You are on page 1of 5

HSC Term 1 Assessment Task 2

Case Study 2: Appropriation Art


Art historical and critical studies
Postmodern frame / Subjective frame/ Cultural frame/ Structural frame
Conceptual Framework: World – Artist – Artwork – Audience

Assessment and Task Outcomes:

H7 Practical: applies their understanding of practice in art criticism and art history
H8 Conceptual framework: applies their understanding of the relationships among the artist, artwork, world and audience
H9 Frames: demonstrates an understanding of how the frames provide for different orientations to critical and historical investigations of art
H10 Representation: constructs a body of significant art histories, critical narratives and other documentary accounts of representation in the
visual art

Task: Research one contemporary artist* using appropriation in their artworks. Produce a visual resource
that shows evidence of using the frames and the conceptual framework to explore the artists’ artmaking
process. Provide one in-depth analysis of the artists’ artwork that also makes reference to their work in
general. You will create a visual representation of your research as a future resource and a personal
reflection of your study. You will need to refer to the attached task documentation for a full description of
the task.
*In consultation with teacher (first in first served as students can not choose the same artist)

Weight: Art Historical and Critical Studies (50%) of internal HSC assessment
DUE DATES
Research and content due: Tuesday 29th March 2011.
Resource submission due date: Monday 5th April 2011.

Task Criteria
(see Appendix 1 for marking rubric of the assessment tasks)
H7 Practical: applies their understanding of practice in art criticism and art history
(You will produce work of publishable quality)
H8 Conceptual framework: applies their understanding of the relationships among the artist, artwork, world and
audience
(You will use the conceptual framework to organise your research.)
H9 Frames: demonstrates an understanding of how the frames provide for different orientations to critical and
historical investigations of art
(You will use the frames to investigate your knowledge of the artist and their work from your research)
H10 Representation: constructs a body of significant art histories, critical narratives and other documentary accounts
of representation in the visual art.
(You will demonstrate how your information can be presented to inform and record your understanding of
the artist and their artworks using audio/visual media.)

Students will learn to: Collect data under the Students will learn about: Their own process
conceptual framework of Artist – Artwork – of research and successful ways of gathering
World – Audience. Synthesise research through information independently. Personal attitudes
use of the frames and provide a personal account toward particular artists and art forms and ways
for their investigation. Create a visual resource of describing them to express personal opinions
that records their research and reflections in an based on research.
innovative way of documentation.

Linton Chapman – Vis Art CSII Assignment 2


Assessment Task Description
The task is broken into 3 parts with each part having its own mark. The majority of the work will
be done in your own time with theory class time being used to engage in your independent
research and task objectives as well as provide time for consultation with your teacher. As
previously demonstrated and assessed in the preliminary course reference unit, you will be
expected to use the same conventions for academic writing for your research here.

Focus Questions: From your research discuss why your artist’s artmaking/
artworks are significant examples of appropriation. Describe how the
particular artist uses appropriation in their artwork. What is it that you find
important and interesting about what the artist does and says about society
by using these artmaking strategies?

1. Research – 40%

It is in this section that your research will be evident and you will demonstrate your depth of
investigation with the inclusion of references to all your information. Using the conceptual
framework of world – artist – artwork – audience organise your research so that it addresses
the relationship appropriation has both conceptually, historically and materially for your artist.
Remember to place your artist and their work in the context of their historical/contemporary
setting as nothing exists in a vacuum and all ideas come from somewhere. Provide examples of
what influences their work and life had that lead them to use these strategies in their art-making.
Demonstrate use of the focus questions in your investigation and research so your critical
understanding of your artist is evident.

Use the following conceptual framework for your research organisation:

World – information about the social, political, religious and/ or


historical world; what part of the world is the artist exploring?
Investigation of the artists’ external AND internal world goes here.

Artist – information about the artist and their artmaking practice.


Quotes by the artist about their work and how they do it, why etc.

Artwork – Describe the common material or conceptual elements of the


artists’ process with at least one work by the artist described in
full (however reference must also be made to their work in general).
List all its material and historical details as well as include visual
representations/ samples or copies of the work. In the case of a work
(like a sculpture) that can have several points of view, provide as
many of them that will give a more complete sense of the work and in
the case of a painting and other 2D works, give close-ups and image
details.

Linton Chapman – Vis Art CSII Assignment 2


Audience – here you will look at what has been written about the
artist from critics, public, peers, art historians. Look at exhibition
catalogues, press releases, monographs, journal articles, reviews etc.
2. Content – 30%

You will integrate your research into an informed opinion about the artists practice and their
conceptual approach through a description of how your research of the artist and their art-making
can be understood through each of the frames. By looking at the different frames describe what
your research has informed you about one work in particular and the artists’ art-making in
general. Demonstrate your understanding of your analysis by making links to the kinds of
agencies you see as evident in the artworks. For example exploring your research of the artists’
work in the conceptual framework of the world, you might then reflect on the cultural frame and
draw the connection to the ‘why’ of symbols used because of the artists upbringing.

Please note where you provide quotes or make statements based on prior or assumed knowledge
you must give reference to where the idea is from. However the main purpose of this part of the
task is to express in your own words your thinking about the artists work using the frames as a
lens to view the artists’ use of appropriation.

Cultural frame: What aspects of their practice and the artists’ choices do
you believe are affected by the environment and background of the artist?
What affect do you think the artist has had on art or culture in general? (from
the syllabus) ‘In art criticism and art history, students can consider how notions of cultural identity can inform the
production of artworks’

Structural frame: Interpret the visual symbolism of the artwork and how it
reflects both the values of the world that it exist in and what relationship that
has to the world the artist is trying to portray. How does the artist
communicate with their method of signs and symbols their ideas? (from the
syllabus) ‘In art criticism and art history, students can consider how artworks can be read and their meaning
understood in terms of how specific symbols refer to the world. Students may study how visual information is
transmitted in artworks, how the formal and organisational relationships in a work mean certain things and how the
visual arts can operate as a visual language at a certain time and over time.’

Subjective frame: Provide your interpretation of why the artist makes their
artworks and what you think they mean. Do you agree with the artists’
intention and method of communicating through their work? Is it evident or
do they hide their personal meaning and message and let the audience
decide on its meaning? (from the syllabus) ‘In art criticism and art history students can develop personal
responses to artists and artworks that are highly significant to them. They can explore artworks as expressive and
unique objects, develop notions of individual styles, and interpret the work and the influence of those artists who are
of great personal interest to them.’

Postmodern frame: To what extent does your artist work within the
postmodern dialogue? What kinds of critique of the artists work can you
provide that help your own understanding or questioning of the artists
intention? How has the artist used their work to challenge conventions or
societal attitudes? (from the syllabus) ‘...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.’

Linton Chapman – Vis Art CSII Assignment 2


3. Resource – 30%

You will create a visual representation of your research in consultation with your teacher.
Acceptable formats could include; mixed media or interactive mind map, interview, magazine
article, online/ digital media (does not need to be live/online), power point, video etc. All formats
may be fictional (i.e. not a real interview with artist) as long as the information is factual and
supported by your research. The objective of this part of the case study is for you to demonstrate
a creative visual documentation of your research so that you can remember it and aid your
understanding in a visual spatial way. This is tailored to help the kind of learning most artists use
yet get little opportunity to demonstrate in academic learning. However to ensure accountability,
documentation of your process in making your visual ‘essay’ is essential and will also be
assessed along with the final product. Basically you can’t just pop up with a resource without
evidence of making it.

Good Luck and get started early!

Sample Artists: • Hans-Peter • Aleksandra Mir


Feldman • Joan Miró
• Vikky Alexander • Joy Garnett • Yasumasa
• System D-128 • Leon Golub Morimura
• Ghada Amer • Douglas Gordon • Malcolm Morley
• J. Tobias Anderson • Hans Haacke • Vik Muniz
• Cory Arcangel • Marcus Harvey • Claes Oldenburg
• Martin Arnold • Damien Hirst • Meret Oppenheim
• Banksy • Pierre Huyghe • Tom Phillips
• Luke Sullivan • Jasper Johns • Pablo Picasso
• Gordon Bennett • Tim Johnson • Bern Porter
• Mike Bidlo • Deborah Kass • Rick Prelinger
• Pierre Bismuth • Ai Kijima • Richard Prince
• Georges Braque • Karen Kilimnik • Robert
• Glenn Brown • Jeff Koons Rauschenberg
• Reginald Case • Joseph Kosuth • Graham Rawle
• Jake and Dinos • Barbara Kruger • Gerhard Richter
Chapman • Michael Landy • Thomas Ruff
• Greg Colson • Matthieu Laurette • Rob Scholte
• Felipe Jesus • Louise Lawler • David Salle
Consalvos • Lennie Lee • Peter Saville
• Joseph Cornell • Nikki S. Lee • Kurt Schwitters
• Brian Dettmer • Sherrie Levine • Cindy Sherman
• Mark Divo • Roy Lichtenstein • Cornelia Sollfrank
• Marcel Duchamp • Damian Loeb • Nancy Spero
• Benjamin Edwards • Robert Longo • John Stezaker
• Max Ernst • Norm Magnusson • Elaine Sturtevant
• Jodi • Miltos Manetas • Philip Taaffe
• Shepard Fairey • Christian Marclay • Kelley Walker
• John McHale • Andy Warhol

Linton Chapman – Vis Art CSII Assignment 2


• Vivienne
Westwood

Reference Criteria

Since research is important in this case study, you will need references to support it and therefore
something to reference from is essential. You will need to use at least 5 references of which 2 are from
books (these may include exhibition catalogues) and one journal article (journals are art specific
publications like Art and Australia, Australian Collector, October etc). The rest might be from other
books and journals or from reputable web sources, magazines, newspapers, T.V. or online interview, etc.
If you have found a reference you would like to use but cannot get access or a copy then you will need to
discuss it with your teacher to see if they can get it for you or suggest an alternative. Again this is content
we covered in last terms unit so the same methods of sourcing research material apply. We will use the
APA style of referencing in this assessment that you are already familiar with.

Books

Butler, Rex (ed.) (1996) What is appropriation? : an anthology of critical writings on Australian art in the
’80s and ’90s, Sydney, NSW : Power Publications and IMA.

Naumann, F, (1999) Marcel Duchamp: the art of making art in the age of mechanical reproduction, New
York: Harry N. Abrams, Publishers.

Journals/ Articles/ eJournals

Use your school library card to access the various journal databases, many have electronic versions that
can be downloaded. Remember Google scholar is your friend 

Benjamin, W. (1936). The work of art in the age of mechanical reproduction. First published in.

Board of Studies New South Wales, (2009) Visual Arts Stage 6: support documents, Board of Studies
NSW, Sydney. Last accessed September 11th 2010,
http://www.boardofstudies.nsw.edu.au/syllabus_hsc/pdf_doc/visualarts_support.pdf

____________________________ (2000) Visual Arts Stage 6 Syllabus, Board of Studies NSW, Sydney.
Last accessed September 11th 2010, http://www.boardofstudies.nsw.edu.au/syllabus_hsc/pdf_doc/visual-
arts-st6-syl-from2010.pdf

Websites

Make sure your web resources are reputable and have their own supporting references.

University of Southern Queensland (2010) APA Referencing Guide, Retrieved September 19th 2010,
http://www.usq.edu.au/library/help/referencing/apa.htm#Web_documents_and_sites

Word Count (approx 1750 minus direct quotes from syllabus and artist names)

Linton Chapman – Vis Art CSII Assignment 2