W Y N D H A M C O L L E G E Visual Arts Faculty 2 Unit Preliminary VISUAL ARTS

A S S E S S M E N T T A S K No.3 (Part B)

Portraiture

Practices: Part b: Art making - Body Of Work based on Portraiture Traditions (Part A: Study of Art - The Archibald Prize Assessment Task issued separately)

Weighting: 20%

Date Issued: Week 1, Term 3 Date Due: Week 8, Term 3

In answering this case study you will be assessed on your ability to address Syllabus outcomes:  P1, P2, P3, P4, P7 and P8. Refer to Visual Arts course outcomes for further detail of outcomes.

Content Focus: The purpose of this case study is to:  Develop and complete a body of work focused around “portraits of self and others”.  Develop ideas of artistic practise based on Portraiture though a process of investigation of portrait traditions.  Experiment with a variety of materials and media through studio practice.  Identify how artists employ codes, symbols, metaphors and messages in their art making practice  Begin the process of exploring the potential of you, the artist and your own practice.

The Practical Task:

You are to produce a Body of Work centred on your own Self Image and/or Images of Other People. You must also consider a varied material use, media and apply a number of ideas, codes, metaphors, symbols and concepts in the production of the artwork/s.

You will be required to submit the following items for marking:

1. The class studio works and lead up works, showing a varied approach to material practice and the representation of the portrait

2. The portrait canvas (Body of Work), which has planned, carefully developed and negotiated with your teacher, clearly showing a stylistic approach to the portrait

3. Your VAPD, which will document the process of your ideas in the development of your portrait painting

Your class studio work and VAPD (process diary) must support your Body of Work and will include the following:

 A selection of artworks completed during class which show evidence of a range of material approaches to drawing and painting

 A brainstorm & creative mapping on yourself, the subject - including your likes/dislikes, interests, hobbies, ideas/inspirations. This may be visual/verbal. Gather as much information as you can for a starting point. Your artwork should be relevant, to you, now  Your brainstorm will include a number of media experiments, illustrations and critical decisions, documented in your process diary

 Your brainstorming and planning will show least three small developmental sketches/illustrations and ideas based on your final BOW portrait.

 Evidence of other art research; the study of artists whose artmaking practice relates to your BOW. This is to be documented in your process diary. YOUR ARTWORK MUST CLEARLY REFERENCE A PARTICULAR STYLISTIC APPROACH TO PAINTING

 Evidence of thinking creatively. You may consider manipulating, mediating, appropriation, different graphic styles, the art frames, different backgrounds, materials etc in your final submission

 Documentation in your process diary must be made from the work of other artists and images which help shape your final work/s and ideas

 Evidence of the Frames and Conceptual Framework should also be noted in your consideration and expalnationP of ideas, materials, techniques etc in your VAPD

The Portrait painting (Body of Work):

 The submitted work is to be as “2D” canvas

 The Body of Work can be a single canvas or a series of panels

 Your final BOW may also incorporate a variety of materials and art forms that illustrates your ideas and concepts eg: painting, photography, drawing, mix media, digital, printing etc

* Also refer to specific information provided by your teacher for this task

* The canvas frame will be supplied to you as part of your subject contributions for this task. Students with unpaid subject contributions will have to purchase their own canvas

(Reminder: Part A - The Archibald Prize assessment task is provided on a separate assessment task schedule)

Adam Cullen Ben Quilty

Chris O’Doherty Picasso

Marking Scheme Performance Bands Marks

 Through visual & written illustration, the student has demonstrated a sophisticated understanding of their artistic practice & portraiture.  The student has indicated a highly developed understanding of how the agencies of the artworld are related in this investigation of their 41-50 art making practice.  The student demonstrates conceptual strength in the production of a body of work based on their own Self Image and figurative traditions.  Through visual & written form student demonstrates a sophisticated level of technical accomplishment, refinement and sensitivity appropriate to their artistic intentions within a body of work (B.O.W).

 Through visual & written illustration, the student has demonstrated a clear understanding of their artistic practice & portraiture.  The student has indicated a good understanding of how the agencies of the artworld are related in this investigation of their art making 26-40 practice.  The student introduced some conceptuality in the production of a body of work based on their own Self Image and figurative traditions.  Through visual & written form student demonstrates a highly developed level of technical accomplishment, refinement and sensitivity appropriate to their artistic intentions within a body of work (B.O.W).

 Through visual & written illustration, the student has demonstrated an understanding of their artistic practice & portraiture.  The student has indicated an understanding of how the agencies of the artworld are related in this investigation of their art making 14-25 practice.  Limited visual and written response to the artmaking of a body of work based on their own Self Image and figurative traditions.  Through visual & written form student demonstrates a reasonable level of technical accomplishment, refinement and sensitivity appropriate to their artistic intentions within a body of work (B.O.W).

 Through visual & written illustration, the student has demonstrated a limited understanding of their artistic practice & portraiture.  The student has indicated a limited understanding of how the 1-15 agencies of the artworld are related in this investigation of their art making practice.  Visual and written response is inadequate for the time span of the investigation.  Technical accomplishment is limited by lack of resolution of ideas in visual and written form. Some hint of a body of work (B.O.W) exists.  Non-Attempt or late submission 0

Wyndham College Visual Arts Assessment cover sheet Portraiture

Name: ______Class: ______

Assessment Task No: 4b Mark: ______/ 50

Criteria Performance Elementary Excellent P1: Initiates and organises artmaking practice that is sustained, reflective and adapted to suit particular conditions. Shown by:  Developing, experimenting, researching, criticising, reflecting your 1 2 3 4 5 BOW ideas in your VAPD.  Sustaining and exploring all possibilities regarding the BOW on self. 1 2 3 4 5  In visual & written form, students demonstrate a practiced level of technical accomplishment, refinement and sensitivity appropriate to 1 2 3 4 5 their artistic intentions within a body of work (B.O.W).

P2: Your understanding of how the world, audience, artist and artwork are related in post-modern artistic practice. Shown by:  Consideration and exploration of various artistic forms and media in 1 2 3 4 5 your art making practice.  Critically analysing reasoning behind your ideas and how they 1 2 3 4 5 relate to the world.

P3: The understanding that you have of your chosen artists’ practice and how you as the artist represent your ideas in your artworks through the FRAMES. Shown by:  Evidence of research of other artists that show similar ideas, views, 1 2 3 4 5 techniques and materials in their artworks. Documented in your VAPD. 1 2 3 4 5  Critically responding to your Body of Work using the Frames as a starting point.

P4 & P6: Selects and develops subject matter and forms in particular ways as representations in art making. Shown by:  Your ability to laterally respond to the Concepts of Self and 1 2 3 4 5 Portraiture traditions.  Evidence of ideas being pushed. Lateral thought, originality, post- modern concepts. A resolved art works (resolved = the idea is 1 2 3 4 5 pushed as far as it can go).

P5: Develops conceptual strength in the production of a body of work that exhibits coherence and may be interpreted in a range of ways. Shown by:  Demonstrates conceptuality in their final artwork that allows for 1 2 3 4 5 varying interpretations.

Comment:______