THEORETICAL PRACTICE = 20%
The IBDP Visual Arts course encourages students to critically investigate the work of other artists and allow the work to inform their own art-making practice. This task gives students the opportunity to elaborate, extrapolate and present a comparative study of three works by at least two artists from different cultural contexts that they have investigated as a part of their art-making practice. HL students are further required to articulate the connections between the work examined in the comparative study and their own art-making, giving them the chance to think about how theory is related to practice. To complete this task you will pull from your research and studio pieces that make up your independent investigations, which will be explored further and presented as a series of screen-based slides.
Core syllabus areas related to the task
The following core syllabus areas are addressed in the comparative study assessment task. The term “artworks” is used here generically and could refer to a range of visual and cultural artifacts.
Visual arts in context
Visual arts methods
Communicating visual arts
REQUIREMENTS:
Higher Level
- 10-15 "Screens" comparing at least 3 artworks of 2 artists from different cultures
- 3-5 "Screens" reflecting on personal artworks and practices that have been influenced by any of the artists examined
Standard Level
- 10-15 "Screens" comparing at least 3 artworks of 2 artists from different cultures
CRITERIA:
A. Analysis of formal qualities
B. Interpretation of function and purpose
C. Evaluation of cultural significance
D. Making comparisons and connections
E. Presentation and subject specific language
F. (HL ONLY) Making connections to own art-making practice
EXTERNAL ASSESSMENT MARKS
MARKING CRITERIA & POSSIBLE STRUCTURE
EXAMPLES:
Comparative Study Student A_SL
Comparative Study Student B_HL
Comparative Study Student C_HL
ONE MORE EXAMPLE
Resources
The Visual arts guide (March 2014) strongly recommends that at least one of the works explored in the comparative study is a work that the students have experienced first-hand (eg through a visit to a museum, gallery or artist studio). The artwork itself should be considered as a primary source.
Scholarly books on visual arts, artists, styles, movements, periods and themes are extremely useful. They can often provide the quality reproductions of works that can be used as primary source material as well as reliable and critical secondary source opinions about the intent and purpose of works, the cultural context of the work and the significance. Exhibition catalogues in particular can provide models for constructing a comparative study if viewed critically, considering why the curator has chosen to put certain works together? What associations and connections are being suggested?
Arts journals and periodicals also provide a rich resource, and often reflect more up-to-date contemporary trends in art-making practices than is available through other published works.
The internet is increasingly useful in investigation if used judiciously. Students need to find the the authors of sites and determine if the information provided is reliable. Many art galleries and museums have great websites with educational pages or forums. These are great starting points, as are the growing number of established contemporary artists who manage their own websites.
Additional advice
Core syllabus areas related to the task
The following core syllabus areas are addressed in the comparative study assessment task. The term “artworks” is used here generically and could refer to a range of visual and cultural artifacts.
Visual arts in context
- What are the social, historical, political and intellectual contexts of each of the works explored?
- How do the artworks reflect aspects of the world in which they were created?
- What experiences of the world does the audience bring to their interpretation and appreciation of the artworks?
- Which critical methodologies are most appropriate to analyse, interpret and evaluate the artworks?
- How has exploring these contexts influenced the students’ own art-making? (HL only)
Visual arts methods
- What media, processes and techniques have been used in each of the artworks?
- What aspects of the processes and techniques are conventional or innovative?
- How have formal qualities, such as the elements and principles of design, been used and to what effect (or affect)?
- What motifs, signs and symbols have been used in the works and what do these communicate to the audience?
- How are the artworks evaluated?
- How have the artists’ methodologies influenced the student’s own art-making? (HL only)
Communicating visual arts
- What methods of organization and presentation most effectively communicate knowledge and understanding?
- How can visual organizers and graphics be used to convey information more effectively than words alone?
- Who is the audience for the comparative study? What prior understandings can be assumed?
REQUIREMENTS:
Higher Level
- 10-15 "Screens" comparing at least 3 artworks of 2 artists from different cultures
- 3-5 "Screens" reflecting on personal artworks and practices that have been influenced by any of the artists examined
Standard Level
- 10-15 "Screens" comparing at least 3 artworks of 2 artists from different cultures
CRITERIA:
A. Analysis of formal qualities
B. Interpretation of function and purpose
C. Evaluation of cultural significance
D. Making comparisons and connections
E. Presentation and subject specific language
F. (HL ONLY) Making connections to own art-making practice
EXTERNAL ASSESSMENT MARKS
MARKING CRITERIA & POSSIBLE STRUCTURE
EXAMPLES:
Comparative Study Student A_SL
Comparative Study Student B_HL
Comparative Study Student C_HL
ONE MORE EXAMPLE
Resources
The Visual arts guide (March 2014) strongly recommends that at least one of the works explored in the comparative study is a work that the students have experienced first-hand (eg through a visit to a museum, gallery or artist studio). The artwork itself should be considered as a primary source.
Scholarly books on visual arts, artists, styles, movements, periods and themes are extremely useful. They can often provide the quality reproductions of works that can be used as primary source material as well as reliable and critical secondary source opinions about the intent and purpose of works, the cultural context of the work and the significance. Exhibition catalogues in particular can provide models for constructing a comparative study if viewed critically, considering why the curator has chosen to put certain works together? What associations and connections are being suggested?
Arts journals and periodicals also provide a rich resource, and often reflect more up-to-date contemporary trends in art-making practices than is available through other published works.
The internet is increasingly useful in investigation if used judiciously. Students need to find the the authors of sites and determine if the information provided is reliable. Many art galleries and museums have great websites with educational pages or forums. These are great starting points, as are the growing number of established contemporary artists who manage their own websites.
Additional advice
- Most students will complete the comparative study using a slide presentation software such as Microsoft’s PowerPoint®, Apple’s Keynote® or Prezi Pro™, and then convert the document to a portable document file (PDF) for electronic submission. Avoid using animations within slides and animated transitions between slides that may be missed or lost when the file is converted.
- When importing images for your presentation, resize them first to a maximum height or width of 1,500 pixels, optimized for web and devices. This will significantly reduce the overall size of your file, without compromising the image quality when viewed on a screen.
- Use a consistent design scheme for your presentation. Use one or two fonts throughout the presentation. Sans serif fonts tend to be easier to read on screen. Avoid narrow or cursive fonts. Make slide backgrounds subtle and consistent and use high contrast between background and text colour.
- Wherever possible, communicate with visuals and graphics in preference to text.
- Check your grammar and spelling, paying particular attention to the spelling of artists’ names and subject-specific terminology.
- Your teacher is able to provide suggestions to improve your comparative study on your first draft only. Make sure you submit it on time.
Basic Guide to Making Comparisons
The Artworks and their Context
Identify each art work selected and discuss:
1. Cultural contexts of work
2. The Formal Elements , “the what”
3. Meaning of work, possible interpretations, “the why”
4. Material and conceptual significance “the how”
Making Connections
Compare and contrast the works selected :
1. Compare the cultural contexts of the work, how are they shaped by their culture and time?
2. Compare the formal qualities, how are they similar, how do they differ?
3. Compare the content, motifs, signs, symbols…how is meaning communicated?
4. Compare the material and conceptual significance, how is this related to cultural context?
Task Explained:
A place to begin:
The following approach will get you started. It is by no means the only way to meet the expectations of the component.
Draw Venn diagrams to explore each of the below comparative qualities, write a maximum 2000 words and minimum 1200.
LINKS:
A guide to writing ART CRITICISM for IB Students
EFFECTIVE REFERENCING
Exhibition Visit Guidelines
Comparing Artworks in the Visual Arts Journal
A Resource for Teaching Students to Compare Artworks
Questions on View Response
Identify each art work selected and discuss:
1. Cultural contexts of work
2. The Formal Elements , “the what”
3. Meaning of work, possible interpretations, “the why”
4. Material and conceptual significance “the how”
Making Connections
Compare and contrast the works selected :
1. Compare the cultural contexts of the work, how are they shaped by their culture and time?
2. Compare the formal qualities, how are they similar, how do they differ?
3. Compare the content, motifs, signs, symbols…how is meaning communicated?
4. Compare the material and conceptual significance, how is this related to cultural context?
Task Explained:
- Students should aim for a balance of visual and written content, and use an appropriate means of acknowledging sources.
- Students must ensure that their work makes effective use of subject-specific language where appropriate.
- Students should focus their analysis and interpretation of works through consideration of the role of the artist, the artwork, the audience and the cultural context.
- Submitted materials are assessed on screen and students must ensure that their work is clear and legible when presented in a digital, on screen format.
A place to begin:
The following approach will get you started. It is by no means the only way to meet the expectations of the component.
Draw Venn diagrams to explore each of the below comparative qualities, write a maximum 2000 words and minimum 1200.
- Formal analysis (Max 500 min 300 words)
- Purpose and function (Max 500 min 300 words)
- Cultural Context (Max 500 min 300 words)
- Conceptual and Material Significance (Max 500 min 300 words)
LINKS:
A guide to writing ART CRITICISM for IB Students
EFFECTIVE REFERENCING
Exhibition Visit Guidelines
Comparing Artworks in the Visual Arts Journal
A Resource for Teaching Students to Compare Artworks
Questions on View Response
EXAMPLES: |
Artist: Sir Henry Raeburn Title: The Reverend Robert Walker Skating on Duddingston Loch (c.1795) Medium: Oil Painting Reproduction on Canvas Location: National Gallery of Scotland, Edinburgh, Scotland Artist: Yinka Shonibare, England b.1962 Title: Reverend on ice 2005 Medium: Semi-opaque synthetic polymer resin, cotton (Dutch wax), wool, leather, wood, steel Size: 160 x 402.3 x 601.5cm Collection: Purchased with the assistance of NGV Contemporary, 2006 Placed at: National Gallery of Victoria |