Visual Arts 2017 HSC exam pack (archive)

The most popular expressive form in 2017 was photomedia, followed by painting. There was a substantial in increase in the number of time-based forms and of textile and fibre submissions. There was an increased and varied range of approaches to the body of work along with a noticeable exploration of and experimentation with traditional, non-traditional and new materials using surprising and innovative approaches.

Students demonstrated:

• a sophisticated execution of techniques and narrative styles in time-based forms
• a continued awareness and assimilation of the world of technology into all expressive forms, including the use of lights, projections and soundscapes
• incorporation of 3D printing, computer-aided design (CAD) drawing and computer-aided modelling in an informed manner
• influences from a broad range of social media and internet sites
• the use of USB flash drives containing audio, still and moving imagery in the photographic documentation and books, to support the intentions of their work in more nuanced ways
• a fusion of expressive forms, reflecting an increasing engagement with contemporary and emergent practices within the visual arts as well as the development of individual and unique stylistic approaches.

Students should consider:

• their audiences. The public contexts for the production of the works in schools and the marking of the examinations may make some forms of representation inappropriate. Advice to schools regarding content in HSC submitted works is provided on the NESA website at Practical and Performance Exams
• how each body of work demonstrates their knowledge, intentions and understanding of practice
• if an artist’s statement is needed. If included, it should be brief and relate to their intentions rather than a summary of the artmaking processes used by the student to make the body of work.

Students should:

• make critical curatorial judgements about the inclusion/non-inclusion of some pieces
• adhere to the size, weight, duration, and dangerous and prohibited materials restrictions that apply to works whether they are marked at or away from the school site
• for 3D works, ensure that the size of a submission is not larger than one cubic metre when displayed for marking. For 2D or flat works, the limit is two square metres for any single item – a painting or one panel in a series of paintings – and the area of the whole submission is no larger than six square metres
• adhere to the rules concerning framed works, where acrylic and/or glass surfaces must not be used
• for printmaking works, ensure that they do not submit an edition, or provide the blocks and/or plates, as these are not requirements of this expressive form
• ensure that body of work submissions that contain multiple expressive forms, particularly the inclusion of a time-based element, broaden the scope of the submission beyond the reiteration of images using a different form
• store their Visual Arts process diaries at school and not submit them
• limit the duration of time-based work included in a submission of another expressive form to three minutes (including credits)
• indicate specific intentions for displaying multiple panel works that include clear instructions for displaying a picture, diagram or photograph
• avoid overly complex setup requirements and ensure that their display setup plan complies with the required size limitations
• label their submitted works, ensuring that all separate items have a pink label
• present time-based forms on a USB flash drive that can be used on standard consumer computer hardware. Students should clearly label USB submissions with the format and file type used. Blu-ray discs should not be submitted, and a single digital file cannot exceed four gigabytes
• develop well-considered titles to provide conceptual insight into the work. Titles should be in English or include a translation so that they are understood clearly by the markers.

Students can prepare for this examination by:

• selecting the expressive form that has been the primary focus of their artmaking practice and interest, particularly where a body of work submission contains multiple expressive forms
• ensuring that the inclusion of time-based elements further develops the imagery and meanings of other pieces within the submission.

In better bodies of work, students were able to:

• use the frames and conceptual framework to extend and expand their ideas
• highly engage with the study of relevant artists and their practice, along with contemporary issues and ideas in the artworld
• illustrate the importance of curating bodies of work to further cultivate ideas and to demonstrate an understanding of contemporary exhibition practice
• explore themes relating to their own interests, such as youth culture and social media, and humanity and the diaspora of people around the world
• demonstrate a deep awareness and empathy while investigating: issues of our social responsibility to the environment, natural and human induced; global and political issues; and cultural identity
• understand the traditional genres of portraiture, landscape and still life, as well as how a fusion of these genres and contemporary conventions can be well integrated
• include single works and works with multiple pieces that demonstrate a sustained engagement with the practice of a particular expressive form, such as painting, sculpture and drawing
• reveal a knowledgeable awareness of both historical and contemporary interests in the artworld as well as an awareness of audiences and their role
• demonstrate an understanding of the infiltration of new media technologies, such as Pinterest and Instagram, on practice
• in time-based forms, develop sophisticated narratives based on a thorough understanding of cinematic techniques, parallel and non-linear storylines, and of editing techniques across animation, documentary, conceptual and music videos.

Teachers should:

• note that a single work is an acceptable way for students to demonstrate their knowledge and understanding of practice
• carefully consider issues such as child protection legislation, and be conscious of their responsibilities for the production of works in schools and the marking of the examination in relation to how they are able to appropriately supervise the production of works that involve nudity, sexuality, mental health, abuse, self-harm, violence, drugs or potentially controversial material
• be aware of the subject rules and that submissions that do not meet the requirements of the course prescriptions are not able to attain the same level of achievement as those submissions that work within the course requirements
• check that pink labels are on all individual pieces of the submissions, are correctly filled in and match NESA’s paperwork
• check the Schools Online website and follow the links to ‘Reports’ in mid-October for itinerant marking dates.

General and emerging trends in Ceramics included:

• a dominance of works in a series and sculptural installations with functional ware used as vehicles for political and social expression
• construction of sculptural forms using coil and slab techniques – surfaces were stamped, scraped, carved, pierced and incised using a variety of mark-making tools, and were treated with a variety of glazes, stains, underglazes, slips and oxide washes
• a revival in experimental firing techniques, including pit and salt firing
• the inclusion of found objects and photographs that elaborate on the concept
• subject matter that included: animals; references to popular culture; narratives about displacement; environmental concerns; the impact of technology; genetic engineering; and explorations of cultural identity.

In better bodies of work, students were able to:

• demonstrate an understanding of the technical aspects of drying, joining and firing processes
• ensure the control of rims, bases and joins when constructing the work
• submit multiple pieces to further articulate the concept of the work and provide layered meanings for an audience
• employ strong curatorial strategies through the use of plinths and grouping of vessels in specific arrangements to communicate meaning.

General and emerging trends in Collection of Works included:

• continued inclusion of a large number of related pieces in two-dimensional and three-dimensional forms using combinations of painting, drawing, collage, printmaking, photography and sculpture
• exploration of contemporary approaches to artmaking through the inclusion of laser-cut elements, 3D printing, electrical and audiovisual components, and the use of lights, projections and soundscapes
• exploration of issues and themes connected to family, culture, migration, the built and natural environment, personal hobbies and religion
• evidence of knowledge of the artworld through multi-layered references to artists, historical movements and artistic practice
• consideration of the relationship between the audience and an artwork through the inclusion of clear display instructions and interactive components.

In better bodies of work, students were able to:

• investigate artworld agencies and the interactions of the audience
• demonstrate an awareness of artists’ practice from a range of different contexts
• synthesise a variety of different expressive forms to attain cohesion in the collection of works
• provide titles that allow the audience to interpret the works on a number of levels.

General and emerging trends in Designed Objects included:

• submissions including: wearable objects such as jewellery and body adornments; set design; games and gaming culture; object design for contemporary markets; interior designs; architecturally inspired sculptural forms; and intentional architectural designs and models for particular sites that consider the cultural history pertaining to the site
• the repurposing and transformation of found materials with an intention to inform or elaborate on the conceptual underpinning of works
• an increase in the use of technology as an integral component of works, including 3D printing, CAD drawing, computer-aided modelling, light boxes, LED strip lighting, laser cutting, digital printing and audiovisual components, to consolidate and elaborate on the notion of practice.

In better bodies of work, students were able to:

• develop strong narratives that were reinforced by the inherent qualities and characteristics of the materials or techniques employed
• elaborate on the conceptual possibilities within works through lighting
• reference artworld practices as a focus of intention.

General and emerging trends in Documented Forms included:

• sculptural forms that included: freestanding, frontal, relief and hanging works; and assemblages, installations and cabinets for display
• multimodal documentation within submissions that included photography, digital media and time-based forms, assisting students to articulate their conceptual intentions
• a significant increase in submissions incorporating time-based forms, as well as books, textiles and fibre
• exploration of laser-cut elements, 3D printing and electrical components, and the use of lights, projections and soundscapes, showing an awareness of contemporary practice
• exploration of themes connected to a student’s own world, culture and migration, natural environment, religion and appropriation
• an understanding of the post-modern nature of documentation and the relationship between the agencies of the artworld.

In better bodies of work, students were able to:

• demonstrate a knowledge of the agencies of the artworld and the role of the audience
• explore digital post-production tools such as Photoshop, Lightroom and high dynamic range (HDR) filters
• display an understanding of contemporary practice and emergent technologies to document concepts
• demonstrate an increasing awareness of the selection of paper stock in photographic images to support the conceptual intention of the work
• explore and push the boundaries of what constitutes a documented form with a variety of documentation, including photography, video and digital websites, as well as the artefact itself.

General and emerging trends in Drawing included:

• the presentation of portraits, animals (domestic, wild, Australian native, endangered) and city scenes as the main subject matter used to explore themes and ideas around family, relationships, cultural norms/expectations, identity, societal values and environmental issues
• popular drawing conventions such as hyper-realistic, photo-realistic, illustrative and expressive approaches, while a smaller number of submissions explored abstraction
• an increase in the number of graphic approaches informed by popular culture and social media
• the use of graphite pencil, biro, felt tips and, to a lesser extent, charcoal and coloured pencil, and a range of papers and surfaces including wood, corrugated cardboard, heavy watercolour paper and tinted paper
• increased numbers of digital drawings as well as the use of unconventional materials and approaches, such as thread and paper pricking
• an increased number of USB and sculptural elements, which formed a smaller part of the overall drawing submission.

In better bodies of work, students were able to:

• manipulate both materials and techniques skilfully, showing innovation, exploration and refinement
• consider the development and selection of approaches and conventions to support their conceptual intent
• draw on a range of viewpoints when composing and/or cropping
• be consistent in the selection and execution of their drawing practice
• demonstrate an awareness of how audiences interpret meaning
• demonstrate an awareness and cohesion of curatorial choices.

General and emerging trends in Graphic Design included:

• demonstration of innovative approaches to and understandings of the contemporary material practice of hand-drawn and digitally produced graphic illustration
• a compositing of sourced, hand-drawn and photographic imagery to reveal personal concepts and universal narratives
• a dominance of tablet drawing and vector graphics, particularly the illustration of narratives in the manga, comic books or zines genres
• submissions comprising multiple panels bound into a published book, reflecting curatorial considerations that demonstrate best practice in panelling and layout
• an intentional use of: colour, pattern and space within design; subtle colour palettes; and appropriate integration of text
• expanded interpretations of functions of graphic design ranging from a film pitch, promotional material and posters to character design and the use of typography, referencing contemporary graphic designers and artists.

In better bodies of work, students were able to:

• synthesise image and text effectively and select successful framing and panelling layouts
• understand the conventions of illustration, typography and graphic design
• disclose effective narratives through signs, symbols and text
• explore graphic intensity in illustrations through stylised drawing and rendering and patterning on paper and tablet
• acknowledge the expansive and diverse genres of graphic design, ranging from traditional book illustrations to contemporary manga design and utilitarian functions.

General and emerging trends in Painting included:

• the exploration of themes relating to humanity and the diaspora of people around the world
• a deep awareness of our contemporary world and paintings that tap into the zeitgeist, showing insight and empathy while exploring social responsibility
• portraits with intimate reflections of urban life, evoking a sense of place, and paintings of objects, which have been represented to symbolically portray experience and ways of looking below the surface
• technology in the form of digital painting.

In better bodies of work, students were able to:

• interpret the painted form in multiple ways through innovative grounds and surfaces – where students synthesised the previous function and history of, for example, old boxes, packing crates, wood, metal and cardboard into new concepts
• demonstrate an informed material practice using expressive mark making, glazes, scumbling, dry brush mark, drips and sgraffito, and materials such as acrylics and mediums, impasto, watercolours, oil paint and paint pens
• embed historical practices and references to artists of influence in the artworks as opposed to appropriating them
• confidently explore genres and realist and abstract traditions through narratives of migrant life, global families, the plight of refugees, urban scenes, portraits of people and animals (especially dogs), landscapes and seascapes.

General and emerging trends in Photomedia included:

• a proliferation of black and white digital photography used for documentary, street photography and the photo-essay with an understanding of the conventions of modernist and contemporary practices in the areas of camera craft and stylistic considerations
• consideration and selection of paper stock for printing of images, including metallic paper, rag and textured papers
• presentation of images on metal and in a contemporary range of light boxes
• the addition of a time-based component that extended the conceptual intention of the work
• understanding of the importance of curatorial considerations and selections that represent best practice
• the use of published photobooks, which allowed students to explore the graphic layout of multiple images to sequence an interplay of images, often including enlarged photos from the photobook as part of the submission
• a demonstrated understanding of the functionality and creative possibilities within post-production to edit, enhance, transform and refine images or composite graphic elements
• traditional genres of still life, portraiture, abstraction and landscape featured with emerging contemporary interpretations
• themes of self-identity, lineage and cultural heritage and the infiltration of media technologies on youth culture.

In better bodies of work, students were able to:

• demonstrate an understanding of contemporary photographic styles and approaches
• demonstrate competency with camera craft, studio and natural lighting as well as an awareness of the importance of post-production techniques and processes to refine images
• discern between different types of paper stock to synthesise the conceptual intent of the works
• understand the rich diversity of photographic genres and discrimination in curating the final images.

General and emerging trends in Printmaking included:

• submissions exploring a wide range of relief and intaglio processes – in particular, lino relief printing and drypoint etching
• increased exploration of embossing, zinc plate etching and digital processes such as giclee printing, either in part or throughout the entire submission
• the exploration of printmaking conventions such as free wipe, a la poupée, multiple plate registration and bleed printing, and the extension of the printmaking process through collage, fibre, stencilling, stamping and release transfer
• the use of sculptural models and vitrines as ways of presenting the printed image
• numerous portraits of people and animals, and the natural and built environment as sources of subject matter – however, figurative imagery remained the dominant mode of expression
• thematic investigations of social and global issues, environmental concerns, industrialisation and dystopian environments, and socio-political agendas.

In better bodies of work, students were able to:

• demonstrate technical proficiency in the awareness of printmaking conventions, particularly in lino relief printing, and in selecting paper stock or alternative surfaces that are sympathetic to the printed image
• demonstrate sensitivity in the layering of multiple printmaking processes within a work, and often within a single panel
• synthesise printmaking processes with other expressive forms (drawing, sculpture, photomedia) in order to sustain complex conceptual investigations
• innovate by redefining the boundaries of traditional and contemporary print practice – for example, by exploring digital processes and giclee printing
• acknowledge multiplicity and reproduction as being inherent in printmaking, while treating the print as a singular, unique image.

General and emerging trends in Sculpture included:

• the investigation of forms in space through reductive and additive processes using collage, carving, casting, weaving, welding and 3D printed objects
• the inclusion of forms such as: freestanding, frontal, relief and hanging works; assemblages and cabinets for display; and plinths or bases, which elaborate concepts
• an increase in the repurposing of natural and recycled materials
• exposed or highly engineered surfaces using rust paint or heavy patinas
• celebration of the natural and built environment, exploring themes of cultural identity or commenting on the impact of technology and global warming.

In better bodies of work, students were able to:

• demonstrate increased knowledge of traditions and innovations throughout their sculptural practices
• transform found and manufactured materials to communicate meaning
• manipulate the scale of their works to engage the audience from a variety of viewpoints
• show refinement in the application of glue and collaged elements
• employ plinths and stands to extend material and conceptual ideas.

General and emerging trends in Textiles and Fibre included:

• interrogation of the possibilities of threads and fibre to construct artworks dominated by craft traditions and exploration of stitching, embroidery, weaving, felting, beading, dyeing, applique and knitting
• engagement with contemporary and postmodern interpretations of textile and fibre practices that take the traditional into the realm of fine art where threads and fibres are used to replicate effects in other expressive forms, such as drawing, painting and sculpture
• a large proportion of submissions referencing the notion of textiles as a female-dominated craft, which used or subverted this notion to create strong political narratives.

In better bodies of work, students were able to:

• move beyond a representation of subject matter to an investigation of concepts throughout the submission
• embed found objects into the materiality of surfaces to develop conceptual concerns, often juxtaposing industrial or technological ideas against the crafted and handmade object
• consider the value of the stitch, mark or thread and how that elaborates on conceptual value
• acknowledge contemporary practices by appropriating trends and pivotal artworks from current exhibitions.

General and emerging trends in Time-Based Forms included:

• the exploration of a range of approaches and techniques to inform time-based practice including narrative, thriller, conceptual, documentary, and music video genres
• parallel and non-linear narratives, which provided conceptual complexity to many submissions
• themes exploring mental health, identity, family, the environment and the influence of social media
• multi-layered soundtracks, sound effects and soundscapes used to enhance visual imagery and pace the unfolding narrative
• the use of the glitch as a visual and editing device, particularly when employing montage
• the use of mobile phones and text to communicate a narrative extensively
• a variety of animations from hand-drawn illustration to computer graphics and stop motion animation that explore complex and compelling narratives, demonstrating a sophisticated understanding of cinematic techniques.

In better bodies of work, students were able to:

• demonstrate effective synchronicity of sound, vision and continuity in the body of work
• develop pre-production plans and scripts to optimise the conceptual and technical approach of their submissions
• apply effective post-production techniques in the montage of images and construction of soundscape
• engage in social media, current technology and contemporary issues to create critical narratives.

Question 1

Students should:

• identify Australian culture as traditional and contemporary through a discussion of subject matter, colour, text, perspective, paint materials and title of artwork
• use the source material to demonstrate, through a well-reasoned discussion, an understanding of how Onus incorporates both the traditional and the contemporary in his artmaking practice
• reference the source material selectively and recognise that artists’ artmaking practices encompass material and conceptual practice
• develop a response that progresses from identifying traditional and contemporary symbols in the artwork to a detailed discussion
• examine the artist’s practice through a well-informed analysis of the source material.

In better responses, students were able to:

• identify how Onus combines the traditional (Aboriginal) and the contemporary (western) through a discussion of material practice and conceptual practice
• provide descriptive interpretations of the artwork that define the traditional use of colour, style and subject matter, and identify the contemporary elements of text, subject matter, perspective and paint materials
• demonstrate, through detailed and comprehensive reasoning, an understanding of artist practice by explaining the way in which Onus incorporates both the traditional and the contemporary.

Question 2

Students should:

• analyse both plates in the source material in an investigation of light and space
• avoid rewriting the question and source material, and make critical judgements that are linked to a thorough investigation of both plates
• use the source material in proposing possible meanings for the artworks that explore the ways in which audiences respond to the use of light and space to create and interpret meaning in artworks
• extend their discussion beyond a general description of both artworks to a sustained comparison of the artworks.

Students can prepare for this exam question by:

• developing a more extensive art vocabulary to examine how light and space can create ideas or meaning.

In better responses, students were able to:

• clearly address all aspects of the question through a highly developed discussion that compares both El Greco and Feng Mengbo’s use of light and space to communicate meaning
• present an informed and sustained analysis of both works using key words
• explore divergent approaches to the way in which traditional and contemporary artists use light and space to communicate meaning.

Question 3

Students should:

• demonstrate an understanding of the Conceptual Framework by highlighting the functional relationships that occur between audiences and artworks
• acknowledge the requirement of the question to ‘analyse’ the source material, identify components and relationships, and draw out conclusions about connections between artworks and audiences
• refer to all three plates using analytical skills to establish a point of view
• read the source material carefully to make connections between artworks in relation to scale, title, year created and country of origin
• build an argument using appropriate visual arts language backed by evidence from the plates.

Students can prepare for this exam question by:

• understanding the relationships between each element of the Conceptual Framework.

In better responses, students were able to:

• articulate the connection between an artist’s intentions to communicate an understanding to the audience about the sitter in portrait works, specifically in regard to commission, competition and performance
• position each artwork within an historical context and make connections to social, political and cultural conventions to demonstrate depth of understanding
• extrapolate multiple understandings of the role of audiences both at the time each artwork was created and now, using that as evidence to create an argument for the way in which audience interpretations can change in different contexts.

Question 4

Students should:

• explicitly address both the quote and the question
• select appropriate examples that allow for a thorough investigation of the changing roles of art galleries and art museums
• interpret the examples in relation to how they represent and/or exemplify the changing roles of art galleries and art museums.

Students can prepare for this exam question by:

• studying a range of specific examples as well the contexts within which works are produced and exhibited
• positioning examples within the discrete art practices of Artmaking and/or Art History and/or Art Criticism
• practising writing extended responses that apply chosen examples to diverse styles of examination responses
• practising exam questions that include quotes, ensuring that their responses are primarily oriented to the question using points from the quotes to elaborate on the thesis.

In better responses, students were able to:

• answer the question by thoroughly embedding the question and the quote throughout the response
• identify and explain how the traditional roles of galleries and museums have changed due to the changing nature of art practice
• investigate examples that challenge and/or change traditional exhibition modes – for example, site-specific works, performance art, installations and ephemeral works, which allow greater exposure to diverse audiences.

Question 5

Students should:

• persuasively establish a direct relationship between the notion of gender and the way in which gender determines an artist’s course through their experience, practice and/or means of representation – this is an integral requirement of the question
• acknowledge the requirement of the question to ‘discuss’ as a means to identify issues and provide points for and/or against, using selected cases and examples
• consider how refuting the notion of gender as a means of shaping artistic practice is a point of view that could be adopted in a response. However, this position needs to form the basis of a discussion and not simply be acknowledged by a superficial statement at the end of each example.

Students can prepare for this exam question by:

• broadening their approach to selecting questions within and across content areas that relate to the inherent nature of the case study they have studied
• understanding how a synthesis of material decisions and conceptual practices can further representations.

In better responses, students were able to:

• acknowledge the rigorous requirements of the question, particularly the assertion set up by the quote ‘is still shaped’
• identify how a convention or tradition with respect to gender and/or its representation has been established and consequently influenced further or future artistic practice
• survey the changing nature of artistic practice in relation to gender using a thematic approach that acknowledges selected artists’ perspectives on concepts such as: the roles of male and female artists and how they are shaped by gender; gender as identity; patriarchy and established concepts of gender; feminism; postmodernism; and gender equity and fluidity.

Question 6

Students should:

• adapt their case studies to answer the question
• address the requirements of the question to explain, in context, how physical site-specific artworks and their resulting documentation communicate meaning to an audience.

Students can prepare for this exam question by:

• extensively examining the interrelationships between the agencies of the Conceptual Framework for specific forms of artworks
• developing depth in their understanding of the functional relationships between artworks, artists, the world and audiences
• considering contemporary art practices that exist beyond the gallery.

In better responses, students were able to:

• develop diverse, comprehensive and explicit explanations of the interrelationships between ‘site-specific’ artworks, the meanings they communicate to audiences and the notion of documentation
• reference and comprehensively explain artworks with a meaningful focus on the question
• develop a multi-layered response using a sophisticated knowledge of artists and artworks to support a sustained explanation that identifies the agencies of the art world and articulates how connections with the audience are strengthened through strategies of documentation and the display of documentation.

Question 7

Students should:

• address all components of the question in terms of social and political views presented by the artists
• present clear examinations that meet the requirements of the question and provide insightful accounts of the artists and artworks in relation to the question
• identify and address all aspects of the question using evidence to develop a succinct and informed explanation, explicitly referencing artworks in terms of the artists’ interpretations of the world
• elaborate clearly on the conditions that shape politics and society and how these influence and affect the selected artists’ practices
• identify and explicitly examine the nature of innovations specific to the selected artists’ representations of political and social viewpoints.

In better responses, students were able to:

• examine how artists employ political and social activism to critique, challenge or document their world
• amalgamate their knowledge of selected artists in reference to historical and contemporary issues and events that generate political and social perspectives
• foster a contextually rich response to ‘What constitutes innovation?’ and the way in which innovation can convey a social and political discourse
• provide a sophisticated examination of the relationship between artists and the social and political climate of the times in which they live, including interpretations of the artworks.

Question 8

Students should:

• construct a discussion that moves beyond descriptions to analysis of selected artworks
• explain their selection of artworks by highlighting the significance of the artworks to the question.

Students can prepare for this exam question by:

• practising sustained investigations of artworks using interpretive analysis
• expanding on the selection of artists that they study, particularly contemporary artists
• understanding the term ‘contemporary’ and the time frame this indicates
• contextualising artists from historical eras within the parameters of what it may mean to be ‘contemporary’.

In better responses, students were able to:

• provide a thorough analysis of selected artists’ practices and artworks that push the boundaries of art, to demonstrate how contemporary artworks can unsettle audiences and confront established views, conventions or methodologies
• comprehensively address all aspects of the question through a sophisticated discussion of the innovative way in which the artists critique issues through the medium of contemporary art
• demonstrate an understanding of the importance of providing unsettling critiques of society through the way in which artists create artworks specifically using a contemporary visual language
• select examples that conceptually explore contemporary social perspectives, such as the political, social and economic effects of globalisation, or concerns about the human condition.

Question 9

Students should:

• understand the range of ways in which artists can distort reality in order to reveal their personal and psychological experiences
• address all aspects of the question by moving beyond descriptions to analysis of selected artworks
• identify the personal and psychological experiences of artists and the audience as significant in determining the historical and cultural meaning of artworks.

Students can prepare for this exam question by:

• developing an understanding of how artists create and employ a visual language to impact on or change audience beliefs
• examining the complex relationships that exist between artists, their artworks and their audience.

In better responses, students were able to:

• provide a sophisticated examination of the ways in which artists distort reality to represent their own cultural, historical, personal and psychological experiences to the audience
• comprehensively address the quote and the question, supporting their argument with in-depth analysis of selected artists and artworks
• develop a multi-layered response that goes beyond describing the subject matter to explicitly address the stylistic choices made by the artists to engage the audience and communicate meaning
• develop a multi-layered response by embedding the artworks within their cultural contexts to reveal how artworks can be expressions of a particular time and place.