (8-11) of resolved artworks from your exhibition. A rationale (700words) Two exhibition photos.

40%

Grayson Perry.

39/100

VISUAL ARTS

Art-making forms table

Two-dimensional forms Three-dimensional forms Lens-based, electronic and screen-based forms

Drawing: such as charcoal, pencil, ink

Painting: such as acrylic, oil, watercolour

Printmaking: such as relief, intaglio, planographic, chine collé

Graphics: such as illustration and design

Sculpture: such as ceramics, found objects, wood, assemblage

Designed objects: such as fashion, architectural, vessels

Site specific/ephemeral: such as land art, installation, mural

Textiles: such as fibre, weaving, printed fabric

Time-based and sequential art: such as animation, graphic novel, storyboard

Lens media: such as still, moving, montage

Digital/screen based: such as vector graphics, software generated


The Visual Art Journal This will record the development of your ideas. It will be mainly written; though will include sketches, plans, collage and a good deal of research material such as the imagery that excites you. It might be partly electronic.

Put your name and mobile number on the cover in case it becomes lost

In the journal you will document:

x The development of skills and techniques x Experiments with media and technologies x Personal reflections x First hand observation of art works x Creative ideas to explore and develop x Evaluations of art making x Responses to stimuli, to artists and to artworks x Critical analysis x You will record teacher feedback x You will reflect on challenges

You will then use the material from your Journal to:

1. Help write your Comparative Study 2. Provide the text for the presentation of your Process Portfolio 3. Plan your Exhibition 4. Provide the text for you Exhibition rationale

William Blake’s Sketchbook

From British Museum Turn The Page web sitehttp://www.bl.uk/onlinegallery/ttp/ttpbooks.html

http://library.wellcome.ac.uk/ttp.html

40/100

9LVXDO$UW6WXGHQW*XLGH

Referencing for Text and Images (Citation) :KHQ\RXFDUU\RXWUHVHDUFK\RXZLOOEHXVLQJSULPDU\VRXUFHV\RXUGLUHFWH[SHULHQFHVXFKDVYLVLWLQJDUWJDOOHULHVRUVHFRQGDU\VRXUFHVVXFKDVERRNVZHEVLWHVPDJD]LQHVHWF<RXZLOOGRFXPHQW\RXUSHUVRQDOUHVSRQVHVWRWKHVHEXW\RXZLOOQHHGWRFLWHWKHPDVWKHVRXUFHVIRU\RXULGHDV*HWWLQJWKLVULJKWZLOOVDYH\RXDJRRGGHDORIVWUHVVODWHUVRKHUHDUHWKHJXLGHOLQHV

,PDJHV

2WKHUZRUNVRI$UW&OHDUO\LQGLFDWHWKHDUWLVWDQGWLWOHQH[WWRWKHLPDJHHYHQLI\RXKDYHDOUHDG\PHQWLRQHGWKHVHLQWKHWH[W,ILWLVDSKRWRJUDSKRIDQDUWHIDFW\RXVKRXOGLQGLFDWHWKHSKRWRJUDSKHUIRUH[DPSOHµ3KRWRIURP0(7PXVHXP1<¶

9LVXDOLPDJHU\VXFKDVSKRWRJUDSKV,GHDOO\WKHQDPHRIWKHSKRWRJUDSKHU7KLVLVQRWDOZD\VSRVVLEOHVR\RXPD\RQO\EHDEOHWRSXWWKHZHEDGGUHVV(YHQLI\RXDUHPDQLSXODWLQJLPDJHVLQWRDFROODJH\RXQHHGWRWHOOXVZKHUHWKHVHFDPHIURPWKDWLVDZHEDGGUHVVRUWKHPDJD]LQHLI\RXDUHXQDEOHWRLGHQWLI\WKHSKRWRJUDSKHU

<RXURZQSKRWRJUDSKV0DNHLWFOHDUWKDWWKHVHDUH\RXUVE\ZULWLQJµ0\RZQSKRWRJUDSKQH[WWRHDFKRQH¶,I\RXXVLQJSKRWRVWDNHQE\IDPLO\RIIULHQGV\RXQHHGWRPDNHWKLVFOHDUWRR)RUH[DPSOHµ0\IDWKHU¶VSKRWRJUDSK¶RUµ3KRWRJUDSKVWKDWP\IULHQG(OLQDWRRNRIPHIRUP\VHOISRUWUDLWSURMHFW¶

7H[WDQG,GHDV:KHQ\RXDUHZRUNLQJZLWKDSLHFHRIWH[W\RXQHHGWRGHFLGHZKHWKHU\RXDUHJRLQJWRTXRWHGLUHFWO\RUWRPDNHQRWHVIURPLWDQGUHLQWHUSUHWWKHLGHDV/RRNDWWKHH[DPSOHVEHORZRIZKDWLVDQGZKDWLVQRWDFFHSWDEOH

7KLVSDUDJUDSKLVWDNHQIURP$UWIRU'XPPLHVE\7KRPDV+RYLQJ

3LFDVVR¶V³/HV'HPRLVHOOHVG¶$YLJQRQ¶³7KHDUWVLJQLILFDQFHRIWKLVFKDRWLFUHSHOOHQWPDJQHWLFDQGO\ULFDOSDLQWLQJLVWKDWIURPWKLVSRLQWRQZDUGJUHDWDUWGLGQ¶WKDYHWREHDHVWKHWLFDOO\ULJKWRUQLFH´

([DPSOHV

7KHDUWVLJQLILFDQFHRIWKLVFKDRWLFUHSHOOHQWPDJQHWLFDQGO\ULFDOSDLQWLQJLVWKDWIURPWKLVSRLQWRQZDUGJUHDWDUWGLGQ¶WKDYHWREHDHVWKHWLFDOO\ULJKWRUQLFH

12WKLVLV3ODJLDULVPaWKHWH[WKDVVLPSO\EHHQOLIWHG±SUHWW\REYLRXV

,Q$UWIRU'XPPLHV7KRPDV+RYLQJVWDWHVWKDW³7KHDUWVLJQLILFDQFHRIWKLVFKDRWLFUHSHOOHQWPDJQHWLFDQGO\ULFDOSDLQWLQJLVWKDWIURPWKLVSRLQWRQZDUGJUHDWDUWGLGQ¶WKDYHWREHDHVWKHWLFDOO\ULJKWRUQLFH´7KLVFRPPHQWRQ3LFDVVR¶V/HV'HPRLVHOOHV'¶$YLJQRQVKRZVWKDWDUWLVWVZHUHQRZIUHHWRPDNHDUWLQDQ\IRUPWKH\ZDQWHG

<(6WKLVLVILQH7KHTXRWDWLRQLVFOHDUO\FLWHGDQGWKHZULWHUKDVFRPPHQWHGRQLWVPHDQLQJ

7KHLPSRUWDQFHRIWKLVPDGXJO\DSSHDOLQJDQGPDJLFDOSDLQWLQJLVWKDWIURPWKDWWLPHLPSRUWDQWSLFWXUHVGLGQ¶WQHHGWRORRNEHDXWLIXO

12WKLVLV3ODJLDULVP7KHZULWHUKDVVLPSO\UHZULWWHQWKHWH[WUHSODFLQJVLPLODUZRUGV

%HFDXVH3LFDVVR¶VSDLQWLQJEURNHWKHUXOHVDERXWZKDWZDVFRQVLGHUHGEHDXWLIXORUDSSURSULDWHLQSDLQWLQJDUWLVWVZHUHIUHHWRPDNHDUWDQ\ZD\WKDWWKH\ZLVKHG7KLVFDQEHVHHQLQWKHHDUO\ZRUNVRIWKH'$'$DUWLVWV

<(6WKLVLVILQH7KHZULWHUKDVXQGHUVWRRGWKHLGHDDQGKDVGHYHORSHGLW

41/100

Visual Art Journal

42/100

Visual Art Journal

43/100


Make sure that you have one of these RQ hand to help you with your notes.

44/100


The Seven Formal Points of Art Criticism

Always start and end by considering the emotional impact and the meaning of the work.

Use the 7 points as prompts to your description in whichever order seems appropriate. Their importance will vary according to what you are looking at.

Composition

Light

Form

Line

Space

Colour

Texture

Emotion

Meaning

S

Style

S

45/100

Visual Art Journal

46/100


Part One: The Comparative Study

Culture Contrasts: Similarities and differences.

Choose culturally divergent images. First we will about them, and then they research and made class presentations, this will form a starting point for your Comparative Study.

Left is a Visual Art Journal page and below a completed Comparative study Screen using the notes.

47/100

7KH&RPSDUDWLYH6WXG\6WXGHQW&KHFN6KHHWTask³6HOHFWDWOHDVWWKUHHDUWZRUNV2EMHFWVRUDUWHIDFWVDWOHDVWWZRRIZKLFKVKRXOGEHE\GLIIHUHQWDUWLVWV´<RXU1DPH

6FUHHQV

HL & SL $UWLVW0DNHU&XOWXUH 7LWOH &RPSOHWHG )LUVWZRUN

3HUVRQDO5HVSRQVH &ULWLFDO5HVSRQVH 5HVHDUFK

6RXUFHV &RQWH[WXDO5HVSRQVH &XOWXUDO5HVSRQVH 6HFRQGZRUN

&RPSDUHDQGFRQWUDVWWRILUVWZRUN 5HVHDUFK

&ULWLFDO5HVSRQVH &XOWXUDO5HVSRQVH 7KLUG:RUN

/LQNWRSUHYLRXVZRUNV &ULWLFDODQGFXOWXUDOUHVSRQVH HL only 6FUHHQV/LQNWR\RXUVWXGLRZRUN

x ,WLVJRRGLI\RXFDQKDYHDILUVWKDQGH[SHULHQFHRIDWOHDVWRQHRIWKHZRUNVWKDW\RXZLOOEHVWXG\LQJ

48/100


Part 2: The Process Portfolio <RXZLOOQHHGWRXVHDWOHDVWGLIIHUHQWIRUPVIURPWZRWDEOHVIRU6/,I\RXDUHWDNLQJ+/\RXPXVWFKRRVHGLIIHUHQWIRUPVIURPWKHWZRWDEOHVEHORZ

0tOD3UHVORYD:

UDSSHG8S

Preparing Screens

:KHQ\RXSUHVHQWERWK\RXUComparative StudyDQG\RXUProcess PortfolioDVN\RXUVHOI:KDWZLOOLWORRNOLNHRQDVFUHHQ"'HVLJQ\RXUSDJHVLQDODQGVFDSHIRUPDW,I\RXDUHKDQGZULWLQJWKHWH[WFKHFNWKDWLWZLOOVWLOOEHOHJLEOHZKHQVFDQQHG"

Choosing different media

to work with

49/100

Jam

es R

alst

on P

roce

ss P

ortfo

lio

50/1

00

Polina Sologub Process Portfolio

52/100


Part 3: The Exhibition

You will need to plan your final exhibition of finished artwork carefully. Consider how your artworks will interact? Do you want to create a special space? Or perhaps an installation? Or do you want it to be in a traditional exhibition format? Choose according to the style of your art. You are not allowed to include any of the work from your Process Portfolio (though you might show finished works developed from studies in the Process Portfolio) However, you can include the works that you discussed in your Comparative Study.

SL 4-7 Works HL 8-11 Works

54/100


How to write your curatorial rational and exhibition text? This is your chance to give a clear context to your art. Use your Visual art Journal to write this. Captions: In addition to the title, dimensions and medium, you will write a maximum of 500 characters as a caption to each Art work submitted for assessment. Include:

x A brief context for the image. For example “This is my interpretation of ………influenced by………”

x References to any sources which have influenced the piece x Make it clear if you are deliberately appropriating images from elsewhere

Curatorial Rationale:

x You will explain why you have chosen these artworks and why you have shown them in this way?

x You can explain any challenges, innovations, initiatives that have impacted on your selection and presentation of worker

x Provide a context for the work so as to help the viewer to understand the exhibition. If you are taking HL you also need to explain:

x How the arrangement and presentation of artworks contributes to the audiences ability to interpret and understand the intentions and meanings within the artworks exhibited.

It may help to consider these key words: Analyse Apply Compare and Contrast Demonstrate Describe Evaluate Examine Explain Explore Identify Justify Sources Influences Context Skills Techniques Media Scale Purpose Process Focus It might also help to read what galleries say about art works. Here is a text from the Tate Gallery about Warhol’‛s Screen prints of Marilyn Monroe: Display caption http://www.tate.org.uk/ 0DULO\Q0RQURHGLHGLQ$XJXVW,QWKHIROORZLQJIRXUPRQWKV:DUKROPDGHPRUHWKDQWZHQW\VLONVFUHHQSDLQWLQJVRIKHUDOO

EDVHGRQWKHVDPHSXEOLFLW\SKRWRJUDSKIURPWKHILOPNiagara:DUKROIRXQGLQ0RQURHDIXVLRQRIWZRRIKLVFRQVLVWHQW

WKHPHVGHDWKDQGWKHFXOWRIFHOHEULW\%\UHSHDWLQJWKHLPDJHKHHYRNHVKHUXELTXLWRXVSUHVHQFHLQWKHPHGLD7KHFRQWUDVWRI

YLYLGFRORXUZLWKEODFNDQGZKLWHDQGWKHHIIHFWRIIDGLQJLQWKHULJKWSDQHODUHVXJJHVWLYHRIWKHVWDU¶VPRUWDOLW\

September 2004

55/100


This is what it might have sounded like if Andy Warhol had written a curatorial statement for his IB Visual art Exhibition?

If Andy is taking Higher Level he will also need to tell us why he is displaying them like this for his exhibition? Images from Pinterest: http://www.pinterest.com/search/pins/?q=andy%20warhol%20the%20factory

:KHQ0DULO\Q0RQURHGLHGLQ$XJXVW,GHFLGHGWRPDNHWZHQW\VLONVFUHHQ

SDLQWLQJVRIKHUDOOEDVHGRQWKHVDPHSXEOLFLW\SKRWRJUDSKIURPWKH

ILOPNiagara7KLVLVDIXVLRQRIWZRRIP\FRQVLVWHQWWKHPHVGHDWKDQGWKHFXOW

RIFHOHEULW\%\UHSHDWLQJWKHLPDJH,HYRNHKHUXELTXLWRXVSUHVHQFHLQWKH

PHGLD7KHFRQWUDVWRIYLYLGFRORXUZLWKEODFNDQGZKLWHDQGWKHHIIHFWRIIDGLQJ

LQWKHULJKWSDQHODUHVXJJHVWLYHRIWKHVWDU¶VPRUWDOLW\

Andy Warhol’s Visual Art Exhibition ?

56/100


Ethics and honesty From the IBO OCC: Students will exercise academic honesty in all aspects of their work. They will acknowledge the work of others, including material taken from other sources. They will not claim as their own the work of others. They will not give their work to others to pass off as their own No artwork, performance or film will be undertaken that damages the environment. No artwork, performance or film will include excessive or gratuitous violence or explicit sexual activity. All presentations will respect the personal, political and spiritual values of others and will contain no intention to offend in remarks about race, gender or religious beliefs.

This young ecologist and geographer was passionate about the predicament of the planet. She had intelligently reflected her cultural awareness through her inventive development of ideas derived from James Lovelock. Her imaginative outcomes were thoughtfully developed through miniature cities that populated twigs.

57/100


Art Angst Can’‛t do Art today?

Everything you do in Art seems worthless?

Self criticism:

Avoid assessing your work as you do it, or even worse, before you start. It is good to self review but not to demoralize yourself. Instead make a decision, act on it, then stop and reflect over what you have done after you have completed it, ready for the next stage.(Review, modify and refine).

Other students:

Compare your work to other students but do not judge yourself against them. There will always those who seem better than you. It is easier to see other’‛s merits and not to notice your own strengths. Artists have always learnt from those around them. Picasso and Braque worked in a studio together to develop cubism, their paintings from this period are often very hard to tell apart;; Picasso said “We were roped together like two mountaineers”.

The teacher:

Everything was going just fine and then your art teacher came along and made a comment that upset your plans! Yes well, we are paid to help, but sometimes well intentioned criticism can be devastating. The most important action is for you to challenge the comment: perhaps the teacher did not explain what they meant properly? Perhaps they misunderstood your intentions? Remember that communicating your ideas is an essential element of the course so opening out the discussion is the way forward.

Work schedule:

It can be very difficult to maintain enthusiasm for your art work, especially when you have so many other calls on your time. All artists suffer moments of doubt and a lack of confidence. Those who have succeeded have worked through their uncertainties and have had a disciplined work ethic. Routine is vital; art assignments are open ended so it is tempting to finish tangible tasks, such as a History essay or language learning that take a finite amount of time before you start your creative tasks. This is a big mistake. If, however, you always leave Art until last, you will not build the momentum needed to move forward with your ideas.

A little art every day – then set times each week when you can bury yourself in the studio – Art work eats time!

Graphic by Jo Clinch

58/100

Assessment

0DUN7DQVH\µ7KH,QQRFHQW(\H7HVW¶

59/100

Assessment overview DP Visual Art

Process Portfolio 40%

Students submit carefully selected materials which evidence their experimentation, exploration, manipulation and refinement of a variety of visual arts activities during the two-year course. Students submit (SL 9–18) or (HL 13-25) pages which evidence their sustained experimentation, exploration, manipulation and refinement of a variety of art-making activities. SL students wil l submit work from 2 columns & HL will submit 3 forms from 2 columns of the Art Making Forms table.

A Skills, techniques and processes Using the required number of art-making forms from the art-making forms table, to what extent does the work demonstrate: sustained experimentation and manipulation of a range of skills, techniques and processes, showing the ability to select and use materials appropriate to their intentions.

At the highest level of achievement 12 Working across at least the required number of media and forms, the work demonstrates assured and sustained experimentation and manipulation of a range of skills, techniques and processes, and a highly appropriate selection of materials, consistent with intentions.

B Critical investigation To what extent does the work demonstrate: critical investigation of artists, artworks and artistic genres, communicating their growing awareness of how this investigation influences and impacts upon their own developing art-making practices and intentions?

The work shows 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.

6

C Communication of ideas and intentions in both visual and written forms Using the required number of art-making forms from the art-making forms table, to what extent does the student demonstrate: 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?

The work 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.

6

D Reviewing, refining and reflecting in both visual and written forms To what extent does the work demonstrate: 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?

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

6

E Presentation and subject specific language To what extent does the work: 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?

The work clearly and coherently conveys information which results in visually appropriate, legible and engaging work. Subject-specific language is used accurately and appropriately throughout.

4

Exhibition 40%

Students submit for assessment a selection of resolved artworks (SL 4-7) and (HL 8-11) from their exhibition. The selected pieces should show evidence of their technical accomplishment during the visual arts course and an understanding of the use of materials, ideas and practices appropriate to visual communication. Additionally students will submit a curatorial rationale SL 400 words, HL 700 words.

A A A

Coherent body of works Evidence: curatorial rationale, the submitted artworks, exhibition text and exhibition photographs/video 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.

At the highest level of achievement 9 The work forms a coherent body of work through effective communication of thematic or stylistic relationships across individual pieces. Stated intentions are consistently and effectively fulfilled through the selection and application of media, processes and techniques and the considered use of imagery.

B Technical competence Evidence: curatorial rationale, the submitted artworks, exhibition text and exhibition photographs/video To what extent does the submitted work demonstrate: effective application and manipulation of media and materials; effective application and manipulation of the formal qualities?

The work demonstrates effective application and manipulation of media and materials to reach an assured level of technical competence in the chosen forms and the effective application and manipulation of the formal qualities.

9

C Conceptual qualities Evidence: curatorial rationale, the submitted artworks, exhibition text and exhibition photographs/video To what extent does the submitted work demonstrate: effective resolution of imagery, signs and/or symbols to realize the function, meaning and purpose of the art works, as appropriate to stated intentions?

The work visually elaborates ideas, themes or concepts to a point of effective realization and demonstrates the subtle use of complex imagery, signs and/or symbols that result in effective communication of stated artistic intentions.

9

D Curatorial practice Evidence: curatorial rationale, the submitted artworks, exhibition text and exhibition photographs/video To what extent does the curatorial rationale justify: the selection, arrangement and exhibition of a group of artworks within a designated space? (HL only >>> reflection on how the exhibition conveys an understanding of the relationship between the artworks and the viewer?

The curatorial rationale fully justifies the selection and arrangement of the exhibited works.(HL only >>> The curatorial rationale effectively articulates the relationship between the artworks and the viewer within the space made available to the student.

3

Comparison Study 20%

Students analyse and compare different artworks by different artists. This independent critical and contextual investigation explores artworks, objects and artifacts from differing cultural contexts: SL 10-15 pages, HL 10-15 Pages + 3-5 Pages which analyse the extent to which their work has been influenced by the art and artists examined.

A Analysis of formal qualities To what extent does the work demonstrate: Effective identification and analysis of the formal qualities of the selected artworks, objects and artifacts?

At the highest level of achievement 6 The work identifies and analyses the formal qualities of the selected pieces from at least two cultural origins. The analysis of these formal qualities is consistently informed and effective

B Interpretation of function and purpose To what extent does the work demonstrate: Informed & appropriate interpretation of the function & purpose of the selected artworks, objects & artifacts within the cultural context in which they were created?

The work demonstrates a consistently informed and appropriate interpretation of the function and purpose of the selected pieces within the cultural context in which they were created.

6

C Evaluation of cultural significance To what extent does the work demonstrate: Informed understanding of the cultural significance of the selected artworks, objects and artifacts within the specific context in which they were created?

The work demonstrates consistently informed and appropriate evaluation of the material, conceptual and cultural significance of the selected pieces within the specific context in which they were created.

6

D Making comparisons and connections To what extent does the work demonstrate: Effective identification and critical analysis of the connections, similarities and differences between the selected artworks, objects and artifacts?

The work critically analyses the connections, similarities and differences between the selected pieces. These connections are logical and coherent, showing a thorough understanding of how the pieces compare.

6

E Presentation and subject-specific language To what extent does the work: 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?

The work clearly and coherently conveys information which results in a visually appropriate, legible and engaging study. Subject-specific language is used accurately and appropriately throughout.

6

F

Making connections to own art-making practice HL Only To what extent does the work: Analyse and reflect on the outcomes of the comparative study investigation and on how this has influenced the student’s own development as an artist, identifying connections between one or more of the selected works and the student’s own art-making processes and practices?

The work analyses and reflects upon the outcomes of the investigation consistently and appropriately. The student effectively considers their own development, making informed and meaningful connections to their own art-making practice.

12

cdayton

Chandler Dayton

Part 1: Comparative study – Criteria – External assessment 20%

Mar

k A - Analysis of formal qualities To what extent does the work demonstrate: Effective identification and analysis of the formal qualities of the selected artworks, objects and artifacts?

0 The work does not reach a standard identified by the descriptors below 1-2 The work identifies some formal qualities of the selected pieces from at least two cultural origins. There is little or no attempt at analysis.

3-4 The work identifies and describes the formal qualities of the selected pieces from at least two cultural origins. The analysis of these formal qualities is inconsistent.

5-6 The work identifies and analyses the formal qualities of the selected pieces from at least two cultural origins. The analysis of these formal qualities is consistently informed and effective.

Candidates who do not examine and compare at least 3 artworks by at least 2 different artists will not be awarded a mark higher than 3 in this criteria.

Mar

k B - Interpretation of function and purpose To what extent does the work demonstrate: Informed and appropriate interpretation of the function and purpose of the selected artworks, objects and artifacts within the cultural context in which they were created?

0 The work does not reach a standard identified by the descriptors below

1-2 The work demonstrates an interpretation of the function and purpose of the selected pieces within the cultural context in which they were created, but this is largely undeveloped, superficial or relies heavily on personal opinion.

3-4 The work demonstrates an interpretation of the function and purpose of the selected pieces within the cultural context in which they were created, although this is not always consistently informed or developed.

5-6 The work demonstrates a consistently informed and appropriate interpretation of the function and purpose of the selected pieces within the cultural context in which they were created.

Candidates who do not examine and compare at least 3 artworks by at least 2 different artists will not be awarded a mark higher than 3 in this criterion.

Mar

k C - Evaluation of cultural significance To what extent does the work demonstrate: Informed understanding of the cultural significance of the selected artworks, objects and artifacts within the specific context in which they were created?


1-2 The work demonstrates an evaluation of the material, conceptual and cultural significance of the selected pieces within the specific context in which they were created, but this is largely undeveloped, superficial or relies heavily on personal opinion.

3-4 The work demonstrates an evaluation of the material, conceptual and cultural significance of the selected pieces within the specific context in which they were created, although this is not always consistently informed or developed.

5-6 The work demonstrates consistently informed and appropriate evaluation of the material, conceptual and cultural significance of the selected pieces within the specific context in which they were created.


Mar

k D - Making comparisons and connections To what extent does the work demonstrate: Effective identification and critical analysis of the connections, similarities and differences between the selected artworks, objects and artifacts?


1-2 The work outlines connections, similarities and differences between the selected pieces, with little critical analysis. These connections are largely superficial or inappropriate and demonstrate a basic understanding of how the pieces compare.

3-4 The work describes the connections, similarities and differences between the selected pieces, with some underdeveloped critical analysis. The connections are logical and coherent and demonstrate a sound understanding of how the pieces compare.

5-6 The work critically analyses the connections, similarities and differences between the selected pieces. These connections are logical and coherent, showing a thorough understanding of how the pieces compare.


Mar

k E - Presentation and subject-specific language To what extent does the work: 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?


1-2 The work makes some attempt to convey information clearly or in a visually appropriate manner; however this may be inconsistent or not always appropriate. There is some attempt to use subject-specific language but this may be infrequent or with inaccuracies.

3-4 The work clearly and coherently conveys information, in a visually appropriate and legible manner, with some consistent use of appropriate subject-specific language.

5-6 The work clearly and coherently conveys information which results in a visually appropriate, legible and engaging study. Subject-specific language is used accurately and appropriately throughout.

Mar

k F - Making connections to own art-making practice – HL ONLY To what extent does the work: Analyse and reflect on the outcomes of the comparative study investigation and on how this has influenced the student’s own development as an artist, identifying connections between one or more of the selected works and the student’s own art-making processes and practices?

0 The work does not reach a standard identified by the descriptors below 1-3 The work outlines the outcomes of the investigation making few or only superficial connections to their own art-making practice.

4-6 The work describes the outcomes of the investigation but without considering the implications on their own development. The student makes attempts to make connections to their own art-making practice, but these are inconsistent or superficial.

7-9 The work reflects upon the outcomes of the investigation consistently with some attempts at analysis and consideration of their own development, however this lacks depth. The student makes some meaningful connections to their own art-making practice, but these are underdeveloped.

10-12 The work analyses and reflects upon the outcomes of the investigation consistently and appropriately. The student effectively considers their own development, making informed and meaningful connections to their own art-making practice.

Extracted from the IB Visual Arts Guide (First Examinations 2016) – Toni Hauri

Chandler Dayton

Part 2: Process Portfolio – Criteria – External assessment 40%

Mar

k A - Skills, techniques and processes Using the required number of art-making forms from the art-making forms table, to what extent does the work demonstrate: sustained experimentation and manipulation of a range of skills, techniques and processes, showing the ability to select and use materials appropriate to their intentions?


1-3 The work demonstrates some experimentation and manipulation of skills, techniques, processes and selection of materials, which may not be appropriate or related to intentions. This work is incoherent.

4-6 Working across at least the required number of media and forms, the work demonstrates experimentation and manipulation of some skills, techniques, processes and the appropriate selection of materials, which are largely consistent with intentions. This work is superficial at times.

7-9 Working across at least the required number of media and forms, the work demonstrates purposeful experimentation and manipulation of a range of skills, techniques and processes. The selection of materials is mostly consistent with intentions.

10-12 Working across at least the required number of media and forms, the work demonstrates assured and sustained experimentation and manipulation of a range of skills, techniques and processes, and a highly appropriate selection of materials, consistent with intentions.

Candidates who do not submit works reflecting the minimum number of media and forms will not be awarded a mark higher than 3 in this criterion.

Mar

k B - Critical investigation To what extent does the work demonstrate: critical investigation of artists, artworks and artistic genres, communicating their growing awareness of how this investigation influences and impacts upon their own developing art-making practices and intentions?


1-2 The work shows limited critical investigation with little or limited awareness of the impact on the student’s own developing art practices or intentions.

3-4 The work shows sound critical investigation which displays an awareness of the impact on the student’s own developing art practices and intentions

5-6 The work shows 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.

Mar

k

C - Communication of ideas and intentions (in both visual and written forms) Using the required number of art-making forms from the art-making forms table, to what extent does the student demonstrate: 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?


1-2 The work lists how initial ideas or intentions have been formed or developed. The work rarely communicates how technical skills, media or ideas have contributed to their work.

3-4 The work attempts to identify how initial ideas and intentions have been formed and developed, but this is underdeveloped. The work communicates how technical skills, media and ideas have been assimilated, but with room for further depth.

5-6 The work 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.

Mar

k D - Reviewing, refining and reflecting (in both visual and written forms) To what extent does the work demonstrate: 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?


1-2 The work demonstrates little understanding of the process of reviewing or refining ideas, skills, processes or techniques. Reflection is mostly descriptive or superficial.

3-4 The work demonstrates a process of reviewing and refining ideas, skills, processes and techniques, but this is underdeveloped. The work presents a reflection upon the acquisition of skills as an artist, but with room for further depth.

5-6 The work demonstrates a 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.

Mar

k E - Presentation and subject-specific language To what extent does the work: 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?


1-2 The work makes some attempt to convey information clearly or in a visually appropriate manner; however this may be inconsistent or not always appropriate. There is some attempt to use subject-specific language but this is infrequent or with inaccuracies

3-4 The work clearly and coherently conveys information which results in visually appropriate, legible and engaging work. Subject-specific language is used accurately and appropriately throughout.


cdayton

Chandler Dayton

Part 3: Exhibition – Criteria – Internal assessment 40%

Mar

k A - Coherent body of works Evidence: curatorial rationale, the submitted artworks, exhibition text and exhibition photographs/video 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?

0 The work does not reach a standard identified by the descriptors below.

1-3 The work shows little coherence through minimal communication of thematic or stylistic relationships across individual pieces. The selection and application of media, processes and techniques and the use of imagery show minimal consideration of intentions.

4-6 The work shows some coherence through adequate communication of thematic or stylistic relationships across individual pieces. Stated intentions are adequately fulfilled through the selection and application of media, processes and techniques and the considered use of imagery.

7-9 The work forms a coherent body of work through effective communication of thematic or stylistic relationships across individual pieces. Stated intentions are consistently and effectively fulfilled through the selection and application of media, processes and techniques and the considered use of imagery.

Candidates who fail to submit the minimum number of artworks cannot achieve a mark higher than 6.

Mar

k

B - Technical competence Evidence: curatorial rationale, the submitted artworks, exhibition text and exhibition photographs/video To what extent does the submitted work demonstrate: effective application and manipulation of media and materials; effective application and manipulation of the formal qualities?


1-3 The work demonstrates minimal application and manipulation of media and materials to reach a minimal level of technical competence in the chosen forms and the minimal application and manipulation of the formal qualities.

4-6 The work demonstrates adequate application and manipulation of media and materials to reach an acceptable level of technical competence in the chosen forms and the effective application and manipulation of the formal qualities.

7-9 The work demonstrates effective application and manipulation of media and materials to reach an assured level of technical competence in the chosen forms and the effective application and manipulation of the formal qualities.


Mar

k

C - Conceptual qualities Evidence: curatorial rationale, the submitted artworks, exhibition text and exhibition photographs/video To what extent does the submitted work demonstrate: effective resolution of imagery, signs and symbols to realize the function, meaning and purpose of the art works, as appropriate to stated intentions?


1-3 The work demonstrates minimal elaboration of ideas, themes or concepts and demonstrates minimal use of imagery, signs or symbols, or the imagery, signs or symbols used are obvious, contrived or superficial. There is minimal communication of artistic intentions.

4-6 The work visually elaborates ideas, themes or concepts to a point of adequate realization and demonstrates the use of imagery, signs or symbols that result in adequate communication of stated artistic intentions.

7-9 The work visually elaborates ideas, themes or concepts to a point of effective realization and demonstrates the subtle use of complex imagery, signs or symbols that result in effective communication of stated artistic intentions.


Mar

k D - Curatorial practice (SL only) Evidence: curatorial rationale, the submitted artworks, exhibition text and exhibition photographs/video To what extent does the curatorial rationale justify: the selection, arrangement and exhibition of a group of artworks within a designated space?


1 The curatorial rationale partially justifies the selection and arrangement of the exhibited works or the curatorial rationale may not be an accurate representation of the exhibition.

2 The curatorial rationale mostly justifies the selection and arrangement of the exhibited works, which are presented and arranged in line with the student’s stated intentions in the space made available to the student.

3 The curatorial rationale fully justifies the selection and arrangement of the exhibited works, which are presented and arranged clearly, as appropriate to the student’s stated intentions within the space made available to the student.

Mar

k

D - Curatorial practice (HL only) Evidence: curatorial rationale, the submitted artworks, exhibition text and exhibition photographs/video 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? & reflection on how the exhibition conveys an understanding of the relationship between the artworks and the viewer?


1

• The curatorial rationale partially justifies the selection and arrangement of the exhibited works or the curatorial rationale is not an accurate representation of the exhibition.

• The curatorial rationale conveys little justification for the relationship between the artworks and the viewer within the space made available to the student.

2 • The curatorial rationale mostly justifies the selection and arrangement of the exhibited works. • The curatorial rationale mostly articulates the relationship between the artworks and the viewer within the space made available to the student.

3 • The curatorial rationale fully justifies the selection and arrangement of the exhibited works. • The curatorial rationale effectively articulates the relationship between the artworks and the viewer within the space made available to the student.


Shahzia Sikander

Who am I ? !

Ricky Swallow

Chuck Close

Brett Whiteley

Takashi Murakami

Cult(ur)e!

Do Ho Suh Gonkar Gyatso

Barbara Kruger

Tracey Emin

Tang Kin WahShirin Neshat

Text !as Art

Kacey Wong

Patricia Piccinini

Get Up Stand Up

Jenny Holzer

Ricky Swallow

Damien Hirst

Simryn Gill

i Object

Rosalie Gascoigne

Jirapat Tassanasomboon

Appropriation !

Morimura YasumasaWang Guangyi

Form + Theme + Context… FTC Palette for Decoding and Encoding Visual Art

ART = FORM + THEME + CONTEXT How the work “is” What the work is about When, where, by/for whom and

WHY the work was created/valued

Title: _______________________________

How does a balance of formal, thematic, and contextual aspects reveal layers of meaning?

FORMAL + THEMATIC + CONTEXTUAL

Actual Composition:

Art Elements (line, shape, color, texture,

value, space);

Design Principles (emphasis, balance,

harmony, variety, movement, rhythm, proportion, unity):

2D&3D Qualities:

Size/Scale:

Media/ Materials:

Processes/Methods:

Skills:

Style:

Other:

Broad Subject/BIG IDEA:

Subject Matter:

Point of View:

Visual Sources:

Art Historical References:

Literary Sources:

Other Arts Connections:

Music

Theater

Dance

Film & New Media

Other Subject Areas:

⇒ Math

⇒ Language Arts

⇒ Science

⇒ Social Studies

⇒ Physical Education

⇒ Vocational Education

WHEN:

WHERE:

BY/FOR WHOM:

WHY:

Intention/Purpose(s):

Significance/Relevance:

Personal

Social

Cultural

Historical

Artistic

Educational

Political

Spiritual

Other

2009 Renee Sandell, Ph.D.

FTC Insights, Assessments and Questions:

MAGAZINES • Art in America http://www.artinamericamagazine.com/ (Fine Art) • ArtNews http://artnews.com/home/ (Fine Art) • Juxtapoz http://www.juxtapoz.com/Home (Grafitti, Street Art and Illustration) • Hi-Fructose http://www.hifructose.com/the-blog.html (Grafitti, Street Art and Illustration) • ArtIT http://www.art-it.asia/top (A bilingual Japanese-English quarterly print publication,

that links contemporary art events happening in Japan to those taking place elsewhere in the region and around the world. )

WEBSITES

o The Art Story: http://www.theartstory.org/ Good site on art movements o The Metropolitan Museum Timeline of Art:

http://www.metmuseum.org/toah/ -Comprehensive art history site • Artsy http://art.sy/ Art.sy is a new way to discover art you'll love, featuring work from leading galleries,

museums and private collections around the world. Browse by subject matter, art movement, medium & region. Excellent resource!

• Drawn http://blog.drawn.ca/ A collaborative weblog for illustrators, artists, cartoonists, and anyone who likes to draw.

• Pikaland (illustration) http://pikaland.com/ A blog about art & illustration. • Grain Edit http://grainedit.com/ Grain edit is focused on classic design work from the 1950s-1970s

and contemporary designers that draw inspiration from that time period. • Koikoikoi http://koikoikoi.com/ Dedicated to featuring the world’s most amazing art, graphic design,

advertising,photography, web, tattoo art and videos. • Booooooom http://www.booooooom.com/ (A little bit of everythig here) • This is Colossal http://www.thisiscolossal.com/ A blog that explores the intersection of art,

design, and physical craft. • Print & Pattern http://printpattern.blogspot.com/ A website that celebrates the world of surface

pattern design. • Nowness http://www.nowness.com/ NOWNESS is the digital leader in luxury storytelling. Each

day, NOWNESS showcases an exclusive premiere of the most inspiring stories influencing contemporary culture and global lifestyle, previewing the latest in fashion, gastronomy, art, film, music, design, travel and sport. Also has short videos of artists working.

• Flavorwire http://www.flavorwire.com/category/visual-arts Check out the Art category page for info on current events and current works of art.

• Blue Canvas http://www.bluecanvas.com/ An international, multi-genre, online community of artists and art lovers. Bluecanvas magazine is a quarterly publication that features artists from its online community. We hope everyone will be able to find inspiration that reaches across genres, and hope that Bluecanvas can provide the right tools for our users to inspire everyone, artists and non-artists alike.

• Explore http://exp.lore.com/tagged/art-and-design A discovery engine for meaningful knowledge, fueled by cross-disciplinary curiosity.

• Sparked http://www.sparked.biz/ Culture, design, illustration etc • It’s Nice That http://www.itsnicethat.com/ It’s Nice That exists to champion creativity across a

whole host of disciplines. We publish exciting, original and engaging work from both established names and talented newcomers.

• Designboom (Art category) http://www.designboom.com/art.html Designboom presents the most surprising artists to watch

• Teach Art http://teachart.org/ TeachArt.org exists to help teachers stay in touch with emerging trends in contemporary art, and bring new curriculum strategies into the classroom.

• Art Orbit http://artorbit.me/ • Frankie http://frankie.com.au/blogs/art An Australian magazine that showcases art, film, books

etc. • The Creators Project http://thecreatorsproject.com/ A global network dedicated to the

celebration of creativity, culture and technology. • It’s Nice That http://www.itsnicethat.com/ Championing creativity across the art & design world. • Unurth http://unurth.com/ A site devoted to street art.

VIDEO SERIES

• Art:21 http://www.pbs.org/art21/ PBS series that demonstrate the breadth of artistic practice in the United States today. Each one-hour program is loosely organized around a theme helps audiences analyze, compare and juxtapose the artists profiled. Each episode revolves around a theme such as, compassion, time & transformation.

• Off Book http://www.youtube.com/playlist?list=PL30E23CCC107B0A00 From PBS Arts: Off

Book is a web-based series that explores cutting edge art and the people that make it. The 13 episode series focuses on the process, motivation and meaning of a new generation of artists.

• Time and Space: Artist Series (Grafitti, Street Art and Illustration)

http://offthewall.tv/show/Time-and-Space/ There’s a time and place for everything. The Vans Off The Wall TV crew makes sure they’re always there to cover the finer details of the creative genius at work. Get an inside look at Vans supported artists doing what they do best. When the creative juices are flowing, all an artist needs is “Time and Space.” NOTE: some videos contain expletives

• MOCATV http://www.youtube.com/user/MOCATV?feature=watch A new, contemporary art

video channel, developed as a digital extension of the education and exhibition programming of The Museum of Contemporary Art, Los Angeles.

• New York Close Up http://www.art21.org/newyorkcloseup/films/ An Art:21 documentary web

series on art and life in New York City.

• CraneTV http://www.youtube.com/user/CraneTVVideoMagazine The premium online video-magazine for contemporary culture (art, design, fashion, lifestyle & travel).

• Little Scraps of Paper http://littlescrapsofpaper.co.uk/Little-Scraps-of-Paper A series of

short documentary films about how creative people develop ideas and thoughts and what they keep them in.

• SoulPancake (Art Attack YouTube channel)

http://www.youtube.com/playlist?list=PL5A5B65D5B69E39E4&feature=plcp SoulPancake present an artist with a spark and they create a piece of art based on it. Then, we see their process unfold in glorious time lapse! Spark ideas range from fear, encounters, heroes, identity etc.

• Painting & Drawing Channel on YouTube

http://www.youtube.com/user/paintinganddrawing/videos

• PBS Idea Channel http://www.youtube.com/user/pbsideachannel Here's an idea: a PBS show that examines the connections between pop culture, technology and art.

• Why Design http://www.hermanmiller.com/microsites/whydesign/02/index.html#yves-behar A new

video series, we explore the world through the eyes of our designers, and share something of why we value their point of view.

• On Creativity http://www.youtube.com/user/oncreativity/videos On Creativity is a series of

short, informal interviews with a diverse range of designers, artists, musicians, animators, educators, etc. It explores a single topic: Creativity. The differing points of view of each person in their own words, will inspire, confuse, provoke and delight. Join the conversation.

ONLINE TOOLS FFFFound (http://ffffound.com/), Pinterst (http://pinterest.com/) & Vi.sualize.us (http://vi.sualize.us/) are great social bookmarking sites for photos. Think Diigo or Delicious, but for photos. !

Questions related to TOK that a visual arts student might consider include the following:

• To what extent is artistic knowledge something which cannot be

expressed in any other way?

• Are ways of knowing employed in radically different ways in the arts than in other areas of knowledge?

• To what extent does imagination play a special role in the visual arts?

• What moral responsibilities do artists have?

• How can the subjective viewpoint of an individual contribute to knowledge in the arts?

• What are the standards by which we judge artworks?

• Why might we be more concerned with process rather than product in the search for knowledge?

• Do the arts have a social function?

• To what extent is truth different in the arts, mathematics and ethics?

!

Take time to: 1. reflect in your Visual Arts Journal on these questions

from time to time 2. reflect on how your learning in TOK and Visual Arts is

connected !

Vocabulary Lists

Vocabulary Definition ! ! !

!! !

!! !

!! !

!! !

!! !

!!!

!

!!

!

!!

!

!!

!

! !!

! !!

! !!

! !!

! !!

! !!

! !!

! !!

! !!

! !!

!!

!

! !!

!

Vocabulary Lists

Vocabulary Definition ! ! !

!! !

!! !

!! !

!! !

!! !

!!!

!

!!

!

!!

!

!!

!

! !!

! !!

! !!

! !!

! !!

! !!

! !!

! !!

! !!

! !!

!!

!

! !!

!

Documents

IB Diploma Visual Arts Survival Guide - Weebly · Visual Art Student Guide The Basics: The Visual Arts Journal This is a record of your studies which will include research, reflection,