Exemplar for Internal Achievement Standard. Art History Level 1

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1 Exemplar for internal assessment resource Art History for Achievement Standard Exemplar for Internal Achievement Standard Art History Level 1 This exemplar supports assessment against: Achievement Standard Demonstrate understanding of the subject matter of art works An annotated exemplar is an extract of student evidence, with a commentary, to explain key aspects of the standard. It assists teachers to make assessment judgements at the grade boundaries. New Zealand Qualifications Authority To support internal assessment NZQA 2014

2 Exemplar for internal assessment resource Art History for Achievement Standard Grade Boundary: Low Excellence 1. For Excellence, the student needs to demonstrate in-depth understanding of the subject matter of art works. This involves: coherently explaining the subject matter using supporting evidence from the art works. This student has investigated Summer Grass, Robin White s 2001 collaboration with Keiko Iimura. Evidence of in-depth understanding is provided in the coherent explanation of the subject matter which has been supported by evidence from the art work. Coherence is apparent in the clear structure of the response and the fluency of language (1). Several aspects of the Featherston Japanese prisoner of war camp, and the events that took place there, are explained (2) (3). Evidence from the art work has been used to support the explanations (4). For a more secure Excellence, the student could explain more of the subject matter visible in the art works, as well as the events and ideas that the painting is about. The use of more extensive supporting evidence may also have improved this response. NZQA 2014

3 Summer Grass is an oil on wallpaper artwork, crested by Robin White in collaboration with Keiko Iimura, in The painting was inspired by White moving to the Wairarapa area, and in the process of becoming acquainted with the region s abundant history, was fascinated with the Featherston Japanese prisoner of war camp in World War II. Knowing that she wanted to include as much reference to Japanese style and culture, White set out researching and was put onto Keiko Iimura, a woman who was certainly not a trained artist, but a talented calligrapher whose own father was sent to war and whose body was never recovered, or death confirmed. After finding rolls of wall paper in an unopened cupboard of her new home, White set to work, creating an art work that clearly represents hope, freedom and cultural misunderstanding. 1 Robins White s Summer Grass represents the spiritual and misunderstanding of cultural values that were held by different parts of society at the time with most Japanese being Buddhist or Shinto at the time the Japanese were prisoners of war in the Featherston camp and New Zealand society being almost wholly Christian or Catholic. White found inspiration from a book, Beyond Death and Dishonour, by Michiharu Shinya, who was a prisoner of war at the Featherston camp. Shinya happened upon a Christian bible in which her found piece of scripture in Isaiah, speaking about people that trust in the Lord become strong again like Eagles that grow new feathers. We can see this has inspired White, as the scripture is written in Kanji throughout the panels of Summer Grass. This shows the cultural differences represented within the painting, as although the Kanji says something which many New Zealander s would recognise, only Japanese can read the message, whereas Japanese would be unfamiliar with the scenery which is portrayed in the artwork, as opposed to many Wairarapa locals who potentially see the scene often and would recognise it. The cultural misunderstanding also extends to the fact that within the Featherston prisoner of war cam, Japanese soldiers of the Imperial Army were made to work alongside Japanese army conscripts, which as see as a grossly dismountable thing, as was being a prisoner in general the Japanese viewed death above being prisoners; they were not living if they were printers. This mind-set wasn t understood by the New Zealand soldiers, so when the Japanese officials refused to work. things got heated and one New Zealand soldier opened..

4 Exemplar for internal assessment resource Art History for Achievement Standard Grade Boundary: High Merit 2. For Merit, the student needs to demonstrate informed understanding of the subject matter of art works. This involves: describing in detail the subject using supporting evidence from the art works This student has investigated C. F. Goldie s 1903 painting Darby and Joan. Informed understanding of the subject matter of this art work is apparent in the detailed descriptions of several aspects of this subject, including Joan s clothes (1) and expression (2). The student also demonstrates informed understanding of another aspect of the subject matter of the art work: the artist s interest in conveying subjects with mana (3). Evidence of informed understanding is demonstrated by the student s use of evidence from the art work to support the explanations of subject matter (4). To reach Excellence, the student could develop their descriptions into coherent explanations of the subject matter (5), using supporting evidence from art works. NZQA 2014

5 CF Goldie, Darby and Joan, Objects the artist has included Goldie has pained Joan with some things that are Maori and some things that are Pakeha. By doing this he is showing that she is trapped between two different worlds. He has shown her with European clothes, blanket and a pipe which all shows the effect Pakeha settlements had on Maori people. He has also shown her with Maori things. She has a moko which shoe her high Chiefly status. This shows Goldie was interested in recording Maori people who had high stated and mana. There are also Maori carvings in the painting which show her past and heritage. That although she is earing Pakeha clothes she is still Maori and values her Maori ancestors. 3 Setting In this painting Joan is shown sitting at the entrance to a Marae. Goldie chose to paint her here to show how Maori people used to live at the marae but that lifestyle has now been lost. He wants to create an old-time mood. To show nostalgia for the way things used to be. This is because he thought the Maori race was dying out. You can tell this is a marae because of all the carvings, but you can t tell which one it is because you can t see the roof. 5 4

6 Techniques Goldie has done this as an oil painting. He had made it a large painting with a romantic style. This makes it seem dramatic and sad. Composition The painting has also been deliberately staged or set up. He has placed the real woman next to the carved figure to create a contrast and to shoe the relationship between them. Expressions and Gestures Joan has a tried and melancholic expression on her face which communicate her sadness a being the last of a dying race. 2

7 Exemplar for internal assessment resource Art History for Achievement Standard Grade Boundary: Low Merit 3. For Merit, the student needs to demonstrate informed understanding of the subject matter of art works. This involves: describing in detail the subject using supporting evidence from the art works This student has investigated Robin White s 1974 painting Mangaweka. Informed understanding of the subject matter of this art work is demonstrated in this student s detailed descriptions (1) (2). Supporting evidence from the art work is also evident where the student refers to strong horizontal lines and crisp colours (3). For a more secure Merit, the student needs to extend their descriptions to create a stronger response, by incorporating more details such as the site, landscape, the effects of the bypass and life in Mangaweka today. NZQA 2014

8 MANGAWEKA ROBIN WHITE She used screen-printing to create some of her artwork because it was a medium that allowed white to line or show the sharp edges of many sections of her work Her artwork was influence by the realist style in Rita Angus s work. In this artwork, white has flattened all aspects of the painting and stacked them on top of each other. She has also defined all elements with black lines to give it a crisp effect. White s paintings have strong connections with the people, places, family, friends and environments she paints. They are her inspiration for most of her paintings. White used limited amounts of colours and tones in her artwork and the depth was flattened to change the look of the painting. White s painting of Mangaweka was one of many paintings that had poster like qualities. Many copies of this painting were made as screen-prints, as it was a very cheap, effective way to produce a painting bin the 1970 s In the late 1970 s, state highway 1 bypassed Mangaweka but White s painting was completed in Even though the bypass was created in 2000, Mangaweka still looked the same as the snapshot White painted in White s aim was not just to produce realistic copies of New Zealand landscapes but to represent places that are filled with experience and memory. The strong horizontal lines in the painting heightened by the layers of crisp colours, especially the veranda line which casts a shadow under the truck. 2 3

9 In 1971, White s friend Sam Hunt wrote a poem called A Mangaweka road song which captured Mangaweka in the way White remembered it. This also became part of her inspiration for this painting.

10 Exemplar for internal assessment resource Art History for Achievement Standard Grade Boundary: High Achieved 4. For Achieved, the student needs to demonstrate understanding of the subject matter of art works. This involves describing the subject matter. This student has investigated Robyn Kahukiwa s Unidentified Maori Woman (1990). This response demonstrates understanding of the subject matter of this artwork by describing aspects such as the korowai (1) and the relationship between the two figures (2). To reach Merit, the student could provide more detailed descriptions of the artist s subject matter, and use supporting evidence from the art work. For example, informed understanding could be demonstrated by an expanded description of the main figure that includes details about her pose and moko (3). NZQA 2014

11 Robyn Kahukiwa, Unidentified Maori Woman, Objects. In the painting the figure in the background is wearing a korowai, it looks like it is made out of kiwi feathers. This means that she is of a chiefly status. This is also shown by her moko. The woman in the front is wearing modern clothes but you can hardly see them because they are cover by white brushstrokes. 3 Setting The background is blank which means that you only look at the people and are not distracted by the background. Techniques Robyn Kahukiwa has painted this on loose canvas using oil paint. The painting is very big it is 2770x2300 which make the people life size or bigger Colour The colours are mostly grey and sometimes a little purple. The colour in the painting shoes the modern world like photographs and the black and white shoes the past like black and white photos. Gesture and Expression The women have a similar expression to each other. They look alike which shoes they are related. One woman has her hands on her head. Composition 2

12 The ancestor is behind and above while the descendant is below in front and to the side. This shows they are related to each other and that Robyn Kahukiwa is interested in showing their relationship to each other.

13 Exemplar for internal assessment resource Art History for Achievement Standard Grade Boundary: Low Achieved 5. For Achieved, the student needs to demonstrate understanding of the subject matter of art works. This involves describing the subject matter. This student has written about an unidentifed photograph of the ghost canoe at lake Rotomahana. The student has demonstrated understanding of the subject matter, briefly describing the associations for local Māori (1) (2). For a more secure Achieved, the student could write a description that clarifies the subject matter of the art work, distinguishing between the ghost canoe, in the background of the art work, and the local canoe in the foreground (3). NZQA 2014

14 2 This picture is supposed to show the ghost canoe which some people said they saw move across Lake Rotomahana the night before the eruptions. Many of the local Maoris were frightened by it. It was surrounded by mists and no-one knew who was in it. I don t think this can be a photograph of the ghost canoe but it really does show Mt Tarawera in the background and the canoes are just like the ones that local people used. 3 1

15 Exemplar for internal assessment resource Art History for Achievement Standard Grade Boundary: High Not Achieved 6. For Achieved, the student needs to demonstrate understanding of the subject matter of art works. This involves describing the subject matter. This student has written about an unidentified photograph of the White Terraces of Lake Rotomahana. The student has attempted to demonstrate understanding of the subject matter (1). The student has provided some description of the subject matter (2). To reach Achieved, the student could extend these points into longer sentences that provide a more detailed descriptive account of the subject matter in this photograph. NZQA 2014

16 I went to visit Lake Rotomahana in 1886 with my uncles. We went in a horse and cart and stayed in a hotel. In the morning we went to the famous White Terraces and had a swim in the hot pools. The water was really hot. The White Terraces were really bright and too hard to look at. 1 They smelled of sulphur and there was steam coming out. 2