Introduction The VCE Art Advice for teachers handbook provides curriculum and assessment advice for Units 1 to 4. It contains advice for developing a course with examples of teaching and learning activities and resources for each unit. Assessment information is provided for assessment in Units 3 and 4 and advice for teachers on how to construct assessment tasks with suggested performance descriptors and rubrics. The course developed and delivered to students must be in accordance with the . Administration Advice on matters related to the administration of Victorian Certificate of Education (VCE) assessment is published annually in the . Updates to matters related to the administration of VCE assessment are published in the . Teachers must to these publications for current advice. VCE Art Study Design examination specifications, past examination papers and corresponding examination reports can be accessed at: Graded Distributions for Graded Assessment can be accessed at Developing a course A course outlines the nature and sequence of teaching and learning necessary for students to demonstrate achievement of the set of outcomes for a unit. The areas of study describe the learning context and the knowledge and skills required for the demonstration of each outcome. Teachers must develop courses that include appropriate learning activities to enable students to develop the knowledge and skills identified in the outcomes in each unit. Students should be encouraged to view artworks from a broad range of periods and cultures and experiment with a wide range of materials, techniques and processes. The study encourages teachers to take their students out of the classroom environment and inform their art making through visits to galleries and studios, and through experience working with practising artists, curators, critics and art historians. Visual diary A visual diary is used to record and document artistic practice. It can be created using different forms of presentation. Students should be encouraged to use formats that suit their working method and the body of work that they are producing. Any of the following individually or in combination could be used: document boxes, sketchbook, bound or clipped together sheets, or portfolios. trial
Performance Descriptors VCE ART SCHOOL-ASSESSED COURSEWORK Performance Descriptors Unit 3 Outcome 1 Use the Analytical Frameworks to analyse and interpret artworks produced before 1990 and since 1990, and compare the meanings and messages of these artwork. DESCRIPTOR: typical performance in each Very low Low Medium High Very high Limited description and interpretation of artworks produced before 1990 and 1990. Some analysis and some interpretation of artworks produced before 1990 and since 1990. Largely accurate analysis and interpretation of artworks produced before 1990 and since 1990. Detailed analysis and meaningful interpretation of artworks produced before 1990 and since 1990. Comprehensive and insightful analysis and perceptive interpretation of artworks produced before 1990 and 1990. Very limited attempt at comparison between artists, artworks and contexts in the different time periods. Limited comparison between artists, artworks and contexts in the different time periods. Satisfactory comparison between artists, artworks and contexts in the different time periods. Thoughtful and comparison between artists, artworks and contexts in the different time periods. Highly adept and detailed comparison between artists, artworks and contexts in the different time periods. Very limited use of research with some attempt to reference information to artists and artworks. Limited use of research with some referencing of information to artists and artworks. Appropriate research used with information referencing artists and artworks. Effective and wide range of research used with information clearly referenced to artists and artworks. Extensive and accurate use of research with information clearly and effectively referenced to artists and artworks. Very limited use of art terminology in the description and comparison of artworks using the Analytical Frameworks. Some use of art terminology in the analysis, interpretation and comparison of artworks using the Analytical Frameworks. Satisfactory use of appropriate art terminology in the analysis, interpretation and comparison of artworks using the Analytical Frameworks. Clear and effective use of appropriate art terminology in the analysis, interpretation, comparison and contrast of artworks using the Analytical Frameworks. Highly effective and sophisticated use of appropriate art terminology in the analysis, interpretation and comparison of artworks using the Analytical Frameworks. KEY to marking based on the Outcome contributing 30 marks Low 0–6 Very low 7–12 Medium 13–18 High 19–24 Very high 25–30
‘The Kiss’ [1882–1889]. Ron Mucek, ‘Spooning’ [2005]. Gustav Klimt, ‘The Kiss’ [1907–1909]. Sam Jinks, ‘Embrace’ [2010]. Motherhood Joy Hester, ‘Mother & Child’ [1955]. Louise Bourgeois, ‘Maman’ [1999]. Michelanglo, ‘Pieta’ [1498–1499]. Ron ‘Pregnant Woman’ [2002]. War George Giottes, ‘The Yellow Room’ [1999]. Ben Quilty, ‘Captain S after Afghanistan’ [2012]. Do Ho Suh, ‘Some/One’ [2002]. Common object Andy Warhol, ‘Brillo Boxes’ [1964]. Ai Wei Wei, ‘Ton of Tea’ [2007]. Marcel Duchamp, ‘Fountain’ [1917, 1954]. Ryan Gander, ‘Fieldwork’ [2015]. Lists of artists with common traits Utagawa Hiroshige, ‘The Traveller Crossing a River’ [1831–34]. Guan Wei, ‘Dow Island’ [2002]. Kathe Kothwitz, ‘Self Portrait’ [1903]. Swoon (Calendonia Curry), ‘Portrait of Sylvia Elena’ [2008]. Shonibane, ‘The Sleep of Reason’ [2005]. Goya, ‘The Sleep of Reason Produces Monsters’ [1797–1799]. Mona Hartumes, ‘Nature Morte Aux Greenades’ [2007–2008]. Temin, ‘My Monument: Black Garden, [2010–2011]. Julie Rrap, ‘360° Self Portrait’ [2009]; ‘Overstepping’ [2001]; ‘Remaking the World: Artist’s dreamings’ [2015]. Edvard Munch, ‘The Scream’ [1893]. Bill ‘Emergence’ [2002].
Appendix 3: Online resources At the time of publication the URLs (website addresses) cited were checked for accuracy and appropriateness of content. However, due to the transient nature of material placed on the web, their continuing accuracy cannot be verified. Personal philosophy Each of these artists produces works reflecting their preoccupations. Salvador Dali – metaphysical Andy Warhol – fame Banksy – social issues Louise Bourgeois – motherhood. Salvador Dali, ‘Persistence of Memory.’ [1931]: Andy Warhol ‘Liz’ [196]: Banksy, ‘Better Out than In’ Series. [2013]: Louise Bourgeois, ‘Maman’ [1999]: dialogue Each work captures the artist’s thoughts or mood of the time. Rembrandt van Rijn, ‘Self Portrait.’ [1659]: Francis Bacon, ‘Study for a portrait.’ [1949]: Sherman, ‘Untitled, #112.’ [1982]: General information on portraits General infographic about self-portraits: Cars Each artwork captures the artist’s experiences or feelings about cars. Ben Quilty, ‘Torana #5.’ [2003] ‘Car Paintings’: Robin Rhode ‘Expression of Joy’: Patricia Piccinini, Sandman Series: Personal experience These works capture the artist responding to death and grief. Bill Viola, ‘Ocean Without a Shore.’ [2007]: Claude Monet, ‘Camille on her Deathbed.’ [1879]:
Views of Dance Nicolas Lancret, ‘La Camargo Dancing’ [c. 1730] Artwork: John Glover, ‘Corroboree’ [c.1840] Artwork: Christopher Fulham, ‘Discoteque’ [2014] Artwork: ‘Yumi Danis’ (You Me Dance) [2014], collaborative work curated by Mars Melto Artwork: Unit 3, Outcome 1