Visual Arts 2020 HSC exam pack

Students should:

• create a title that effectively communicates the student’s intentions
• develop a concept beyond an obvious interpretation or a representation of subject matter
• show an understanding of their practice when selecting the expressive form
• reference syllabus documents, Additional Advice and Assessment and Reporting in Visual Arts Stage 6, for limitations on size, materials and duration of Body of Works.

In better responses, students were able to:

• demonstrate cohesion of the body of work through the curatorial choice
• synthesise conceptual and material practice to present unique and sustained bodies of work.

Areas for students to improve include:

• reiterating rather than just repeating through investigation of techniques, ideas and concepts
• curating works with sensitivity and restraint, understanding the importance of selection and refinement within a Body of Work to enhance meaning and intention.

Students should:

• show an extensive knowledge of ceramic processes and building techniques
• apply a wide range of surface treatments to enhance the concept of the work
• demonstrate understanding of traditional and contemporary ceramic practices synthesising the use of materials and conceptual intention.

Trends include:

• a dominance of sculptural forms referencing vessels combining a range of building techniques
• a revival in the application of ornate and heavily decorated surfaces
• subject matter included environmental concerns, marine environments animal welfare, narratives about cultural values and explorations of identity.

In better Body of Works, students were able to:

• apply a wide range of surface treatments using a variety of mark-making tools as well as the use of glazes, stains, underglazes, slips, oxide washes and acrylic paint to further elaborate the concept
• employ strong curatorial strategies through the grouping of vessels in specific arrangements to provide layered meanings for an audience.

Areas for students to improve include:

• ensuring the control of rims and bases when constructing the work
• demonstrating an understanding of the technical aspects of drying, joining and firing processes
• refining the use of gloss glazes, stains, slips, oxides and non-traditional ceramic surface treatments.

Students should:

• ensure conceptual intent is revealed through provision of layouts or numbering systems.

Trends include:

• large numbers of pieces submitted in the series including 2D, 3D and time based forms
• an exploration of collage and layered surfaces inclusive of laser cutting/etching, stitching, printmaking and cyanotype
• issues that included the environment, religion, family, culture, animals, political issues social media, ‘the self’ and mental health
• scientific and forensic references, intention of museology, shadowboxes, specimen drawers,  vitrines and frames to indicate museum practices and curation
• AV components including audio files and time based forms.

In better Body of Works, students were able to:

• investigate and make clear references to the artworld agencies
• demonstrate an awareness of artists’ practice from a range of different contexts
• develop a level of sophistication and technical resolution across all expressive forms within the submission.

Areas for students to improve include:

• the way each piece within the Collection of Works builds on and acknowledges material practice and develops the conceptual narrative.

Students should:

• consider how designed objects demonstrate an understanding of the broader artworld in their conceptual intent and/or material practices.

Trends include:

• a continued increase in the number of constructed environments and architectural investigations
• applications of digital technologies such as laser cutting/etching, 3D printing and CAD drawing systems to realise and produce components as a whole or in part
• LED lights and light boxes combining graphic design elements as a strategy to layer concept
• direct reference to the art world with a focus on modernity, particularly architecture
• multimodal forms of representation within a submission to extend concepts.

In better Body of Works, students were able to:

• synthesise technologies as a means to realise products or interpret issues relating to a contemporary world.

Areas for students to improve include:

• developing their material and conceptual practice rather than relying on a statement to communicate artistic intentions.

Students should:

• reveal an understanding of the Documented Form
• consider the choice of sites when documenting their form
• understand the impact and relevance of sound in the AV component
• refine camera craft and post production skills (still or time based) when documenting works.

Trends include:

• the inclusion of sculptural forms including freestanding, frontal and relief works, assemblages, hanging works and installations
• multi-modes of documentation within submissions, through photography, time-based forms, books and found objects
• connections to the environment as a source of inspiration and documentation
• references to social and political issues/culture/the self and the environment
• documentation of performance and references to the ephemeral.

In better Body of Works, students were able to:

• demonstrate a solid understanding of the agencies of the artworld
• display an engagement with contemporary practice and emerging technologies to document concepts
• explore and push the boundaries of what constitutes a Documented Form.

Areas for students to improve include:

• submitting time based forms with a soundscape that adds conceptual layering
• titles that allow the audience to interpret the works on a number of levels
• providing artist statements to support works that use materials in a unique way and/or are highly conceptual.

Students should:

• display discernment through a range of materials and mark making practices
• show selectivity in their approaches to drawing conventions to support conceptual intent
• demonstrate an awareness of how audiences interpret meaning.

Trends include:

• a range of subject matter foregrounding portraiture, animals and environments
• traditional and contemporary drawing practices, including hyper-realistic, photo-realistic, illustration and graphics using digital media
• coloured pencils, felt tip markers, biro and tradition charcoal and graphite
• references to physiological states and pathos
• concern for animal welfare and the environment
• explorations of relationships between people and the natural world.

In better Body of Works, students were able to:

• present a range of viewpoints when composing and/or cropping in artworks
• employ size and scale to enhance audience engagement and conceptual intent
• demonstrate knowledge of the artworld and the conventions of artistic representation.

Area for students to improve include:

• consistency of drawing practice including, selectivity of imagery to build layers of meaning
• exploration of the expressive potential of drawing materials and mark making.

Students should:

• acknowledge the expansive and diverse genres of graphic design, ranging from traditional book illustrations to contemporary manga design and utilitarian functions.

Trends include:

• innovative digital approaches to graphic illustration
• use of light boxes and light pads for aesthetic and functional intention
• digital compositing of sourced, drawn and/or photographic imagery within a submission
• tablet drawing, to explore themes of politics and propaganda, relationships, protest, nostalgia, fantasy worlds, social issues, mental health and critiques of social media
• multiple panel submissions or a single scroll.

In better Body of Works, students were able to:

• acknowledge the expansive and diverse genres of graphic design, ranging from traditional book illustrations to contemporary manga design and utilitarian functions
• synthesis of selected graphic genre, aesthetic conventions and paper stocks
• understand the conventions of illustration, typography and graphic design and restrained colour palettes
• refine graphic illustrations through sophisticated application of digital software programs.

Areas for students to improve include:

• selecting and integrating typography; placement, scale, font and consideration of aesthetic and conceptual intention
• considering file management and image resolution for scaled output, and post-production.

Students should:

• investigate painting techniques, including underpainting, blocking-in areas, building up texture, sgraffito, dry brushing, glazing and using mediums
• proficiently and intentionally integrate collaged elements into the surface of the painting
• consider scale in the presentation of artworks.

Trends include:

• investigations of colour that were subtle, atmospheric, expressive and ephemeral
• gouache and watercolour on paper
• submissions that were extended through the inclusion of objects represented within the paintings or accompanied by sound or film
• realistic and abstracted artworks presenting a subjective narrative.

In better Body of Works, students were able to:

• refine the colour palette to include the full tonal range as a means to extend the concept
• create cohesive compositions across multiple surfaces that maintained a sophisticated understanding of painting practice
• multi-layer concepts through a sustained material practice referencing historical and contemporary art references.

Areas for students to improve include:

• consideration of the integration and relationship of multiple stylistic approaches within the same work.

Students should:

• apply their understanding of contemporary photographic styles and traditional conventions to synthesise conceptual and material practice.

Trends include:

• reportage which is further extended through the use of online published books
• subject matter and themes including portraiture, post production to create new worlds, composited imagery of histories and family and dystopian environments, landscape, still-life referencing vanitas and momento-mori, identity, environmental issues, mental health and the social and cultural impact of technology
• subjective investigations and critiques dealing with the students immediate world
• increased knowledge and understanding of how contemporary photographic practice can be explored through a variety of analogue and digital approaches.

In better Body of Works, students were able to:

• 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 enhance the conceptual intent of the submission
• reveal the rich diversity of photographic genres including contemporary photographic practice
• discriminate when curating final images.

Areas for students to improve include:

• understanding typography and its integration within the submission particularly in a photobook
• selecting appropriate file management and image resolution for scaled output, and post-production.

Students should:

• select materials and processes that are empathetic and extend the main themes or concepts
• select appropriate paper stock, fabrics or affiliated grounds as a print surface
• ensure layouts or numbering systems are provided for submissions with multiple pieces and for narrative intent.

Trends include:

• investigating ecological themes, explorations of medical conditions both physical and mental, the urban architectural landscape, and historical events such as the anniversary of the moon landing
• merging multiple processes either within a submission or within a single piece
• printing on digitally constructed grounds or on sheer fabrics such as tarlatan
• cross-disciplinary investigations such as merging knowledge of photographic conventions in in cyanotypes and solar plate etching or reworking the blocks via photographic or sculptural processes
• investigations of a range of acid etching processes including aquatint, caustic etching and using safer processes such as copper sulphate on zinc plates.

In better Body of Works, students were able to:

• control printmaking conventions but manipulate these for expressive purposes: exploring free wipe, using the brayer in painterly ways, ghost and blind printing
• manage the registration process effectively when reduction or multiple plate printing
• show innovation, control and restraint in all aspects of the printmaking process, including the etching/carving and printing of the block/plate
• synthesise traditional and contemporary approaches, such as employing manual and digital technologies within a submission
• demonstrate a knowledge of traditional and contemporary printmaking practice through multi-layered references to artists, styles and historical movements.

Areas for students to improve include:

• an understanding of conventions and structural devices when constructing compositions, and in particular, in relation to the size, dimensions and format of the block/plate.

Students should:

• explore sculptural materials and processes through the use of traditional and non-traditional materials to communicate meaning
• demonstrate a knowledge of conventional and contemporary sculptural practice through multi layered references to artists and historical movements.

Trends include:

• approaches including freestanding, frontal, relief, hanging works, assemblages, cabinets for display and plinths or bases
• investigations of space through reductive and additive processes using collage, carving, casting, welding and 3D printed objects
• the repurposing of natural and recycled materials and the creation of highly contrived surfaces using rust paint or heavy patinas
• celebration of the natural and built environment, explorations of personal and cultural identity, comments about the environment and animal welfare.

In better Body of Works, students were able to:

• make informed references to the artworld agencies
• investigate and understand the importance of spatial relationships
• transform found and manufactured materials to communicate meaning.

Areas for students to improve include:

• provide clear, recommended instructions for the curation of the Body of Work
• showing refinement in the application of glue and collaged elements.

Students should:

• consider how the selection of textile and fibre materials and choice of technique affect meaning.

Trends include:

• making statements about current issues through the repurposing of contemporary materials including found objects and commercial products
• employing threads and fibres to render surface treatments and mark making techniques akin to painting and drawing
• challenging the conventions of stitching on a flat surface by creating sculptural forms
• applying craft, dressmaking and tailoring traditions to subvert the gender debate
• using technologies such as the digital transfer of images and laser etching/cutting, to develop symbolic codes and meaning on a variety of textile surfaces.

In better Body of Works, students were able to:

• confidently fashion thread and fibre into complex compositions and sculptural forms with richly embellished surfaces
• produce works that engage the audience through both macro and micro views.

Areas for students to improve:

• considering the appropriateness of framing devices such as embroidery hoops in relation to the composition.

Students should:

• demonstrate effective synchronicity of sound, vision and continuity in the body of work
• clearly label USB.

Trends include:

• a variety of animations from hand-drawn illustration to computer graphics and stop motion to explore complex and compelling narratives, demonstrating a sophisticated understanding of cinematic techniques
• explorations of a range of approaches and techniques to inform time-based practice including narrative, thriller, conceptual, documentary, bio-doc, montage 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 and impact of social media and technologies
• multi-layered soundtracks, sound effects and soundscapes to enhance visual imagery and pace the unfolding narrative.

In better Body of Works, students were able to:

• develop pre-production plans and scripts to optimise characterisation and extend the conceptual and technical approach of their submissions
• apply effective post-production techniques through sophisticated digital software programs to edit narratives and construct soundscapes
• engage in social media, current technology and contemporary issues to create critical narratives and montages.

Areas for students to improve include:

• stabilisation of camera for panning and tracking shots and selective focus utilising depth of field
• deliberate use of different shot types, camera viewpoints and cinematic tools to storyboard narratives
• more subtle use of filters and post-production techniques
• considered use of continuity and rhythmic editing to control logical coherence and film pace.

Students should:

• read the question carefully to ensure that they do not miss important components of the question
• have a clear understanding of key words in the question and recognise the intent of the question and its requirements
• engage with any stimulus material provided and refer to it in the response
• develop a plan for an extended response to assist with the logical sequencing of information
• use relevant concepts and terms, where appropriate, to support their response
• develop a cohesive and sustained argument in response to the question, reflecting extensive knowledge of artists, artworks, critics and historians’ views and the syllabus
• present a logical and cohesive response that addresses the question
• integrate diverse examples across time and place to demonstrate depth and breadth of understanding
• review their response to ensure that it addresses the question requirements.

Question 1

In better responses, students were able to:

• thoroughly address several ways in which imagination is engaged through analysis of the artwork
• define and describe the imaginative qualities of contemporary photography with reference to the subjective and historical contexts
• explore symbolism through the role of colour and subject matter.

Areas for students to improve include:

• responding to all aspects of the question rather than speculating on the narrative of the scene
• demonstrating understanding of how the frames can be interpreted
• applying an informed visual arts vocabulary to address ways the imagination can be engaged.

Question 2

In better responses, students were able to:

• provide a comprehensive analysis of the works through concepts of isolation, desolation and colonisation
• use the source material to demonstrate an understanding of how Drysdale represents and interprets his world
• develop an informed discussion of Drysdale's material practice as a response to his world.

Areas for students to improve include:

• using the source material to support discussion of concepts which include representation and interpretation
• developing responses from general description of the plates to comprehensive analysis of the source material
• demonstrating understanding of the artist’s world through an exploration of the source material.

Question 3

In better responses, students were able to:

• provide insightful explanations of how materials and actions create meaning through a comprehensive application of all source material
• explain the significance of artists' decisions informed by Classical, Modern and Postmodern artmaking practice
• demonstrate the relationship between the plates through a comparative analysis of conceptual intentions and material choices
• discuss the cultural context and representations of the sculptural portrait busts.

Areas for students to improve include:

• providing a sustained explanation of all source material
• presenting a comprehensive understanding of historical and contemporary artmaking practices through in-depth analysis of the plates
• demonstrating a thorough understanding of how artists' material and conceptual practice communicate meaning.

Question 4

In better responses, students were able to:

• provide a comprehensive investigation of innovation in contemporary artists’ practices and an examination of new approaches to artmaking
• explicitly address terms of the role of innovation and how artists have challenged ideas and issues in the world through the creation of artworks
• clearly analyse a range of artworks through an articulate account of concepts, materials, techniques and styles.

Areas for students to improve include:

• linking discussion of artworks to the question and supporting statements about the role of innovation
• analysing artists’ conceptual and material practices to support discussion about innovation beyond inference
• integrating greater depth of analysis of specific artists and works, using a highly differentiated art vocabulary.

Question 5

In better responses, students were able to:

• present a balanced discussion, weighing up how context affects the practice of artists and provide extensive analytical evidence to support a point of view
• determine how artists and their works are a reflection of time and place, culture and history
• evaluate artmaking practice through the material and conceptual features of the artworks, including providing links to art and its social history and critical responses by historians and/or critics.

Areas for students to improve include:

• examining the different ways that artworks are shaped within the context of the time period and location where they were created
• developing a comprehensive analysis of artists’ practice by evaluating the impact and influence of time and place
• providing specific and detailed analyses of artist’s material and conceptual practice using relevant examples to support an argument.

Question 6

In better responses, students were able to:

• provide a comprehensive discussion of the ways in which art acts as a vehicle to manipulate and/or reflect an artist's psychological and physical world
• develop a discussion that addresses the various ways in which artists, the wider world, the artworld and audiences interrelate to manipulate and/or reflect their respective worlds
• develop arguments, beyond descriptions, of the features of artworks by discussing how and why art manipulates rather than reflects the world.

Areas for students to improve include:

• deconstructing and exploring the significant relationships between the artist, world and audiences and the impact this has in shaping artworks
• creating stronger links between case study artists and the question, to provide an integrated account of the intention of art
• exploring material and conceptual practice in terms of the artist's intention and the connection to the audience.

Question 7

In better responses, students were able to:

• integrate discussion of the relationship of artists and audiences in a comprehensive and sustained response
• use examples to articulate the complex means by which artists can challenge artistic and sociocultural conventions, aesthetics and political contexts
• extensively investigate the ways in which artists have rejected artistic and social practices of their time to simultaneously engage and challenge audiences
• offer alternative points of view to draw conclusions about the different ways that artists use their practice to develop relationships with their audiences to continually challenge them.

Areas for students to improve include:

• selecting examples that support the demands of the question, with particular focus on the relationships between the agencies of the artworld
• tailoring case study information to construct a relevant and specific investigation that explores the relationship between the artist and audience
• thoughtfully develop clear arguments that consider the ways in which artists develop relationships by challenging their audiences.

Question 8

In better responses, students were able to:

• demonstrate a strong understanding of how postmodern practices engage audiences in order to evoke revolutionary change
• develop comprehensive arguments acknowledging that interpretations of plagiarism can include appropriation and re-contextualisation
• make deliberate choices in selecting examples of artists and artworks to support a point of view
• synthesise the relationships between plagiarism and revolution with clear artistic examples.

Areas for students to improve include:

• ensuring that all aspects of the quote is addressed, discussed and incorporated in the response
• selecting relevant artistic examples and integrate analysis of artworks to present a clear point of view
• applying appropriate art language specific to the postmodern frame to define and explain key terms.

Question 9

In better responses, students were able to:

• support a sustained discussion with in-depth analysis of artists and artworks
• demonstrate complex and logical points of view explored through the frames, with focussed discussion of the role of personal and psychological interpretation
• present a well-constructed investigation that analyses and addresses the role of memory and experience in the creation of artworks.

Areas for students to improve include:

• establishing a direct relationship between artists’ memory, experiences and artworks
• presenting clear points of view that explain the role of memory and experience for artists when creating artworks
• selecting appropriate examples and integrating analysis of artists and artworks to support an argument about memory and experience