National Senior Certificate Grade 11

NATIONAL SENIOR CERTIFICATE

GRADE 11

VISUAL ARTS P1 (VISUAL CULTURE STUDIES)

NOVEMBER 2007

MARKS: 100

TIME: 3 hours

This question paper consists of 19 pages, including full colour visual resources.

INSTRUCTIONS AND INFORMATION

1. Answer any FIVE questions for a total of 100 marks.

2. Number the answers correctly according to the numbering system used in this question paper.

3. Refer to the visual sources where applicable.

4. Information discussed in one answer, will NOT be credited if repeated in other answers. Cross-referencing of artworks is permissible.

5. Name the artist and title of each artwork discussed.

6. Write in a clear, creative and ordered manner, using full sentences and paragraphs where applicable.

7. Write neatly and legibly.

In this examination you will be expected to demonstrate the following:

• The use of correct art terminology • The use of visual analysis and critical thinking • Writing and research skills within a historical and cultural context • The ability to place examples of art works in a social and historical context • An understanding of distinctive artistic styles • The identification of the professional practices of local artists

GLOSSARY:

Use the following glossary to make sure you understand how to approach a particular question:

Analyse : A detailed and logical discussion of the formal elements (such as line, colour, tone, texture, format) composition, et cetera of the work.

Compare : Point out differences and similarities in an ordered sequence within the same argument.

Discuss : Present your point of view and give reasons for your statements.

Explain : Clarify and give reasons for your statements.

Interpret : Give an informed opinion, supported by examples.

State : Say directly what you think – give your opinion as well as an explanation.

Describe: : Discuss what you see in an art work, building, et cetera.

QUESTION 1

Visual art encourages artistic development, by requiring learners to explore ideas and to demonstrate effective working methods through a process of investigation and experimentation. Learners also learn to respond to art in an informed and articulate way, in order to interpret, discuss and debate the messages and meanings of art.

1.1 Using the correct art terminology, write a short paragraph on the practical discipline you have chosen to focus on this year. You should include information on the following:

• The subject matter you have worked with • The concepts you were trying to put across/express • The processes and techniques you have used

• Basic sketches to show main ideas if necessary (10)

1.2 Write a short paragraph in which you critically discuss the art movements or specific artists that have influenced you this year, either in your choice of subject matter or technique. You must name the artist and select at least ONE specific artwork to analyse in order to demonstrate its influence on your work.

Information to be considered:

• Historical context of works or movements which have influenced you • Content and meaning of works or movements which have influenced you • The style, materials and technique used in the artwork(s) which have influenced you (10) [20]

QUESTION 2

Jacques-Louis David made a political comment when he painted The Death of Marat (1795) (see FIGURE 2a). Jean Paul Marat was one of the leaders of the French Revolution (1789) and was stabbed to death in his medicinal bath by Charlotte Corday, a member of a rival political faction.

In 1977 Steve Biko, the leader of the Black Consciousness Movement in South Africa, died in detention. He was brutally assassinated by security police interrogators, then his handcuffed, naked body was driven in the back of a jeep 1 628 km from Port Elizabeth to the prison hospital in Pretoria. Local artists Willie Bester and Sam Nhlengethwa responded by creating artworks which commented politically on the death of Steve Biko (FIGURES 2b and 2c).

2.1 What visual clues does the artist David use in his painting of Marat to suggest his violent death? (FIGURE 2a) (2)

2.2 Marat was an old man who had a skin disease when he was assassinated. However, David shows him in an idealised way. Explain what is meant by idealised and why David decided to show him in this way. (3)

2.3 Discuss the composition of David's painting and consider why he decided to use such a plain, flat background. (3)

2.4 The other two works both relate to Steve Biko’s death. Discuss how these artists used different ways to comment on the incident. (FIGURE 2b and FIGURE 2c) (3)

2.5 Which artwork, according to you, gives the strongest expression to this incident? Give reasons for your answer. (2)

2.6 Discuss the similarities and differences between David's and Nhlengethwa's works. Also comment on the function and purpose of these works. (7) [20]

FIGURE 2a: Jacques-Louis David, FIGURE 2b: Willie Bester, The Death of Marat, 1793. Oil Steve Biko, 1993. Mixed media on canvas

FIGURE 2c: Sam Nhlengethwa, It left him cold – the death of Steve Biko, 1990. Collage, pencil, charcoal

QUESTION 3

Art competitions or awards are sponsored by large companies to sometimes celebrate innovation and excellence in the visual arts. They provide a wonderful opportunity and challenge for young, upcoming artists to make a name for themselves.

You are part of a team working for a large company who intends to sponsor an art competition for a social awareness campaign and to help launch talent in South Africa. The winner of this competition will not only receive a large financial prize, but will also have his/her work displayed in a prominent public area.

The following questions are some of the issues you and your team need to decide upon. Read them carefully and give your response to each.

3.1 What social awareness theme and media has your team decided upon for the public artwork challenge? Give a valid reason for this theme/media being chosen. (2)

3.2 Determine a specific kind of public space for the display of the winning work. Give reasons why you have selected this particular space. (3)

3.3 What types of artworks do you think would be appropriate for permanent display in a public space? Discuss ONE relevant example you have experienced within a specific environment. (3)

3.4 Art competitions have a role to play in the promotion of young South African talent, but they are sometimes merely a way for the company to get good media coverage.

Debate this statement with reference to your previous answers. (4)

3.5 Write a short paragraph in which you name and analyse ONE specific work of art from any artist you have studied (from overseas or Africa) whose work you feel would look good in a public space of your choice. Give valid reasons for your choice of artist, work and display space.

It is important to include the following information in your paragraph:

• Title of work • Name of artist • Movement or period it comes from • Subject matter/Theme • Style • Materials and techniques used to create it • Scale • Interaction of work with surrounding space (8) [20]

QUESTION 4

Seurat and Pemba both show people at leisure in their paintings (FIGURES 4a and 4b).. Seurat is showing fashionable Parisians enjoying a Sunday by the river Seine in the 1880s, while Pemba created his painting just after the Soweto riots and shows life in a South African township.

4.1 Discuss the depiction of the people/figures in the two paintings (FIGURE 4a and FIGURE 4b) by answering the following questions:

• What are the people doing in these paintings? • Describe their clothes in each artwork. • What formal compositional elements have the artists used to draw your attention to the figures in each artwork? • How have the artists portrayed the human figure in each artwork? • Do the people interact with one another?

• What does the industrial site in the Pemba painting tell us? (10)

4.2 Compare the following elements in the two paintings:

• The styles and brushwork used in the paintings (4) (6) • Perspective and portrayal of depth in the works [20]

FIGURE 4a: Georges Seurat, La Grande Jatte, 1884 – 1886. Oil on canvas

FIGURE 4b: George Pemba, New Brighton, 1977. Oil on board

QUESTION 5

As early as a thousand years ago, Arab boats were travelling down the coast of Africa and trading with the indigenous inhabitants. Beads were a highly tradeable commodity as no glassblowing technology existed amongst the African tribes, beads were always in demand. Beads were a symbol of prestige as they were in later Zulu and Sotho royal societies.

FIGURE 5a: FIGURE 5b: FIGURE 5c: A young Zulu girl at the An Uda adolescent girl High fashion hits Africa in yearly Shembe festival from South Sudan. The this Paris catwalk inspired wearing a beaded dancing elaborate beaded corset is design that showcases outfit. The design of the a sign of eligibility. traditional African detail. beadwork is typical Now coveted in the fashion Shembe. capitals of the world, the beadwork tells a tale in every design.

5.1 Beads have been an important part of African life for centuries, as can be seen in the brief text above on the history of beads. Do you think that the traditional use of beads in today’s society is still relevant? Explain and substantiate your answer. (3)

5.2 There is a concern that the knowledge (skills, traditions, et cetera) used by traditional craft workers are not being successfully passed down from one generation to the next. Why do you think this is so? (3)

5.3 Name TWO innovative ways in which you think these traditional skills can be passed on and shared with younger generations. (4)

5.4 Write a short paragraph in which you name and discuss any craft artist whose work you have studied. You must discuss at least ONE specific work created by this artist in which you show an understanding of how he/she has made use of his/her materials and techniques. (10) [20]

QUESTION 6

HIV/Aids is a crisis in South Africa. Some artists have reflected on this disease in their work.

6.1 The Siyazama dolls (FIGURE 6a) would usually be defined as craftwork, while the Siopis artwork (FIGURE 6b) would be defined as art. What would you say is the difference between craft and art, and do you think there should be such a distinction? (4)

6.2 The Siopis artwork is a photograph. When and why do you think photography should be seen as art? (3)

6.3 Compare the two works by referring to the different styles and the techniques of representation used by each artist. (6)

6.4 Discuss how the universal symbol of Aids (the red ribbon) has been used in the two works. (4)

6.5 Which work do you think makes one most strongly aware of Aids? Give TWO good reasons for your answer. (3) [20]

FIGURE 6a: Siyazama Aids Project, Aids Orphans. Embroidered dolls. Fabric, wire, beads

FIGURE 6b: Penelope Siopis, Baby in Red, 2000. 'Cibachrome' photograph

QUESTION 7

African art was eagerly collected by many of the artists belonging to Fauvism, Expressionism and Cubism. Although these artifacts influenced all these movements, they resulted in different and new forms of expression.

All the visual sources (FIGURES 7a to 7d) show representations of women.

Write an essay on these works in which you discuss the following:

• Reasons why the artists, from the movements mentioned above, were inspired by African art • How African art influenced these artists' approach to line, shape and other formal art elements • Compare the styles and aims of these artists/movements in their attempt to represent women in different ways • The different ways in which space has been used • The African sculpture in FIGURE 7a is a generalised figure with no relation to any particular female. Do you think the same is true of the females depicted in FIGURES 7b, 7c and 7d? • Include your personal response to these works and substantiate your statements [20]

AFRICAN ART FAUVISM FIGURE 7a: Unknown artist, FIGURE 7b: Henri Matisse, Madame Ancestral Figure in the Fang Style, Matisse, Portrait with Green Stripe, no date. Gabon 1905.

EXPRESSIONISM CUBISM FIGURE 7c: Ernst Ludwig Kirchner, FIGURE 7d: Pablo Picasso, Woman Woman in the Mirror, 1912. Seated in Armchair, 1909.

QUESTION 8

In the visual sources provided in FIGURE 8a and FIGURE 8b, the artists are commenting on atrocities which show man’s inhumanity to man.

8.1 Study the work by Daumier and debate whether he has successfully portrayed the horror of the massacre. Give reasons for your answer. (3)

8.2 Daumier's work is a tonal print. Do you think that the use of tonal variation in this artwork is important? Explain how the artist's use of tone affects your response to this work. (5)

8.3 The incident portrayed before us actually extends 'beyond the picture frame'. Why do you think Daumier has made use of this 'snap-shot' view? (3)

8.4 Comment on the title Disasters of Peace, Why Defy? that South African artist Diane Victor uses for her etching. (3)

8.5 What is the main focal point in this work? (1)

8.6 Besides being used as a weapon, what other meanings/interpretations may be seen in the image of the iron? (3)

8.7 Do you feel that these two artists have successfully portrayed aspects of the society in which they were/are living? Substantiate your answer. (2) [20]

In this political commentary, Daumier, a 19th century French Realist artist, portrays an incident that occurred in Paris during the 19th century. Soldiers, who had been shot at from a building in the working quarter of Paris, went in and massacred the people living in that FIGURE 8a: Honoré Daumier, Rue Transnonain, 1834. building. Lithograph

Women who have been physically abused are shown in the background of this print. The Defy iron was used as a weapon to hit, maim, burn and torture a victim of violence.

FIGURE 8b: Diane Victor, Disasters of Peace, Why Defy? Etching

QUESTION 9: GRAFFITI

Hip-Hop graffiti, also known as bombing, began as an underground movement in American inner-cities. Gangs used spray cans of paint to mark territory and make public statements. Graffiti artists chose trains and subway walls as huge numbers of commuters saw them every day. Their messages were often directed towards gangs and therefore secret or difficult to understand for other people. Artists used special symbols and pictures inspired by comics and tattoo art. The words were also written in an elaborate style of writing. Like other forms of Hip-Hop culture, bombing became competitive and artists tried to outshine each other with their skills. Graffiti became larger and more richly decorated. The lettering became more complex, sometimes with 3-dimensional effects or the illusion of depth. Although bombers were regarded as vandalisers and were in constant conflict with the law, they began to attract widespread interest and appreciation. Graffiti spread around the world, including South Africa. [Adapted from: Sgubhu Samampela - Real Sounds, illustrative learning programme, developed by the Gauteng Institute of Education Development]

Graffiti art is now seen as an alternative to the ‘high/serious art’ and has become very popular amongst the youth of South Africa. While many graffiti artists have created aesthetically pleasing works, others have produced inappropriate designs in inappropriate locations, costing local municipalities huge amounts of money in cleaning expenses. Much of graffiti art has been overrated in importance, with many people claiming to be artists.

9.1 Discuss at least TWO of the examples of graffiti shown in FIGURES 9a – 9e. Consider the use of shape, images and lettering. You may also refer to the way they were created, the medium used (spray paint) and the part that Hip-Hop music plays in their creations. (5)

9.2 Why is graffiti seen as an alternative to 'high art'? Refer to the differences in styles, locations and intentions between so-called high art and graffiti art. (4)

9.3 Would you agree with graffiti artists who see their art as a more powerful means of communication, than newspapers, paintings or books? Provide reasons for your answer. (3)

9.4 How can graffitti art be used positively in your community and in society? (3)

9.5 What is your feeling about graffiti? Do you see it as an art form or as pure vandalism? How can graffiti be made more acceptable to society at large, or would that be defeating the purpose? Give reasons for your answer. (5) [20]

FIGURE 9a: Gogga. Johannesburg FIGURE 9b: Gogga

FIGURE 9c: Faith 47. Cape Town FIGURE 9d: Falco

FIGURE 9e: Faith 47. Cape Town

QUESTION 10

Architects often refer to their buildings as monumental sculptures. One can say to a certain extent, that architecture is an enormous hollowed out sculpture. Nonetheless, one can distinguish between architecture and sculpture by reason of the way in which architecture is the art of dividing inner space from outer space in such a manner that the inner space can be utilised for practical purposes.

10.1 By referring to the examples provided in FIGURE 10a and FIGURE 10b, as well as including ONE other specific example you have studied from the 20th century, write a paragraph on the following:

• The handling of inner and outer space • The use of form, texture, material and/or construction method to either contrast or blend in with surroundings and/or nature • The functionality of the building (12)

10.2 What would you consider to be more important - the outside of the building or the inside? Motivate your answer by referring to relevant examples you have studied/experienced. You may NOT repeat information used in QUES- TION 10.1. (8) [20]

FIGURE 10a: Le Corbusier, Villa Savoye, 1928 – 1931.

FIGURE 10b: Frank Lloyd Wright, Falling Water, 1937.

TOTAL: 100