HOW TO BULLSHIT HSC VISUAL ARTS (THE RIGHT WAY)

HSC Head Start LectureVISUAL ARTS

Presented by:Bea Tekiko

• Introduction to HSC Visual Arts

• Art Theory (spicy shit)• Frames• Practice• Conceptual Framework• Exam Techniques• Study Techniques

• Body of Work (the most cooked thing you’ll ever do)• My body of work journey• Guidelines• Advice

TODAY’S LECTURE

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Frames

Practice

ConceptualFramework Exam & Study

Techniques

You

Body of Work

Me lecturing my heart out

• Graduated in 2017. • Did Standard English, 2U Maths,

Society & Culture, Ancient History and Visual Arts!

• 94 in Visual Arts. My body of work got selected for ARTEXPRESS 2018.

• Studying a Bachelor of Arts Screen: Production (film) at the Australian Film Television and Radio School (AFTRS)

• Took nearly 3 years to get my red P’s• Areas in art: PAINTING, photography,

crying on set, typography, colourgrading, making memes, fixing it in post, slating, compositing (VFX)

• Find me on the AN Forums! @beatroot

WHOMST’D’VE IS BEA?

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• The best subject ever in the HSC ;)• Discover new things about yourself• A time for experiments and failures.• Meet new people and make new friends• 50% Practical + 50% Theory = 100% fun yay!

VISUAL ARTS – WHO IS SHE?

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THE FRAMES

5Wrapped Coast, One Million Square Feet, Little Bay, Sydney, AustraliaChristo and Jeanne-Claude (1969)

Investigation of the meaning of the work

Things to consider:• Senses: artist creating the work and

audience experiencing the work• Emotions: what is being expressed and

what is being provoked?• The Imagination: how does the meaning

of work influence artist’s practice.• Shared Human Experience: what is the

artist trying to share and/or connect with the audience?

Questions in a Subjective Frame:• What do I feel when I look at an artwork?• What drives the artist to create the work?• How does the artwork connect me with

the artist?

SUBJECTIVE FRAME

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Key Ideas:• Individual feeling• Emotion• Imagination• Personal Experience

The Third of May 1808Francis Goya (1814)

Investigation of the structural properties of artworks

Things to consider:• Line, tone, texture, shape, scale,

materials, techniques

Key ideas:• Materials and processes• Compositional elements of artworks• Signs and symbols• Relationships between world and

representations• How artist’s material practice

influences structure of artwork

Structural frame is connected toartist’s practice.

STRUCTURAL FRAME

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The Physical Impossibility of Death in the Mind of Someone LivingDamien Hirst (1991)

Investigation of art through its social and cultural components

Things to consider:• Race, class, gender• Political and economic influences• Scientific & technological influences• Previous artistic movements• Spiritual and secular belief• Significant (historical) events

• How does cultural identity influence styles of practice?

• How do attitudes towards the visual arts change in different cultures?

• Does the meaning of the artwork change as it moves through different cultures?

CULTURAL FRAME

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Omega (Bell’s Theorem)Richard Bell (2013)

Researching the cultural frame• History of the artist and their specific culture-

helps us to understand ideas, events and objects depicted in artworks.– For example: politics, economics, significant

world events.

• Understand the unique aspects of the artists’ practice.

Investigation of the qualities of postmodern art aka taking the piss out of traditional art.

Postmodern is:• Reactionary, subversive, referential,

imaginative, challenging

Important techniques:• Irony, paradox, parody, appropriation

Key Ideas:• Rejection of aesthetic hierarchies, or

traditional art• Disruption of genre conventions• Inclusion of pop culture imagery• Questioning assumption of what

constitutes artistic practice• Re-evaluation traditional notions such as

‘artistic genius’ ‘the masterpiece’

POSTMODERN FRAME

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Do women have to be naked to get into the Met. Museum?Guerrilla Girls (1989)

• How does the artist adapt post-modern features in their work? (CSSA Visual Arts 2017)

• Explain how John Wolseley depicts features of Australia in his work? (HSC Visual Arts 2016)

• How does the artist depict her environment in her work? (My school’s Half Yearly 2017)

When answering Frames questions, always provide evidence from the work itself.

FRAMES: EXAMPLE QUESTIONS

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• Explain how John Wolseley depicts features of Australia in his work? (HSC Visual Arts 2016) (Structural frame)

EXAMPLE: JOHN WOLSELEY

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In this lithographic print “Botanist’s Camp” (1997) by the Australian artist John Wolseley, it appears to be a depiction of the Australian landscape. In the work, Wolseley attempts to capture the rural landscape of Australia through the raw, natural colors that perfectly depict the realistic image of this seemingly mundane matter. The work provides a plethora of botanical plants, alluding to the name of the work, reflecting Wolseley’s overall intentions to depict features of Australia in his work.

PRACTICE

12The Physical Impossibility of Death in the Mind of Someone LivingDamien Hirst (1991)

• Convey a message through visuals• Be a symbol of a movement• Challenge norms during its time• Reflects an artist’s thoughts and/or environment• A result of significant events (ie; Guernica by Picasso was a depiction

of the Guernica bombings in 1937)• Were commissioned by someone (ie; The Bayeux Tapestry (1070’s)

was commissioned by Bishop Odo for the sake of depicting William the Conquerer’s victory at the Battle of Hastings)

PURPOSE OF ART

13GuernicaPablo Picasso (1937)

• Pre-historic art à Ancient art à Medieval art à so forth• Modern art (1870 to 1970)

– Industrial Revolution: Mass production of paint tubes allowed for artists to paint outside and capture nature in its purest form. This is the start of the modernism art period and the Impressionism art movement.

• Postmodern and contemporary art (1950-present)– Modern art tends to overlap with postmodern and

contemporary art– Postmodern and contemporary art are influenced by

modern art. For example, Pop Art was introduced in mid 1950’s and was an extension of the DADA movement in 1915.

– Important to know that each art movement is influenced by the current Zeitgeist (defining mood of a particular period in history during the time influenced by historical events) For example, the Futurist movement (1909 to 1914) was inspired by artists fascination of the uprise of technology during the Industrial Revolution.

ART HISTORY

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The underlying assumption of art theory: Everything artists do is intentional.

Practice is:- Agency is found in expressive forms (painting, writing reviews, recording

observations, experimenting)- How artists create their body of work.- Influenced by context and history- A way to express beliefs- Changed overtime- Influenced by art history

(historical events and previous works)

Two ways of looking at practice.1. Material Practice2. Conceptual Practice

PRACTICE

Material Practice:- An extension of the structural

and cultural frames- Method and medium used by

artist to make their body of works.

- How art history has influenced artist to use that particular method and medium

MATERIAL VS CONCEPTUAL PRACTICE

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Conceptual Practice:- An extension of the subjective

and cultural frames. - Why does an artist portray a

particular subject matter in their work? What is their intention?

- How have historical events influenced the concepts, themes and topic in an artist’s body of work?

Material Practice:- An extension of the structural

and cultural frames- Method and medium used by

artist to make their body of works.

- How art history has influenced artist to use that particular method and medium

MATERIAL VS CONCEPTUAL PRACTICE

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Conceptual Practice:- An extension of the subjective

and cultural frames. - Why does an artist portray a

particular subject matter in their work? What is their intention?

- How have historical events influenced the concepts, themes and topic in an artist’s body of work?

ART CRITICISM (HISTORIANS & CRITICS)

Hey it’s ya boi Art critic Robert HughesItalian art critic Eugenio Viola

• How do artists use the sublime as a source of inspiration for their artworks? (CSSA Visual Arts 2017)

• How does an artist’s practice affect how they interpret motion in their work? (My school’s half yearly 2017)

When responding to practice questions, you’ll need to use structural features of the work to comment on an artist’s practice. Cultural and post-modern frames can also be referred to if it’s relevant to the artist’s practice.

PRACTICE: EXAMPLE QUESTIONS

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Material Practice:• Carnal Art (technique

which appropriates classical art through modern technology such as video and plastic surgeries)

• Livestreams her plastic surgeries to art galleries around the world.

Conceptual Practice:• Feminist artist• Comments on the male

gaze that has formed the idealised image of women and the high beauty standards faced by women in society

EXAMPLE: ORLAN

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The Reincarnation of Saint ORLANORLAN (1990’s)Time based form (livestream)

Art critics• ‘Real body, imaginary

body. Mystical body, social body’ (Eugenio Viola)

Art history:• Post modern art• French artists have

been in the centre of European art, they have witnessed all art movements and try to branch out and make revolutionary artworks when given the opportunity.

Zeitgeist:• Human Genome

Project, Third Wave Feminism

THE CONCEPTUAL FRAMEWORK

20Still Life with Chair CaningPablo Picasso (1912)

• Made by artists• Influenced by audience and the artworld• Poses different properties

– Material, virtual, ephemeral– 2D, 3D, 4D, time-based– Traditional, craft, design– Interactive, installation, traditional

• Based on these properties, audiences and the artworld will interact differently with different artworks.

ARTWORK

21Girl with a Pearl EarringJohannes Vermeer (c. 1665)

Spiral JettyRobert Smithson (1970)

The Dinner PartyJudy Chicago (1974-1979)

- Functional relationship with the artwork- Specifics of role differ vastly, and have become varied overtime- When considering the artist, we should think about three main ideas

ARTIST

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- The public, as well as curators, critics, historians, art writers and educators- Those who consume, and in some cases interact and influence, art- The role of the audience has changed overtime (ie installation, performance art)- Cultural and historical contexts influence the role and actions of audiences.

AUDIENCE

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What is the ‘artworld’?– All individuals involved in producing, commissioning, presenting,

preserving, promoting, chronicling, criticizing and selling art– The artworld is different for everyone: depends on social context,

education, politics and economics.

ART WORLD

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• How does the conceptual intent of an artist impact an audience’s perception of the world? (CSSA Visual Arts 2017)

• ‘Art should comfort the disturbed and disturb the uncomfortable’ (Banksy, artist)

With reference to this quotation, examine how art can be a social commentary in response to world events and/or issues.(HSC Visual Arts 2014)

When answering a conceptual framework question, you must link the features of the work back to the artist, audience and society (art world)

CF: EXAMPLE QUESTIONS

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Marcel Duchamp, b. 1887 FranceFountain, 1917 (1964 replica)Readymade artwork

ARTWORK- Readymade artwork- An actual urinal- Signed ‘R. Mutt’ by Duchamp- Modernist and DADA artwork- Introduction to the importance

of conceptual idea overthe finished look of theartwork. ART WORLD

- Submitted to the Society of Independence Exhibition in Paris. Was rejected by the Salon.

- Artwork was a reaction to the Salon’s archaic selection process.

- Influenced by the DADA movement (a reaction to the events of WW1)

- Art critic Wood comments“He CHOSE it. He created a meaning for the object”

AUDIENCE- Targeted towards an

audience who were interested in modernist artworks.

- DADA artists who were on the rise during the time

- Essentially a massive ”fuck you” to the Salon because they suck.

ARTIST- French, DADA artist- All about breaking boundaries because he’s a quirky

softboi and he’s “not like other artists”- “In case you haven’t noticed, I’m weird. I’m a weirdo. I

don’t fit in. And I don’t want to fit in” – Marcel Duchamp at one point probably.

• Frames: What is the work?• Practice: How did they

make the work?• Conceptual Framework:

Why is the work important?

• Art critics: Why does their criticism mean shit?

• Art history: When was the artwork made and how did a time period/historical event influence the artist?

ART THEORY: A SUMMARY

• Disclaimer: No such thing as a right or wrong analysis in art as long as you back up your analysis with evidence from the work.

• Your analysis will mainly come from the structural features of the work. The cultural and post-modern frame can also help with your analysis.

• Build up your vocabulary early on in the year. • Link artwork to its impact on audience and

society. Markers froth over that shit. It doesn’t matter how random the connection is, as long as you connect the impact back to the evidence from the work.

• Do some readings on the artists and their practice. Can help deepen your analysis!

• With practice, your analytical skills will improve throughout the year!

ANALYSING WORKS

Above: A list of banned words with suggested synonyms.

Observe structural features of work• Installation artwork (artwork is in public, actually

part of the public), Ephemeral artwork too!!!!• Fabric and rope are used• The bridge itself is part of the work

– Streetlamps and the sidewalk were also covered by fabric

Impact of work on audience and society• The fabric wrapped around the bridge gives the

audience the opportunity to see the bridge from a different perspective and allowing them to have a renewed perception of the surrounding environment and the word through art. (Evidence: fabric, installation artwork, the bridge)

Readings on Christo and Jeanne-Claude• Practice relies on the simple fact they like to

create art for fun. Also likes to create new ways of seeing familiar landscapes.

• “I think it takes much greater courage to create things to be gone than to create things that will remain” - ChristoThe Pont Neuf Wrapped

Christo and Jeanne-Claude (1975-1985)

EXAMPLE

THE ART OF BULLSHITTING: SECTION 1

30The ScreamEdvard Munch (1893)

In this expressionist painting “The Scream” (1893) by theNorwegian artist Edvard Munch, it appears to be adepiction of Year 12 students losing their shit at thethought of doing unseen texts in Section 1.

• Start early questions as early as possible in the year and develop your analytical skills.

• Go to art galleries and expose yourself to as many works as much as possible.

• Do questions in timed conditions! You’re only allowed 45 minutes to do Section 1.

Question 1: 8 minutes (1 artwork provided)(Use 8 minutes for the one artwork provided)

Question 2: 16 minutes (2 artworks provided)(Use 8 minutes per artwork)

Question 3: 21 minutes (3 artworks provided)(Use 6-7 minutes per artwork. Allow 30 seconds for a small introduction and conclusion)

PREPARATION

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There will be a ‘frames’, ‘practice’ and ‘conceptual framework’ question in Section 1. Use the reading time to sus out the different questions before writing time starts.

Frames question: Will only ask about ONE or TWO specific frame/s. Rare for question to ask about subjective frame unless it asks for the structural and cultural frames too.

Practice question: Can be about material or conceptual practice. Will ask about artist’s approach to work. Essentially an extension of the structural frame.

Conceptual Framework question: Usually asks how artwork and/or artist has impacted audience and/or society.

THREE TYPES OF QUESTIONS

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Identify the frames, practice or conceptual framework questions (HSC Visual Arts 2015 Exam)

Question 1: How has Natalia Goncharova communicated aspects of the modernist period in her painting ’Linen’, 1913?Frames / Practice / Conceptual Framework

Question 2: Explain how the artworks of Jim Denevan and Anish Kapoor relationships between the audience and the site.Frames / Practice / Conceptual Framework

Question 3: Analyse how Swoon’s choice demonstrate aspects of contemporary practice? Frames / Practice / Conceptual Framework

POP QUIZ #1

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Identify the frames, practice or conceptual framework questions (HSC Visual Arts 2015 Exam)

Question 1: How has Natalia Goncharova communicated aspects of the modernist period in her painting ’Linen’, 1913?Frames / Practice / Conceptual Framework

Question 2: Explain how the artworks of Jim Denevan and Anish Kapoor relationships between the audience and the site.Frames / Practice / Conceptual Framework

Question 3: Analyse how Swoon’s choice demonstrate aspects of contemporary practice? Frames / Practice / Conceptual Framework

POP QUIZ #1 ANSWERS

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Reading Time: (5 minutes)• NOTE: Pick out your essay question first for Section Two

before reading Section One.• Figure out the three different questions. Which are the

frames, practice and conceptual framework questions?• Look at the plates provided. What can you see in the work?

What does the written information in the plates provide? • Quickly make connections between the plates and the

questions in your head. This can include structural features of the work, year of the work, background of the artist, etc.

APPROACH: READING TIME

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• The plates = your best friend• The artwork provided acts as

visual reference• Don’t forget the written

information provided! It includes:– Artist’s name, year of birth,

country of origin.– Name of work, year it was made– Medium/type of artwork, dimensions– (sometimes) where work is displayed

(if it’s in a museum or the work is an installation)

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THE PLATES

• Always observe how and when the artwork was made, where the artist is from. The answer to the given question is literally hidden in the plates.

• For example, Kapoor’s work is an exemplar example of an installation artwork (evident by where the artwork is placed and the audience).

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THE PLATES

POP QUIZ #2

How does Lin Onus incorporate the traditional and contemporary in his artmaking practice? (HSC Visual Arts 2017)

Things to consider:- What art agency is connected to the

question? (Frames, Practice or Conceptual Framework?)

- Background of the artist- Structural features of the work- What is the ‘traditional’ and what is

the ‘contemporary’?- What does the provided written

information say?

POP QUIZ #2 ANSWERS

HSC Visual Arts 2017 Marking Guidelines

Practice question

Traditional- Indigenous art style- Bird’s eye view perspective- Depiction of the landscape, Australian

outback- Repeated motifs of symbols and dots- Earthy colour palette / traditional

Aboriginal colours

Contemporary- Depiction of journey/maps/symbols- Contemporary painting materials

(synthetic polymer on canvas rather than traditional bark/cave painting)

- Significance of title to work- Themes relating to isolation

Writing Time: (45 minutes)• NOTE: Do Section Two first before proceeding to Section One.

Your essay will warm you up for Section 1. • Do the questions backwards:

Question 3 = 21 minutes (12 marks)Question 2 = 16 minutes (8 marks)Question 1 = 8 minutes (5 marks)

• The bigger marks a question has, the bigger priority it is.• Try to use all provide writing space as much as possible!• If you think you need a spare booklet, don’t hesitate! Raise

your hand early rather than asking for one when you’ve run out of space in your writing booklet. You can’t afford to waste time in an art exam.

APPROACH: WRITING TIME

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Question 1 (5 marker) and Question 2 (8 marker)• IEEAL structure approach (introduction sentence, elaborate, evidence,

analysis, linking sentence)• Begin your analysis with this introductory sentence.

“In this (medium of work) called (name of work) (year of work) by the (nationality of artist) (artist’s name), it appears to be a (small summary of what the work looks like)”

• For example

”In this found object artwork called ‘Fountain’ (1917) by the Frenchartist Marcel Duchamp, it appears to be an upside down urinal, signed under the alias ‘R. Mutt’”

STRUCTURE

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Question 3 (12 marker)• Approach it like a mini essay• Introduction and conclusion should be 1-2 sentences long.• Body paragraphs should have a TEEAL structure (topic sentence,

elaborate, evidence, analysis, linking sentence)• This

“In this (medium of work) called (name of work) (year of work) by the (nationality of artist) (artist’s name), it appears to be a (small summary of what the work looks like)”

should be integrated within the elaboration part of your body paragraph.

STRUCTURE

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How does John Olsen depict the Australian landscape in his work? (5 marks)

In this oil on composition board called ‘Sydney Sun’ (1965) by the Australian artist John Olsen, it appears to be an abstract depiction of the Australian land. The painting consists of freeform lines and vibrant yellow colours, capturing Olsen’s innovative approach to the Australian landscape. The paintbrush is an extension of the artist’s body as it creates flowy brushstrokes and evokes a visual illustration of energy and movement, capturing the uniqueness of the Australian landscape. Sydney Sun is also a visual documentary of the land, expressing the hidden, outback side of Australia and bringing attention to it. From this, it is clear that John Olsen captures the hidden, vibrant Australian landscape to his viewers.

EXAMPLE OF MY BULLSHIT

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THE ART OF BULLSHITTING: SECTION TWO

44Law of the JourneyAi Wei Wei (2017)

• Memorise and stick with the same essay throughout the year. You can pick one out of six questions for Section 2. It’s guaranteed that there should be at least one or two questions that fits your essay best.

• You’ll just need to change your thesis and topic sentences depending on the question.

• Same essay for practice, half yearlies and trials = guaranteed feedback from your teacher and major improvement throughout the year.

• As you go through the year, make your arguments more concise, add what art critics have to say, add deeper explanations, etc. to your essay. The more you get into art theory in the year, your arguments and writing will improve.

• Practice your essay under timed conditions !!!!!!

PREPARATION

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• Stick with artists and artworks that you find interesting. This makes it easier to write an essay about.

• Artists and artworks who fall under the same case study (case studies differs from school to school)

• Doing a popular artist does not make you a basic bitch.

WHICH ARTISTS TO WRITE ABOUT?

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• You’ll be given the option to choose 1 out of 6 questions provided. There will be 2 from each art agency (Frames, Practice and Conceptual Framework)

• Pick whatever question you are comfortable with AND suits your essay the best.

• Some questions are straightforward while others include a quote you must integrate and refer back to

• Note: None of the questions will guarantee extra/less marks.

WHICH QUESTION TO PICK?

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Some questions from the HSC Visual Arts 2017 Paper:

• An artist’s practice is still shaped their gender.Discuss this statement, referring to specific artists and artworks in your answer. (Practice)

• Examine how artists have used artworks to challenge social and political views in innovative ways.In your answer, refer to specific artists and artworks. (Conceptual Framework)

• Contemporary art can provide a valuable yet unsettling critique of society.Discuss this statement, referring to specific artists and artworks in your answer. (Frames)

SECTION 2 QUESTIONS

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• 45 minutes for Section 2 (kinda cooked but it’s ok)• Note: Do Section 2 before Section 1!• Strict timings per paragraphs:

TIMING

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Introduction: 5 minutes

Body paragraph 112 minutes

Body paragraph 212 minutes

Body paragraph 312 minutes

Conclusion: 4 minutes

Introduction: 2.5 minutes

Body paragraph 110 minutes

Body paragraph 210 minutes

Body paragraph 310 minutes

Body paragraph 410 minutes

Conclusion: 2.5 minutes

• The same way you would structure any essayAn introduction, body paragraphs and a conclusion.

• Body paragraphs themselves: TEEAL structureTopic sentence: Relate to thesis in your introductionElaborate: Introduce work and artist.Evidence: Provide at least three key features in workAnalyse: that shit. Always link back to the evidence in the work.Linking sentence: back to overall thesis and argument

NOTE: Art essays tend to be a lot more flexible than English essays. Don’t be scared to introduce the history of the art movement, the background of the artist, quotes from art critics. Typically, Band 6 essays include all these extra information.

STRUCTURE

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• Art critics = juicy bois who’ll spice up your essay. They provide criticism of the artwork you choose to analyse. This can back up what you are trying to argue to the markers.

• Where to find them? Art textbooks, online, newspapers, online journals, handouts, etc.

• Add a quote towards the end of your body paragraph.• You can insert the quote word by word or you may paraphrase if

needed. Here are some examples:

1. Art critic Robert Hughes comments ‘The classical still life was dead’, illustrating the impact of Picasso’s word on the art world.

2. Art critic Hughes expresses that Hirst’s work is a reflection of the cultural obscurity of the contemporary art world.

ART CRITICS

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The found object and the readymade eventually developed into theextreme; using the body to serve as an artwork. Performance artallowed for artists and artworks to have an intimate relationship withthe audience and invited the viewer to participate in the work. In thisperformance art ‘The Reincarnation of Saint ORLAN’, it appears to bea documentation of different plastic surgeries on the French artistORLAN during the 1990’s. ORLAN appropriates carnal art, which is atechnique that imitates classical, renaissance art through moderntechnology, such as plastic surgeries and video and appropriatesRenaissance paintings such as Mona Lisa and the Birth of Venus.ORLAN livestreams her plastic surgeries in art galleries around theworld, inviting the audience to witness the living artwork to be formed.Through plastic surgery, ORLAN comments on the male gaze that hasformed the ideal image of women, yet an unrealistic perspective,presenting the high beauty standards women faced in society. Art criticViola exclaims ‘Real body, imaginary body. Mystical body, social body’,encapsulating the permanent manipulation and possible health risks,displaying ORLAN’s extreme approach to breaking the boundaries ofart and her seemingly provocative practice. Through this performanceart, it’s clear that ORLAN pushes the limit of thought and practice.

EXAMPLE BODY PARAGRAPH

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Notes:

- Intro sentence: Found object being pushed to its extreme.

- Background of performance art and carnal art.

- Introduce marker to nature of the work.

- What ORLAN’s intentions is as an artist and her practice

- Art critic quote from Viola is included and is linked back to my main point.

• Visit art galleries. By going to galleries, you can appreciate the structural aspects of a work. Galleries provide a description next to the work and sometimes the background of an artist. The way you view the work in real life is different than viewing it on a laptop or in a book. In particular, installation artworks have the most profound impact when experienced in real life.

• Teach other people about art. This can help you articulate your arguments as you go along. People can ask you questions about art, which can help you tackle any question in the long run.

OTHER STUDY TECHNIQUES

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Studying for myother subjects

Studying forVisual Arts

BODY OF WORK

54Ceaseless glass ceilingAyva Tierney (2018) – ARTEXPRESS 2019

SYLLABUS PRESCRIPTIONS

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OPTIONS

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LIMITATIONS

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MY BODY OF WORK

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Nawawalang Wika (Lost Language)ARTEXPRESS 2018

Acrylic paint on canvas45 pieces

Language is crucial to understand and connect with one's culture. So what happens when the abilityto speak one's own language is lost? There is a conflict faced by Filipino immigrants betweenpreserving their inherited culture and assimilating into their new one. My painting explores themes ofdisplacement and the search for identity by second generation Filipinos who struggle to connect withtheir heritage because they grow up in a Western country with little exposure to the language ofTagalog. The Jeepneys, unique to the Philippines, symbolically represent the Filipinos who haveemigrated into the Western world.

• Reflect back on Year 11 Visual Arts and ask yourself these following questions:• What was your go to medium?• What were your works about?• Did you finish your assignment the day it was due?• Did you avoid taking your teacher’s feedback into consideration?• Basically any question that requires you to self reflect on your past

• Learn from your mistakes• See where you can build from your strengths in Year 11 and continue

that into Year 12.

PRELIMINARY VISUAL ARTS

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• Your art teacher = your best friend– They know what markers expect– They have years of experience dealing with

student works– They will only help if they know you take the

initiative and do the work. – Don’t expect them to come to you. Come to them,

ready to discuss works that you have already completed.

• Your art teacher > your pride– Harsh but tru– Take into account their suggestions even if it may

not be ”good”– Their suggestions might turn out good– Even if they don’t turn out good, you can learn

from them to improve your work.

LISTEN TO YOUR TEACHER

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Me with my wonderful art teacher aka the only teacher who pushed me to be my very best

• Start broad, then narrow down.• What are you passionate about? Social issues? Your emotions?

History? Find something that hits too hard to home.• What do I want to depict here? Do I want to raise awareness?• What is the impact do I want on my audience? What do I want

my audience to take away from my work?

• “Good art makes you question things. Good art makes you see things you’ve never seen before” – My art teacher (2017)

FORMING A CONCEPT

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• What is your strongest medium in art?• What medium are you most passionate about?• What medium would be most suitable for your concept?• Do I want to convey my concept on an abstract or realistic level?• What materials and sources does my school provide?• Do I have to outsource materials outside my school?• Avoid picking a medium that you think is “easy” and “quick” (ie

photography, videography, drawing) It might not suit your idea.• No medium is guaranteed higher/less marks• Picking a popular medium does not make you a basic bitch.

MEDIUM

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Subjective Frame- What is the meaning of my work? To me? To

others?- Who do I wish to see my work?- What do I want them to understand?

Cultural Frame- How does my work fit into the world?- Am I bringing a new approach to this concept?- How have other artists explored this concept?

Structural Frame- What forms am I planning to use?- What aesthetic considerations should I give my

work?- What experiments do I intend to make?- How do I want audiences to respond to my

work?

SOME QUESTIONS THAT CAN HELP…Postmodern Frame- Does my work challenge traditional ideas?- Is my work anti-authoritarian?- Does my work use any technologies?- Is it an appropriation?

Evaluation, selection- How will I evaluate my work?- What do I need to do to develop my work into a

body of work?- What processes do I use in my works that

display conceptual strength and a coherent point of view?

• No such thing as copyright in art. No art is original.• You are more than welcome to reference any art styles in the world• Visit as MANY galleries and exhibitions (if possible) to get your artistic

minds going and expose yourself to the world of art beyond HSC Visual Arts.

• Great way to find your artist of influence = speed dating• Gallery suggestions: Art Gallery of New South Wales (a must!),

Museum of Contemporary Art, White Rabbit Gallery• Exhibition suggestions: ARTEXPRESS (a must!), Biennale of Sydney,

Archibald Prize

ART GALLERIES

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• Art is all about referencing styles• Pick an artist of influence that...

– Resonates with you personally– Who’s artistic style is similar to yours– Works that carries topics and themes that speak truth to you

• Learn their style and artistic practice.• Put your own personal twist on their style

ARTIST/S OF INFLUENCE

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TIMELINE

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Term One: Body of Work proposal- Develop concept- Experimenting with mediums- Feedback from teacher- Researching artist/s of influence- First draft of first layer of your BOW

Summer Holidays: First layer- Keep on developing concept- Experiment more if needed- Lock down artists of influence

Term Two: 50% of BOW- Get feedback for that first layer- Refine that first layer- Start brainstorming for second layer- Begin second layer towards end of term

Term Two Holidays: Second layer

Term Three: 85% of BOW- Get feedback for second layer- Refine second layer- Brainstorm and start third layer- Finish third layer towards the end of term

Term Three Holidays: 90% of BOW- Get feedback for third layer- Refine third layer- Most of your BOW should be done by now.

Term Four: 100% of BOW- When done with Trial exams, add final touches to your

work before your school’s art exhibition and final submission to NESA.

Other things to note:- Dedicate a couple of free periods per week to your BOW.

Get a flow going early in Year 12.- Pick a day or two during the week where you work on your

BOW at home- Your concept is bound to change throughout the year!

Don’t worry if you can’t lock down a concept early in the year. The concept will come to you naturally.

- Take advantage of all prac lessons at school. You can’t afford to waste time!

- Would seriously recommend on utilizing your art room as much as possible. Whether that’d be during lunch or after school.

- You will get progress marks throughout the year.

The way you should approach your BOW is like a slow cooker, not a microwave.

• Term 1 and the Summer holidays is the time to experiment.• Even if you have already settled on a medium, still experiment. You’ll

never know what could happen if you experiment. • The idea in your head might be good but when executed can look very

poor. Better to make mistakes early in the year than in later terms.

EXPERIMENTATION

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My experiment aka T R A S H butIt ok because I learnt things

• The whole point of experimenting is to see what your strengths and weaknesses are in terms of prac work.

• By looking back on your experiments, you can figure out what is right for you and what isn’t.

• For example, through my experiment I learnt abstract art is not meant for me because I can’t blend for shit.

- Your VAPD = your pet. Always feed it or else it’ll end up being hungry. You wouldn’t starve your dog, would you?

- Gradually add stuff in your VAPD throughout the year. Don’t overfeed it before submission because it’ll look like utter trash.

- Documentation includes taking photos of your BOW progress, researching artists, commenting on your experiments, etc.

- You will thank your past self for documenting in your VAPD. It helps to reflect back on your growth and BOW progress.

VAPD (DOCUMENTATION)

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Year 11 Artwork Term One Experiment

Rough sketch of planTranslating sketch to canvas

Term Two: base layer

Term Four

Adding text

• Get ready for an amazing year ahead!• Your marks don’t define you as a person and as an artist.• Have fun and remember to just relax!

FINAL WORDS

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Remember this wholesome duck will always be cheering you on !!!

Me stupefying all the bad vibes

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THE END (OF THE LECTURE) & THE START OF YOUR JOURNEY

Sticks Framing a LakeAndy Goldsworthy