CREATIVE ARTS DEPARTMENT

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2 DUNGOG HIGH SCHOOL CREATIVE ARTS DEPARTMENT HIGHER SCHOOL CERTIFICATE COURSE OUTLINE VISUAL ARTS

3 Rationale, Aim, Objectives Course Structure PRELIMINARY COURSE HSC COURSE 120 hours (indicative) 120 hours (indicative) Outcomes Content Outcomes Content Practice Frames Conceptual Framework Practice Frames Conceptual Framework Course Requirements A focus on the key components and concepts that need to be known in the visual arts through: Course Requirements A focus on more interpretive investigations and relationships through:

4 the content of practice, conceptual the content of practice, conceptual framework, frames framework, frames making artworks in at least 2 forms the development of a body of work use of a process diary use of a process diary broad investigation of ideas in art investigation of content through at criticism and art history least 5 case studies in art criticism and art history Assessment Assessment School-based assessment: School-based assessment: artmaking (50%) development of the body of work (50%) art criticism and art history (50%) art criticism and art history (50%) External examination: submission of a body of work (50%) and written paper (50%)

5 Table of Objectives and Outcomes Objectives and Outcomes Artmaking Objective: Students will develop knowledge, skills and understanding of how they may represent their interpretations of the world in artmaking as an informed point of view. Artmaking Outcomes: Content Preliminary course HSC course practice conceptual framework frames representation A student: P1: explores the conventions of practice in artmaking P2: explores the roles and relationships between the concepts of artist, artwork, world and audience P3: identifies the frames as the basis of understanding expressive representation through the making of art P4: investigates subject matter and forms as representations in artmaking A student: H1: initiates and organises artmaking practice that is sustained, reflective and adapted to suit particular conditions H2: applies their understanding of the relationships among the artist, artwork, world and audience through the making of a body of work H3: demonstrates an understanding of the frames when working independently in the making of art H4: selects and develops subject matter and forms in particular ways as representations in art-

6 conceptual strength and meaning resolution P5: investigates ways of developing coherence and layers of meaning in the making of art P6: explores a range of material techniques in ways that support artistic intentions making H5: demonstrates conceptual strength in the production of a body of work that exhibits coherence and may be interpreted in a range of ways H6: demonstrates technical accomplishment, refinement and sensitivity appropriate to the artistic intentions within a body of work

7 Art Criticism and Art History Objective: Students will develop knowledge, skills and understanding of how they may represent an informed point of view about the visual arts in their critical and historical accounts. Art Criticism and Art History Outcomes: Content Preliminary course HSC course A student: practice P7: explores the conventions of practice in art criticism and art history history conceptual framework P8: explores the roles and relationships between concepts of artist, artwork, world and audience through critical and historical investigations of art frames P9: identifies the frames as the basis of exploring different orientations to critical and historical investigations of art representation P10: explores ways in which significant art histories, critical narratives and other documentary accounts of the visual arts can be constructed A student: H7: applies their understanding of practice in art criticism and art H8: applies their understanding of the relationships among the artist, artwork, world and audience H9: demonstrates an understanding of how the frames provide for different orientations to critical and historical investigations of art H10: constructs a body of significant art histories, critical narratives and other documentary accounts of representation in the visual arts

8 Purpose and Focus of the HSC Course This course builds on the knowledge and understanding, skills, values and attitudes of the Preliminary course and provides opportunities for students to build on their understanding of the visual arts through deeper and sustained investigations of practice, the conceptual framework (agencies in the artworld) and frames, in increasingly independent ways. Students learn about: how they may own practice in artmaking, art criticism, and art history how they may further relate concepts of the artworld - The Conceptual framework - involving the agencies of artist, artwork, world, audience how they may develop their own informed points of view in increasingly independent ways using the frames how they may further develop meaning and interest in their work.

9 Art Criticism and Art History Requirements Case studies in the HSC course A series of case studies (a minimum of FIVE) should be undertaken with students in the HSC course. However, students may be introduced to case studies in the Preliminary course following more broadly based understanding being developed about practice, the conceptual framework and frames. Case studies should be 4 10 hours in duration in the HSC course. Other more general critical and historical learning opportunities should continue to be offered during the course. Case studies and syllabus content Case studies provide a means of studying particular cases in the visual arts. Their function within the classroom is to illustrate a point or something of significance. They should be developed with consideration of the content as outlined in Section 8 of this syllabus. The selection of content for the case study should relate various aspects of critical and historical investigations, taking into account practice, the conceptual framework and the frames. Emphasis may be given to a particular aspect of content although all should remain in play. Teachers should carefully consider the parameters of the case as a specific instance to be studied and they should select content accordingly, focusing on practice, the conceptual framework and the frame(s). Each case study should have particular complexities about which students can develop understanding. Teachers should consider how the content selected for a particular case study may relate to further case studies. They may consider how cases can be re-examined or compared to develop greater insights, for example by exploring ideas from a different frame, investigating a critical or historical focus etc. They may also consider how several case studies may contribute to the development of broader and more sophisticated and subtle understanding of the visual arts over time. They may also consider how

10 the diversity of case studies presented provides sufficient scope and depth for the course in terms of students understanding of practice, the conceptual framework, and frames.

11 Expressive Forms A body of work may be produced in one of the 12 expressive forms. The following table provides advice for submissions in each of the expressive forms. Dangerous materials must not be used. If a submission contains materials considered dangerous to health or safety it may not be unpacked, marked or returned to schools if marked corporately. Submissions considered dangerous to health or safety may not be marked in itinerant marking. Teachers need to ensure that artmaking practices comply with all current legislation relating to occupational health and safety as well as system and school requirements regarding safety. The overall limitations of size, weight, dangerous and prohibited materials and duration as set out in Assessment and Reporting in Visual Arts Stage 6 need to be followed. Expressive Form Documented Forms Collection of Works Drawing Painting Photomedia Printmaking Textiles and Fibre Graphic Design Designed Objects Suggested submission An individual work or series of works documenting time-based events, happenings, performances and site-specific installations. A collection or series of works made using different expressive forms. An individual work or series of works with a focus on drawing. An individual work or series of works with a focus on painting. An individual work or series of works in black and white and/or colour made using wet (darkroom) and/or digital practices. An individual work or series of works with a focus on printmaking. An individual work or series of works with a focus on textiles and fibre. An individual work or series of works with a focus on graphic design. An individual work or series of works with a focus on 3D object design.

12 Sculpture Ceramics Time-based forms This expressive form includes wearables, jewellery, architectural design and product design. An individual work or series of works with a focus on sculpture. An individual work or series of works with a focus on ceramics. An individual work or series of works with a focus on time-based forms. This expressive form includes film and video, digital animation and/or interactives. Requirements for the Visual Arts Body of Work Students will submit a body of work as part of the HSC examination for Visual Arts. In this body of work they should demonstrate their understanding of artmaking as a practice, and represent their ideas and interests through their interpretation of subject matter and use of expressive forms. For the body of work they should consider selecting a single work or a series of works that represent a coherent point of view and demonstrate conceptual strength and meaning. The body of work must comply with the prescribed dimensions for HSC submitted artworks in terms of limitations on size, weight, dangerous and prohibited materials and duration. See below for details. Development, Completion and Certification of the Body of Work Development of the body of work may commence from the beginning of the HSC course. The body of work must be conceived and executed by the student under the supervision of the Visual Arts teacher. Group projects are not permitted. Schools must have procedures in place that will allow effective supervision of the development of the body of work for each student. This is particularly the case where work is done away from school. Schools must be confident that effective supervision and sufficient documentation of this work is possible before giving consent for students to begin work on their body of work.

13 Certification of body of work submissions is required to ensure that each body of work is the work of the student entered for the HSC and has been completed under the supervision of the Visual Arts teacher. It is essential that: (a) the main development of the body of work takes place in school time (b) work completed away from the school is regularly monitored by the supervising Visual Arts teacher (c) each student signs a statement, witnessed by the supervising Visual Arts teacher and the principal, to certify that the body of work is their own original work. Teachers must certify that the work has been completed under their supervision, and that the rules and procedures described here and in the Board s ACE Manual have been followed.

14 Principals must be able to endorse the teacher s declaration that the work: has been done under the teacher s supervision is the student s own work consistent with earlier drafts and other examples of the student s work was completed by the due date. Teachers should: (a) advise on all matters related to the development of the body of work (b) demonstrate on a separate surface/object (c) refer students to sources of ideas, themes or examples (d) give information about availability of materials and sources of technical assistance (e) provide feedback in the visual arts process diary (see below) including a dated record of the development of the body of work. Under no circumstances can any teacher work directly on any part of a student s body of work submission. Schools will be notified by the Office of the Board of Studies of the exact date for the completion of the body of work. Dates for completion, hand-in to school and submission to the Board of Studies are specified in the Higher School Certificate Practical Examinations Important Dates Schedule provided to schools and published on the Board of Studies website. Visual Arts Process Diary Visual Arts Process Diaries are not marked as part of the body of work submission and must not be submitted with the body of work. They will only be looked at if the body of work cannot be assessed without further support material. The diaries must be retained at school until the HSC marking of submitted works is complete. This requirement is necessary if the body of work needs further verification, if further evidence of a student s work is required, and in cases of appeals being made to the Board. (See Visual Arts Syllabus Stage 6 pages ) Diaries should suggest and provide evidence of a student s practice of artmaking. As marking takes place during the written examination period, teachers should advise students to photocopy those parts of the diary they may need to use in studying for their written examination. For itinerant marking schools should ensure that students diaries are readily available within the school, but not presented with the works. They may be required by examiners to authenticate the student s submissions. Students should ensure that their diaries are clearly identified by their Student Number.

15 A brief written record of each student s progress throughout the project must be kept by the teacher. This should not be submitted with the project, but may be requested in exceptional circumstances where the examiners require further information. This record should be retained in the school together with assessment records. A Practical Project: Record of Student s Progress pro-forma is available to download from Schools Online.

16 Overall limitations on size, weight, dangerous and prohibited materials and duration of HSC submitted works The following information about HSC Body of Work should be read in conjunction with the Visual Arts Syllabus Stage 6 Outcomes (page 12), Content (page 17), Course Requirements (page 28). A body of work may be submitted in one of the 12 expressive forms. The following table provides advice for submissions in each of the expressive forms. This advice should be read in conjunction with the rules regarding overall size, weight, dangerous and prohibited materials and duration of submitted works. These rules apply to all bodies of work submitted for the HSC Visual Arts examination and should be strictly adhered to. Failure to comply with these rules could penalise marks awarded to students. When displayed for marking the complete body of work must not exceed: 6 square metres in area for 2D works OR 1 cubic metre in volume for 3D works and/or works with 2D and 3D components 2 square metres in area for individual flat, rigid works. Individual works which exceed 2 square metres and are up to 6 square metres must be rolled 35 kilograms in weight 6 minutes in duration (including credits) for submissions in time-based forms, and 3 minutes in duration (including credits) for a time-based work included in a submission in another expressive form. If a time-based work is the entire submission in Documented Forms the maximum duration is 6 minutes (including credits). The maximum number of screens for the simultaneous viewing of time-based works is 2 screens. The volume of a body of work must not exceed 1 cubic metre when displayed for marking. The volume of a body of work is calculated by multiplying the maximum length, the maximum breadth and the maximum height (each measured in metres) of the work when displayed for marking. Positive and negative areas are taken into account in the calculation. The maximum length is the greatest horizontal measurement that can be taken of the longer side of the work. The maximum breadth is the greatest horizontal measurement that can be taken of the shorter side of the work. The maximum height is the measurement taken from the lowest point of the work to the highest point of the work. Time-based forms The running time of a submission must not exceed 6 minutes (including credits).

17 All appropriated images and sound should be acknowledged in the credits or as a written addendum to the work. Titles and credits must not identify the student or school except by candidate number and school number. All submitted works must be able to be played on standard consumer hardware. Format for film and video and digital animation submitted works: DVD-R 4.7 GB capacity disc. Works should not be submitted on DVD-RW discs. VHS videotape -R in a standard PAL DV format codec. If these formats are unavailable, the work may be transferred and presented for playback on high-quality videotape. The work should be cued to the beginning of the submission. Format for interactive submitted works: Interactive works must be submitted on a single CD-R or DVD-R that has been formatted and developed for either a Microsoft Windows Operating System or an Apple Macintosh Operating System. They must not require any program downloads. The interactive work must be able to function directly from the submitted CD-R or DVD R. Submitted works cannot be copied to a hard drive to enable or improve playback performance. Any number of interactive screens, frames, links and branches can be developed but the total time required to view and interact with the work should not exceed 6 minutes.

18 Work produced in the form of an original website must be transferred and submitted as an interactive CD-ROM that must be able to be operated directly from CD-ROM, without the use of the internet. The work should be thoroughly tested for appropriate playback and operation before submission. Dangerous and Prohibited Materials Dangerous materials must not be used. If a submission contains materials considered dangerous to health or safety it may not be unpacked, marked or returned to schools if marked corporately. Submissions considered dangerous to health or safety may not be marked in itinerant marking. Teachers will need to ensure that artmaking practices comply with all current legislation relating to occupational health and safety as well as system and school requirements regarding safety. Prohibited materials: Hypodermic syringes must not be included in any submitted works. This includes new or used syringes, with or without needles. Bodily secretions and blood products must not be included in any submitted works. Food and/or perishable materials and objects must not be included in any submitted works. Liquids in any form, must not be included in any submitted works. Medications in any form, including tablets and capsules, must not be included in any submitted works. Glass in any form must not be included in any submitted works. This includes unbroken glass such as bottles, mirrors or any other form. Any materials that have sharp or jagged edges (barbed wire, fish hooks, corrugated iron, broken machinery etc) must not be included in any submitted works. Electrical wiring that has not been certified by an electrician must not be included in any submitted works. Submissions requiring a high voltage electrical current (eg 240 volts) must have a certificate for electrical safety attached. Any electrical wiring necessary for artworks should be undertaken by a qualified electrician. Details and records of such work should be noted in students diaries. Presentation and Packaging of HSC Body of Work

19 Teachers and students should ensure that the display requirements for marking the body of work are not complicated or time consuming to set up. Instructions, if submitted, should be clear and easy to follow.

20 Framing and/or mounting of artworks in a body of work is not necessary. It is recommended that two-dimensional works are presented either flat, or in a folder or box. If works are mounted, simple cardboard mounts are preferred. Works in a series should be numbered to indicate the sequential order for display for marking. Glass or rigid plastic must not be used in any framing of works as it impedes close inspection of the submission, and if broken, may cause damage to the work or to markers. Mannequins must not be included with submissions of Wearables in the Designed Objects expressive form. If batteries are required in a body of work they should be included with the submission. Artworks must be stable in their construction to minimise any damage during handling. During marking, artworks might be handled many times. Artworks should be well packed to minimise the possibility of damage during transport to the marking centre. Most breakages occur because of insufficient packaging or too many fragile articles being packed together. Boxes used for packaging should be kept as light as possible and all works within the box should be rigidly packed to stop movement. Damage can also occur when paintings are packed for transportation before paint is fully dry. To protect artworks, the following ways of packing are the most effective. 2 Dimensional (2D) works Paintings place a sheet of brown paper over the front of the painting then cover the whole painting with bubble wrap, cardboard or similar material. Drawing, photomedia, graphic design, printmaking and other 2 D works should be protected in a cardboard folder.

21 00Hanging devices including hooks and chains are not to be supplied with paintings and other 2 dimensional works as they can cause damage to other works when they are stacked or stored for marking. Works must not be framed under glass or rigid plastic. 3 Dimensional (3D) works Ceramics, sculpture and other 3D works place in a box with either shredded paper, straw or bubble wrap packed tightly in and around the work(s). Care should be taken to pack around and beneath the article before it is placed in the box.

22 Corporate and Itinerant Marking The Board will decide each year which schools will have their Visual Arts submissions marked corporately and which will be marked by itinerant markers in schools. Body of Work Examination Criteria Conceptual strength and meaning Resolution

23 DUNGOG HIGH SCHOOL VISUAL ARTS H.S.C. COURSE PROGRAM OVERVIEW Content Preliminary/Year 11 Synopsis Term Four 11/12. Outcomes Topics/Case Studies $ PRELIMINARY COURSE OUTLINE and REQUIREMENTS $ Foregrounding Content - Practices, Frames, Conceptual Framework - Guernica - study $ Frames and Artmaking Fortune Cookie. $ Self as Artist - practice and artmaking $ Self and Identity - personal and cultural identity - artists study and artmaking. $ Essay writing, exam skills $ Hidden Messages - signs, symbols, visual codes - historical study. $ Conceptual strength and meaning - layers of meaning - artmaking $ Viewing of exhibitions - particularly ART EXPRESS and major shows $ Essay writing for HSC style exam. $ HSC COURSE OUTLINE and requirements. $ Course content review - relationships between frames, conceptual framework and practices. Core reference material. CONTEXT 1 - Chronology/History Case Study 1 - Human Figure- Prehistoric contemporary. Context and Representation. - leads into Case Study 2 Body As Site. ARTMAKING - B.O.S. B.O.W. artmaking requirements. - Life Drawing - follow up drawing. - B.O.W. - Beginning the Journey H1 H2 H3 H4 H5 H6 H7 H8 H9 Practice ARTMAKING ARTMAKING H1 HISTORICAL AND CRITICAL STUDIES HISTORICAL AND CRITICAL STUDIES H1 Frames Subjective Structural Cultural Post Modern Subjective Structural Cultural Post Modern H3 H9 Conceptual Framework Artist Artwork World Audience Artist Artwork World Audience H2 H8

24 Assessment Tasks As per Preliminary Assessment Policy - Outcomes P1 P10 Task No 1 - Visual Diary/ B.O.W. Journey issued - due Term 1 HSC Year H1, H2, H3, H4, H5

25 DUNGOG HIGH SCHOOL VISUAL ARTS H.S.C. COURSE PROGRAM OVERVIEW Content Term One Outcomes Term Two Outcomes Term Three Outcomes Topics/Case Studies Viewing of any relevant exhibitions including Art Express Case Study 2 - BODY AS SITE - reconfiguration of agencies of artworld CONTEXT 2 - THE ARTWORLD Case Study 3 - The Biennale of Sydney (may be replaced and/or supported by other exhibitions viewed). Case Study 4 - The Role of the Art Museum in Contemporary Culture. M.C.A. Sydney. ARTMAKING - visual diary and B.O.W. journey development. H1 H2 H3 H4 H5 H6 H7 H8 H9 H10 CONTEXT 3 - What is Contemporary Art? Case Study 5 - Modernism vs Post Modernism Case Study Relationships * 2 short case studies for Section 1 HSC Exam - Case Study 6 - Landscape tradition in Australian Art - identity or culture. ARTMAKING - B.O.W. development resolution. Visual diary documentation. H1 H2 H3 H4 H5 H6 H7 H8 H9 H10 Case Study 7 - What is design? - function and forms. Review/Revision of Content - relationships between case studies - connections. Review critical and historical practice. In class essays. Content analysis sheets. ARTMAKING - Completion of B.O.W. as per BOS requirements. H1 H2 H3 H4 H5 H6 H7 H8 H9 H10 Practice ARTMAKING HISTORICAL AND CRITICAL STUDY H1 H7 ARTMAKING HISTORICAL AND CRITICAL STUDY H1 H7 ARTMAKING HISTORICAL AND CRITICAL STUDY H1 H7 Frames Subjective Structural Cultural Post Modern H3 H9 Subjective Structural Cultural Post Modern H3 H9 Subjective Structural Cultural Post Modern H3 H9 Conceptual Framework Artist World Artwork Audience H2 H8 Artist World Artwork Audience H2 H8 Artist World Artwork Audience H2 H8 Assessment Tasks TASK ONE - visual diary - BOW development 20% TASK TWO - Research essay(s) 20% H H TASK THREE - HALF YEARLY EXAM - 10% TASK FOUR - Progress Visual Diary/BOW 10% H H TASK FIVE - B.O.W supported by Visual diary 20% TASK SIX - HSC Trial examination 20% H H

26 DUNGOG HIGH SCHOOL VISUAL ARTS HSC COURSE ASSESSMENT OVERVIEW Outcomes Syllabus Components (Practice) Syllabus Task 1 Weightings H - 1, 2, 3, 4, 5 Task 2 H - 7, 8, 9 Task 3 H - 7, 8, 9 Task 4 H - 1, 2, 3, 4, 5, 6 Task 5 H - 1, 2, 3, 4, 5, 6 Task 6 H - 7, 8, 9, 10 Due: early Term 1 late Term 1 to be advised late Term 2 2 weeks before BOS due date (August) Term 3 Tasks: Visual Diary Development of Body of Work Research/Essay Half Yearly Exam Visual Diary including Body of Work progress Body of Work accompanied by Visual Diary HSC Trial Examination P1-6 C1 Artmaking 50% 20% 10% 20% P7-10 C2 Art History Art Criticism 50% 20% 10% 20% Marks 100% 20% 20% 10% 10% 20% 20%

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28 DUNGOG HIGH SCHOOL YELLOW BOOKLET HSC REQUIREMENTS ARTMAKING AND BODY OF WORK

29 1) Practice in Artmaking, Art Criticism and Art History Art Criticism Artmaking and Art History

30 Students learn about the importance of practice in the visual arts in artmaking, art criticism and art history. They learn that practice refers to the social structures, positions, actions and sequences that affect choices, perceptions, directions, ways of working and views of those involved in the visual arts. Students learn that the nature of practice involves the inculcation of beliefs, actions and ideas over time. Having an understanding of practice introduces students, within the school context, to the beliefs, interests and values circulating in the visual arts and how they may proceed in their own work. An understanding of practice will affect such things as students intentions, interests, interpretations, decisions, actions and judgement within the parameters of the Preliminary and HSC courses. Students also learn about how artists, art critics and art historians contribute to the field of the visual arts. 2) The Conceptual Framework Agencies in the Artworld World Artwork Audience Artist

31 Students learn about the conceptual framework that provides a model for understanding the agencies in the artworld the artist, artwork, world and audience. Students also learn about how this framework provides for the understanding of the intentional and functional relations between artists and their artworks, audiences and artists, audiences and artworks etc. Through the conceptual framework, students learn about: the role of the artist the who, what, how, and why. The concept of the artist encompasses practitioners such as artists, craftspeople, designers and architects. The artist can be thought of as an individual or as a group, school, movement, etc. the role and value of the audience as a body of critical consumers. The concept of the audience includes art critics and art historians as well as teachers, students, entrepreneurs, patrons and other members of the public. Audiences for works change over time and bring different meanings to artworks, artists and interpretations of the world. artworks as real objects, as material, physical and virtual objects. The concept of artworks includes art, craft and design as two- and three-dimensional works (including architecture), and four-dimensional and time-based works. Artworks also exist as representations of ideas that reflect such things as personal responses, cultural views, symbolic interpretations and critical reinterpretations of other ideas. how interests in the world are represented in art (eg art as a representation of experience, class, ideology, age, events of significance). 3) The Frames Subjective Cultural

32 Structural Postmodern

33 Through the frames, students learn how art may represent: the subjective frame personal and psychological experience. Through this frame, art may be thought to be about and represent deeply felt and sensory experience, human consciousness, intuition, imagination, originality, creative expression, and the aesthetic response. Meaning is understood in relation to the intersubjective experiences afforded to the maker and viewer the cultural frame cultural and social meaning. Through this frame art may be thought to be about and represent the collective interests of cultural groups, ideology, class, politics, gender, and the celebration of spiritual and secular beliefs, events and objects. From this view, meaning is understood in relation to the social perspective of the community from which it grows the structural frame communication and the systems of signs. Through this frame, art may be thought to be about and represent a visual language as a symbolic system: a system of relationships between signs and symbols that are read and understood by artists and audiences who are able to decode texts. From this view, meaning is understood in terms of the relationships of symbols that are used to refer to the world. Through this system ideas are circulated and exchanged. the postmodern frame ideas which challenge mainstream values of histories and ideas. Through this frame, art may be thought to be about and represent texts that reconfigure and question previous texts and current narratives. These are woven together through such things as irony, parody, quotation. From this view, meaning is attained through critique that exposes the patterns of authority and the assumptions of mainstream values in the visual arts to reveal inconsistencies, uncertainties and ironies.

34 Artmaking Requirements Visual Arts Process Diary Students are required to keep a Visual Arts Process Diary in both the Preliminary and HSC courses. The diary must differentiate work undertaken in these courses. It is expected that there should be some connection between what is in the diary and what is produced as an artwork and the body of work although it is recognised that the link should not simply be causal or determine the end result. Purpose and form of the diary The diary should be used as a tool in teaching and learning in Visual Arts, particularly in artmaking. Students can use their diaries to formulate ideas and their intentions for what they will do in their artmaking. The diary may indicate a student s research within the creative process. Investigations of subject matter, interests, issues, processes, expressive forms and conceptual challenges may be included. It may suggest some of the technical interests and technical risk-taking a student is involved in through artmaking. Various beliefs and interpretations that they may wish to investigate in their artmaking can be worked through in the diary. Different artmaking practices can be considered in the diary and applied by the student to their own artmaking. The diary may enable students to compile ideas that are presented and discussed with others, including teachers and their peers. It may provide a significant link between the teacher and the student. It allows for reflection, evaluation and assessment of student achievement. Mistakes and changes can be negotiated, discussed and worked through. Alternative views and multiple ideas can be documented. The diary should suggest and provide evidence of a student s modes of working. The diary can be conceived of as a site for the development of know-how and a student s judgement. This know-how and judgement works towards informing students decisions and actions in the production of artworks including the body of work.

35 The diary may include drawings, paintings, sketches, annotated diagrams, notes and ideas, critical comment and reflections, photographs and collections of objects. It can take the form of a sketchbook, folder, container for three-dimensional works, CD- ROM, DVD, files on a memory stick or combination of these. The diary and artmaking practice Teachers and students should recognise that a diary is not a necessary condition of artmaking as a practice. However, it plays a highly significant role in the art classroom as a means of developing students understanding and judgement. Keeping a diary should not necessarily be viewed by teachers and students as a way towards guaranteed success in the practice of artmaking. It is highly recommended that teachers do not encourage students to use their diaries as ends in themselves, nor for them to have a life of their own. The diary must not be used as a substitute for the making of a body of work. The diary and school-based assessment and external examination The diary, as well as artworks produced, must be taken into account in a teacher s assessment of student achievement. It is recommended that teachers comments and advice should be clearly indicated in a student s diary and the entry dated. The school should retain the student s diary until the completion of the Visual Arts written examination. The diary must be available if required in the HSC examination and in the event of appeals, to verify and provide further evidence of a student s work. Recording of technical details and copyright matters The diary should clearly indicate technical details used in the development of a body of work, such as processes, products, hardware and software. The diary should also indicate that copyright matters have been attended to, as appropriate, in the development of a body of work in the HSC course. This is particularly relevant to digitally produced works, film and video, interactives, and graphic design in relation to sound tracks, music, and imagery that has been appropriated or reinterpreted The development of a body of work HSC course The body of work, the practice of artmaking and other syllabus content

36 The body of work is developed during the HSC course and provides the opportunity for the full range of students electing Visual Arts to engage in artmaking as a practice. The body of work will be externally examined. A selection of one or more works is made at the conclusion of the course and is submitted as evidence of what students know and can do in the practice of artmaking. Through the production of an individual work or series of works during the HSC course, students can demonstrate their application of knowledge, understanding and critical judgement acquired through experience. Works produced over time provide the possibility for students to establish their intentions as artists and to develop courses of action for their own practice. Their decisions, actions and intentions are developed and realised through the development of the body of work in increasingly sophisticated ways and contribute to their understanding of the nature of practice. The development of a work or works that may be included in the final submission should encourage students to reveal their practical and theoretical understanding of artmaking. This understanding of the concepts and practical actions required in artmaking is informed through the student s engagement with the frames, their understanding of the conceptual framework, and their interpretations of interests applied to their own investigations The body of work selecting works for an HSC submission The selection of work for a body of work is made on the basis of the student s demonstration of an understanding of artmaking practice. Work is selected to represent a coherent point of view and to indicate the student s intentions as an artist. This selection should also provide evidence of the conceptual strength and meaning that exists between and within the works included in the body of work. For example, a student might submit a body of work in the Collection of Works expressive form. The submission might comprise photography, painting and drawing. These works could be closely related and develop from one another in a sustained way in terms of their meaning and conceptual relationships. The conceptual relationships between works in the body of work could occur through the interpretation and shaping of connected ideas about subject matter. These conceptual relationships might also be evidenced through sustained and deeper investigations of the different expressive forms, materials and techniques. These investigations provide students with opportunities to make works in which a coherent point of view is represented and presented within and across the individual works within the body of work.

37 Other students might demonstrate their understanding in a body of work, developing their ideas around a particular interest that might be related through their interpretation and investigation of subject matter, an expressive form and/or an experimental approach to the use of materials. An individual work may be selected as a body of work on the basis that it reveals a coherent point of view, conceptual strength and meaning and a student s knowledge and understanding of practice. The work would need to provide evidence of sustained investigations with materials and ideas that, over time, have contributed to the conceptual strength and meaning of the work.

38 Higher School Certificate Performance Band descriptions Visual Arts The Performance Band descriptions shown below represent student performance in bands of achievement. They illustrate the typical performance of students in the Visual Arts HSC course. Each band contains descriptions of student achievement of the course outcomes. The scales will continue to be refined to include information from performance in the new HSC courses and the outcomes assessed internally. The typical performance in this band demonstrates: Band 6 a highly developed understanding of practice and a sustained reflective engagement informed by a knowledge of possibilities, conventions, processes and ways to proceed both practically and conceptually an authoritative understanding of the artworld acknowledging the complex and subtle relations among the artist, artwork, world and audience a sophisticated understanding of how different interpretive frameworks can be employed to represent a point of view a sophisticated understanding of how ideas and interests may be represented involving a synthesis of the interpretation of content/subject matter and the form of the work a highly developed understanding of how meaning is sustained at a number of levels through engagement with practice, artworld agencies and interpretive frameworks resolution, coherence, completeness which is outstanding, innovative and cutting

39 edge Band 5 a well developed understanding of practice and a sustained engagement involving a knowledge of possibilities, conventions, processes and ways to proceed both practically and conceptually an accomplished understanding of the artworld involving relations among the artist, artwork, world, and audience an accomplished understanding of how different interpretive frameworks can be employed to represent a point of view a well developed understanding of how ideas and interests may be represented involving a synthesis of the interpretation of content/subject matter and the form of work an accomplished understanding of how meaning is sustained at a number of levels that involve practice, artwork agencies and interpretive frameworks resolution, coherence, completeness which is accomplished Band 4 a good understanding of conventions, processes and possibilities of practice a sound understanding of the artworld and relations among the artist, artwork, world and audience a good understanding that interpretive frameworks inform a point of view a sound understanding of representation by attempting some synthesis and interpretation of the content/subject matter and the form of the work

40 a good understanding that meaning can be sustained at a number of levels by makers, audiences and artworks consideration of the need to adapt, refine and select ideas and approaches employed to achieve resolution resolution, cohesion, completeness which is sound Band 3 some understanding of conventions, processes and possibilities available to them yet demonstrates a limited engagement a basic knowledge of the artworld understood and described as artist, artwork, world and audience a foundational understanding of how different points of view may be possible but has difficulty presenting their own point of view a basic understanding of representational issues by attempting to select and organise the subject matter/content and form of the work some basic awareness that different meanings are possible in the visual arts a foundational understanding of ideas and approaches to achieve resolution

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