Practice Exam 4. ART Written examination Day, Date 2012 Reading time: 15 minutes Writing time: 1 hour 30 minutes

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1 1 Practice Exam 4 STUDENT NUMBER Figures Letter Words ART Written examination Day, Date 2012 Reading time: 15 minutes Writing time: 1 hour 30 minutes QUESTION AND ANSWER BOOK Structure of book Section Number of questions Number of questions to Number of marks be answered A B C Total: 75 Students are permitted to bring into the examination room: pens, pencils, highlighters, erasers, sharpeners and rulers. Students are NOT permitted to bring into the examination room: blank sheets of paper and/or white out liquid and/or liquid/tape. No calculator is allowed in the exam. Materials supplied Question and answer book of 16 pages with a detachable insert for Section A Questions 3 and 4 and Section B Questions 6 and 7 in the centrefold. Additional space is available at the end of the book if you need extra paper to complete an answer. Instructions Detach the insert from the centre of this book during reading time. Write your student number in the space provided above on this page. All written responses must be in English. At the end of the examination You may keep the colour insert. Students are NOT permitted to bring mobile phones and/or any other unauthorised electronic devices into the examination room.

2 2 SECTION A Instructions for Section A Answer all questions in pen in the spaces provided Question 1 How is shape used as a formal element in the first artwork illustrated opposite? 3 marks Question 2 How is colour used as a formal element in the second artwork illustrated opposite? 3 marks SECTION A - continued

3 Artwork for Section A Question1 61.5 x 83.5 cm.

paint on wood and plywood, Artwork for Section A Question 2 163 x 196 cm

3 3 Artwork for Section A Question x 83.5 cm. Rosalie Gascoigne (Australian), Age of Innocence, 1993, assemblage, acrylic paint on wood and plywood, Artwork for Section A Question x 196 cm Howard Hodgkin (British), Night and Day, , oil on plywood and wood SECTION A continued: TURN OVER

4 4 Question 3 Refer to page 1 of the insert. Use visual analysis to compare the two artworks 5 Marks SECTION A - continued

5 5 Question 4 Refer to page 1 of the insert. Compare the use of symbolism in the two artworks. 5 Marks SECTION A - continued: TURN OVER

6 6 Question 5 Use the Contemporary Analytical Framework to interpret the work illustrated opposite in terms of its Presentation/materials Content/subject matter Your interpretation must include reference to the artwork illustrated and to the commentary that describes it. 8 marks SECTION A Question 5 - continued

7 7 198 x 185 x 490 cm Mona Hatoum, Light Sentence 1992 wire mesh lockers, slow moving motorised light bulb. Commentary Mona Hatoum was born in Palestine but was forced into exile in the United Kingdom in 1975 after the outbreak of the civil war in Beirut, Lebanon. The experience of political turmoil; and conflict is expressed in many of Hatoum s artworks. In Light Sentence the movement of the light bulb causes the shadows of the wire mesh lockers to be in perpetual motion, which creates a very unsettling feeling. When you enter the space you have the impression that the whole room is swaying and you have the disturbing feeling that the ground is shifting under your feet. END OF SECTION A: TURN OVER

8 8 SECTION B Instructions for Section B Answer all questions in pen in the spaces provided Question 6 Refer to pages 2 and 3 of the insert. Use the Cultural Framework to discuss the different ways Thomas Gainsborough and David Keeling have responded to the themes of husbandry and gender roles. Insert for Section A Questions 3 and four and Section B Questions 6 and 7 Please remove from the centre of this book during reading time. SECTION B Question 6 - continued

9 9 SECTION A Artworks for Section A questions 3 and 4 Sidney Nolan (Australian), The Trial, from the Ned Kelly Series, enamel on composition board; 90.7 x 121.2cm 1947 Pompeo Batoni, Sir Samson Gideon and an unidentified Companion, 1767, oil on canvas, x cm SECTION B

10 Artworks for Section B Question 6 Thomas Gainsborough, Mr and Mrs Andrews, 1748-49, oil on canvas 70 x 119 cm Mr and Mrs Andrews celebrates the marriage of Robert Andrews and Frances Mary, nee

10 10 Artworks for Section B Question 6 Thomas Gainsborough, Mr and Mrs Andrews, , oil on canvas 70 x 119 cm Mr and Mrs Andrews celebrates the marriage of Robert Andrews and Frances Mary, nee Carter. The picture is a comment on good husbandry. Husbandry is a term that means management and in this picture it refers to both gender roles and management of the land. SECTION B Question 6 - continued

11 90 x 100 cm David Keeling, Young Couple in a Developing Landscape with Panoramic View, 1988, oil on wood Keeling s painting is a subtle parody of Gainsborough s Mr and Mrs Andrews.

11 11 90 x 100 cm David Keeling, Young Couple in a Developing Landscape with Panoramic View, 1988, oil on wood Keeling s painting is a subtle parody of Gainsborough s Mr and Mrs Andrews. As the artist states: In many cases I search for the emblematic image and quite often use it to question a particular situation or condition. Keeling has appropriated Gainsborough s figures and placed them in a landscape which depicts a developing suburb. In so doing he questions contemporary husbandry. SECTION B continued TURN OVER

12 SECTION B Artwork for Section B Question 7 200 x 360 cm Jannis Kounellis (Greek), Untitled, 2006, iron plates, shoes, bed frame, steel hooks, I-beam steel, coat, wire.

12 12 SECTION B Artwork for Section B Question x 360 cm Jannis Kounellis (Greek), Untitled, 2006, iron plates, shoes, bed frame, steel hooks, I-beam steel, coat, wire. Untitled, 2006, by Greek artist Janis Kounellis, was first shown in a one man exhibition at Cheim & Read Gallery in New York in The Gallery s website stated this about Untitled 2006: An I-beam, suggesting a simplified human form, is wrapped, mummy-like, in discarded overcoats, trussed with wire and positioned on a wire-grid bed. Shoes, worn and scuffed with age and muted in colour, march together across the cold iron plate. END OF INSERT

13 13 16 marks SECTION B continued: TURN OVER

14 14 Question 7 Refer to page 4 of the insert. In your response refer to the artwork illustrated as well as to both the commentaries. Imagine it is 2006; you are the Director of the National Gallery of Victoria and you have been offered Kounellis Untitled 2006 by Cheim and Read Gallery. You have to decide whether or not to buy Kounellis sculpture for the Gallery. Do you think Untitled 2006 should be acquired by the National Gallery of Victoria? Give reasons for your point of view. Commentary 1 Spending money on this will send out the wrong message to artists. It will encourage them to think they can become famous by creating cheap publicity stunts rather than by making serious art. The artwork is not real sculpture anyway. Real sculptors use bronze or marble and their sculptures display artistic talent and express recognisable ideas. This sculpture shows no artistic skill; it is made from junk and no one could see any meaning in it. Kounellis didn t have any ideas and he didn t use technical skill to create anything. All he did was wire junk together and hang it on a wall. Besides, it is an ugly work aesthetically. The NGV should not waste public money on this pile of junk. Commentary 2 This work is a major sculpture by a recognised sculptor. It explores ideas of loss and memory, powerfully evoking the traces of ordinary people and what they leave behind. The worn shoes evoke the presence of the many wearers. One of the most recognizable symbols of the industrial technology of the 20th century, the steel I-beam, reclines on the cot, wrapped up warm, or mummy-like, in someone s old wool jackets. The work seems almost mournful, as if these are the objects left behind by a lost civilisation -so many wrinkled leather shoes, a bed which was once slept on and an iron girder wrapped in a black shroud. This is a powerful and prophetic work and should be acquired by the NGV. SECTION B Question 7 continued

15 15 9 marks END OF SECTION B: TURN OVER

16 16 SECTION C Instructions for Section C Answer all questions in pen in the spaces provided Question 8 Use at least two analytical frameworks to interpret the meanings and messages of one artwork by an artist you have studied this year. Artist s name Specify title of artwork and approximate date Analytical framework 1: Analytical framework 2:

17 = 10 marks SECTION C continued TURN OVER

18 Question 9 Discuss your personal point of view about an art issue that you have studied in Unit 4 with reference to at least one artwork and at least two commentaries on art 18 Identify the art issue that you have studied Identify the artwork(s) that you have studied in relation to the artwork, including the artist, title and date.

19 19 END OF QUESTION AND ANSWER BOOK 15 marks TURN OVER

20 20 Extra space for responses Clearly number all responses in this space

Letter Figures Words ART. Written examination. Friday 12 November 2010

Letter Figures Words ART. Written examination. Friday 12 November 2010 Victorian Certificate of Education 2010 SUPERVISOR TO ATTACH PROCESSING LABEL HERE STUDENT NUMBER Letter Figures Words ART Written examination Friday 12 November 2010 Reading time: 9.00 am to 9.15 am (15