Visual Art Friday 21 October 2016 Paper Two Question book

Transcription

1 2016 Senior External Examination Visual Art Friday 21 October 2016 Paper Two Question book 2:15 pm to 4:25 pm Time allowed Perusal time: 10 minutes Working time: 2 hours Examination materials provided Paper Two Question book Paper Two Response book Equipment allowed QCAA-approved equipment Directions You may write in this book during perusal time. Paper Two has two parts: Part A Short response (attempt all of Question 1) Part B Extended response (attempt one question only of Questions 2, 3 or 4) Part A and Part B are of equal value. Suggested time allocation Part A: 45 minutes Part B: 1 hour 15 minutes Assessment Paper Two assesses the following criterion: Appraising Assessment standards are at the end of this book. After the examination session Take this book when you leave. For all Queensland schools

2 Planning space

3 Concept The concept for 2016 is Excess. The stimulus artworks on the following pages explore the concept of excess literally or symbolically through the suggested focuses: Focus 1 Desired images and objects that visually represent what people perceive as needed, acceptable or desirable. Focus 2 Compulsivity to explore what drives people to create images and objects that explore what is obsessive or compelling. Focus 3 Scarcity within the context of social issues and cultural concerns of deficiency. 1

4 Part A Short response Respond to Question 1 in words. Write your response in the response book. Question 1 The desire for repetition and order forms an inherent part of the human psyche ( David Rickard (b New Zealand) explores the concept of excess through the repetition of media and techniques to construct sculptural forms that are compulsive and challenge the personal perspectives of the viewer. Rickard investigates phenomena such as gravity, alchemy and chance through sculptures, drawings and installations that involve spatial and physical experimentation. Often using ordinary objects as a starting point, Rickard explores new potential avenues for their use and in doing so maps the architecture where they are sited, redefining our concept of spatial and objectual perception ( Your task: Identify the similarities and differences between the following two artworks. Describe and analyse Rickard s conceptual approach and how he has communicated his intention through these artworks. Image 1A David Rickard One Hundred Thousand individual Hundreds and Thousands, glue 9.5 cm diameter 2

5 Image 1B David Rickard Random Relatives 2009 Dice, brass and aluminium 70 cm x 70 cm x 70 cm (close up) 3

6 Part B Extended response Select one of the following three questions (either Question 2, 3 or 4) and write a response of words. Write your response in the response book. Either Question 2 Artists Satoh, Hasler and Segal have all explored the concept of excess to convey their interpretation of Desired. Each artist has reshaped or utilised found objects to create a response in the viewer about what is sought after in society. Artist Yoshihiko Satoh created a homage to rock guitarist Char whom he respected and yearned for his talent as an electric guitarist. Satoh stated, I want every person to imagine they are superhuman and able to play a guitar sculpture of this. ( The artwork by Andrea Hasler, if nothing else, is a critique of consumerism. Her Burdens of Excess series resembles the strange blend of designer fashion and a slaughterhouse. Fleshy blobs bulge between straps and buttons nearly turning the high-fashion accessories into bizarre creatures. Zippers and stitching even begin to seem like biological features. Hasler states our natural biological sides as human is a jarring contrast to ideas as contrived as fashion, luxury, even money. The press release from her recent show at Gusford Gallery in Los Angeles states: Hasler s work focuses on constructions of identity and collective desires, and is characterised by a tension between attraction and repulsion. The works in the Desire series, in particular, focus on the obsession of projections of affluence and glamour. Reworking designer bags, shoes, and accessories into organ-resemblant sculptures, Hasler s works engage with the psychological aspects of consumerism, blurring the lines between what you are and what you must have. ( 7 Days of Garbage is a series of portraits of friends, neighbours and other acquaintances with the garbage they accumulate in the course of a week. Subjects are photographed surrounded by their trash in a setting that is part nest, part archaeological record. We ve made our bed and in it we lie. Of course, there were some people who edited their stuff. Is this really it? I think they didn't want to include really foul stuff, so it was just packaging stuff without the foul garbage. Other people didn t edit and there were some nasty things that made for a stronger image, Segal said. This series is a beautifully executed, albeit sordid case study on what we consume, and the products we polish off and discard a veritable brand graveyard. There s a truly poetic quality about these images; they really boil us down to the insatiably ravenous animals we are and the relationships we have with all of the crap we buy. ( Your task: Analyse and interpret each artwork using the focus Desired and discuss how each artist has conveyed their message of excess. Evaluate and compare the media, techniques and processes used to create each artwork. 4

7 Image 2A Yoshihiko Satoh Present Arms electric guitars Dimensions variable Image 2B Yoshihiko Satoh Present Arms electric guitars Dimensions variable 5

8 Image 2C Andrea Hasler Burden of Excess from the Desired Series 2013 Biological material Size unknown Image 2D Gregg Segal 7 Days of Garbage 2014 Photograph Size unknown 6

9 Fold out this page 7

10 or Question 3 The following installation artists utilise contemporary and traditional media to communicate ideas that explore compulsivity. The artists are habitual in gathering and constructing meaning that provokes conversations about what is considered excess in different contexts. Geltner assembles and clusters technological equipment and surveillance devices to building facades and popular public sites, drawing attention to the saturation of these systems in our surroundings. The congregation of these manufactured gadgets and their subsequent growth process is conceived as a starting point of an infection, and expands upon the idea that they are a hurt, rather than a help, to culture and society. Geltner's latest edition of sculpture by the sea in Aarhus, Denmark sees a grouping of technological systems placed within nature, rather than an architectural environment. More than a dozen security cameras are attached to the edges of ocean rocks, each pointing their lens in a different direction towards the surrounding environment. The abrupt and strange interruption of the natural landscape by objects associated with surveillance and supervision seems to surprisingly subvert the feeling of safety, where visitors are being involuntarily watched in a place meant for solitude and retreat'. ( Environ-artist Chris Jordan s work is about e-waste, and the future of mass consumer culture. Jordan talks about whether or not we will be able to stem the growing tide of consumerism, and the issues of collective versus individual responsibility for environmental problems. ( The Time Capsules are Warhol s largest collecting project, in which he saved source material from his work and an enormous record of his own daily life. Warhol began creating his Time Capsules in 1974 after relocating his studio. He recognised that cardboard boxes used in the move were an efficient method for dealing with all of his stuff. Warhol selected items from the daily flood of correspondence, magazines, newspapers, gifts, photographs, business records and material that passed through his hands to put in the open box by his desk. Once the box was full, he sealed it with tape, marked it with a date or title and put it in his archive. Collectively, this material provides a unique view into Warhol s private world, as well as a broad cultural backdrop illustrating the social and artistic scene during his lifetime. From the early 70s until his death in 1987, Warhol created 612 finished Time Capsules. During this time period he was not only incredibly busy making art, but he was also collecting everything from cookie jars to contemporary art. An obsessive collector, Warhol constantly scoured auction houses, antique stores, and particularly flea markets for new treasures to add to his many collections. Warhol collected Fiesta ware, World s Fair memorabilia, Art Deco silver, Native American objects and folk art. He often acquired large collections as well Hollywood publicity stills, crime scene photographs and dental moulds. All of these activities reflected his interest in Pop art and his inspiration: consumer culture. ( Your task: Justify and evaluate how effectively each artist has explored social concerns through the making and displaying of ideas. Draw comparisons between each of the works and highlight the differences using visual language and expression. 8

11 Image 3A Jakub Geltner Nest Installation of surveillance cameras Size unknown Image 3B Chris Jordan Greener Gadgets 2008 Energiser batteries Size unknown (close ups) 9

12 Image 3C Andy Warhol Time Capsule Found objects Installation size variable Image 3D Clark Gable s shoes and other ephemera from Time Capsule 58 Image 3E Time Capsule 21 Image 3F Time Capsule 27 10

13 Fold out this page 11

14 or Question 4 Each of the following artworks is an installation that explores scarcity as a context to create artworks. The symbolic use of excess is the artist s response to what is seen as waste. Waste Not (2013) is a transformative installation by one of China s pre-eminent artists, Song Dong. Conceived by the artist following the death of his father, the work represents his mother s process of mourning and remembrance. Consisting of the entire contents of her house, Waste Not reflects a journey of hardship and grief, resulting in a display of personal resilience and ultimately a celebration of life. ( The photos at first look like portraits or collages. But at closer look, one will start to recognise elements of trash, including oil barrels, buckets, washing machines, toilet seat covers and bottles. Some of the pieces take up entire warehouse floors something that is not evident in just looking at one of the photographs. It is not until an object is recognised in the heap of the composition that the scale becomes clear. Muniz creates tableaus of portraits, but also recreates well-known artworks, such as the Death of Marat, Medusa the Gorgon, Andy Warhol pieces and even The Last Supper. Using garbage, a bucket becomes an ear, or can make up the larger plane of an arm or hair. Muniz s work brings attention to our waste problem, but this is done more poignantly so in the documentary, Waste Land. In the documentary, the artist created several large-scale pieces with the aid of catadores (scavengers of recyclables in the giant Jardim Gramacho landfill), which make up a subculture in his native Brazil. The film not only celebrates Muniz s beautiful recycled art, but also brings awareness to ever-growing landfills, and the people who spend their days sifting through them. ( Future Remnant (2011) consists of a strategically composed stack of partially-assembled IKEA furniture and accessories that suggests the layered debris of a culture obsessed with homewares and the sedimentary accumulation of material purchases over time. The stack is propped up with a life-size replica of a dinosaur skeleton hinting at a time long before humans and shopping existed. The incongruous grouping is both humorous and disturbing. ( Your task: Compare and contrast each of the installations and discuss how the artist has used excess to construct meaning for an audience. Justify your response through an analysis and evaluation of each work. 12

15 (close up) Image 4A Song Dong Waste not 2005 Found objects Installation size variable (close up) Question 4 continues 13

16 Image 4B Vik Muniz Waste Land 2011 Scavengers of recyclables in the giant Jardim Gramacho landfill Image 4C Vik Muniz Waste Land 2011 Stills from video Size variable 14

17 Image 4D Claire Healy & Sean Cordeiro Future Remnant 2011 Dinosaur fossil replica, IKEA furnishings, cable binding Size unknown End of Paper Two 15

18 Assessment standards from the Visual Art Senior External Syllabus 2006 Paper Two Criterion A B C D E Appraising The candidate: demonstrates a depth of knowledge and understanding of artworks in contexts, related to the concept and media used synthesises information effectively through analysis and interpretation to evaluate meanings when justifying positions uses and applies relevant terminology and language conventions consistently and accurately. The candidate: demonstrates relevant knowledge and understanding of artworks in contexts, related to the concept and media used synthesises information through analysis and interpretation to evaluate meanings when justifying positions uses and applies relevant terminology and language conventions consistently. The candidate: demonstrates relevant knowledge and some understanding of artworks including the media used describes and interprets meaning and gives an opinion uses relevant terminology and language conventions. The candidate: can identify the media used in the artworks describes and classifies artworks occasionally uses relevant terminology and language conventions. The candidate: can identify artworks describes artworks uses some language conventions. 16

19 Acknowledgments Images 1A and 1B David Rickard (images obtained from Images 2A and 2B Yoshihiko Satoh (images obtained from www2.tbb.t-com.ne.jp/hipopo-art/e_news.html) Image 2C Andrea Hasler (image obtained from Image 2D Gregg Segal (image obtained from Image 3A Jakub Geltner (image obtained from Image 3B Chris Jordan (images obtained from Image 3C 3F Andy Warhol (images obtained from Image 4A Song Dong (top and left images obtained from right image obtained from Images 4B and 4C Vik Muniz (images obtained from Image 4D Claire Healy & Sean Cordeiro (image obtained from All websites accessed 23 April Every reasonable effort has been made to contact owners of copyright material. We would be pleased to hear from any copyright owner who has been omitted or incorrectly acknowledged.

20 The State of Queensland (Queensland Curriculum and Assessment Authority) 2016 Copyright enquiries should be made to: Manager Publishing Unit Queensland Curriculum & Assessment Authority PO Box 307, Spring Hill QLD 4004 Australia Level 7, 154 Melbourne Street, South Brisbane T