2011 School-assessed Task Report. Art: Units 3 and 4

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1 2011 School-assessed Task Report Art: Units 3 and 4 BACKGROUND INFORMATION The School-assessed Task has two components. They relate to: Unit 3 Outcome 2 and Unit 4 Outcome 2. UNIT 3 Investigation and interpretation through artmaking Outcome 2 Explore personal ideas and concepts through a conceptual and practical investigation including at least one finished artwork, using selected Analytical Frameworks to reflect upon and annotate their work. Nature of task A body of work that presents broad and creative explorations within the selected artform/s and/or media. The work includes both written and visual material that clearly demonstrates personal thinking and working practices. The work focuses on creative exploration, investigation and experimentation and includes at least one finished artwork. Students use appropriate aspects of the Analytical Frameworks to reflect upon and annotate their work. Scope of task A range of visual responses should be developed to demonstrate the student s ideas, concepts and observations. Sound and video recording of performance art or site specific artwork may be required depending on the medium selected by the student. Written responses should demonstrate the student s development of thinking and working with personal ideas and concepts. The documentation should demonstrate how the student applies materials and techniques to achieve an effective visual language. The student s use of visual language should demonstrate an awareness and understanding of the application of the formal elements and principles of art, artmaking skills and aesthetic awareness. At least one finished artwork must be produced in addition to the developmental work. A finished artwork is one that is judged by the student to best demonstrate their acquisition of the key knowledge and key skills for the outcome. This includes their knowledge of a visual language that reflects imagination and demonstrates the communication of the student s ideas, concepts and skill in their application of techniques and materials. Evidence of initial ideas, exploration, investigation and experimentation of materials and techniques in the body of work accompanied by reflective annotations should be linked to the finished artwork. The finished artwork should be completed within the specified timeframe and clearly labelled Finished artwork Unit 3. Students should refer to the Analytical Frameworks when reflecting on and annotating their artmaking. They should use appropriate aspects and language of the Formal Analytical Framework and at least one other Analytical Framework (Personal, Cultural and/or Contemporary). 1

2 Students should: develop their own art responses that are inspired by personal ideas, concepts and observations apply imagination and creativity as they explore and develop their visual language through the investigation and experimentation of materials, techniques, processes and artform/s engage in ongoing personal exploration, reflection, analysis and evaluation as they progressively develop and refine their ideas document, analyse and reflect on thinking and working practices using the language and context of the Formal Analytical Framework and at least one other selected Analytical Frameworks as appropriate to support their reflection on either personal, cultural and/or contemporary aspects of their artworks. Selected Analytical Frameworks must be clearly identified with the content of the annotation. The body of work may have a number of starting points and multiple directions. Starting points might involve: experimental exploration of media and materials investigation into the qualities of artforms exploration of themes/concepts through a variety of approaches. In addition to the finished artwork/s, the exploration and experimentation is part of the student s body of work. The refinement of ideas leading to at least one finished artwork might occur through: trialling and refining techniques and processes progressive resolution of ideas and skills progressive annotation and evaluation of explorations and investigations realisation of defined objectives, experiments, explorations and concepts appropriate technical skill to complete at least one finished artwork by the end of Unit 3. The effective communication of thinking and working practices in the refinement of ideas and concepts must be documented with visual and written material. This may include: grouping, numbering, dating and/or commenting on specific aspects or sections of work from initial concept to the resolution of ideas related photographs, models and/or experimental proofs explaining the sequential development of work/s in progress progressive annotation, explanation and evaluation of ideas, concepts and visual directions work organised chronologically, thematically and/or stylistically to logically reflect the student s conceptual approach to their practical work. Students should support the development and refinement of their artwork/s using appropriate written and visual material throughout Units 3 and 4. Teachers need to be aware that: They must sight and monitor the development and documentation of the student s thinking and working practices throughout the unit to authenticate the work as the student s own. Students must acknowledge the source of materials and information used to support the development of ideas including materials identified for inspiration and further development. This includes documentation of any appropriated imagery with information detailing how the work has evolved from the source imagery. 2

3 Framing of finished artworks or any aspect of the body of work is not required. However, students should use appropriate labelling to clearly identify their finished artwork and label as Finished artwork Unit 3. Identification is also required in their documentation and evaluation. Students should be encouraged to complete their artwork in school. Where students use external service providers, their documentation should demonstrate that they have researched and identified the appropriate and correct technical methods required and also created their own specifications for the service provider. This will show their complete creative control over the making of their artwork. Without this evidence the teacher may not be able to authenticate the student s artwork, or apply the SAT assessment criteria fairly. Finished artworks submitted at the completion of Unit 3 must have secure storage for assessment at the completion of Unit 4. Students must acknowledge and employ appropriate health and safety practices relevant to their practical work with respect to themselves and the environment. UNIT 4 Realisation and resolution Outcome 2 Progressively communicate ideas, directions and/or personal concepts in a body of work that includes at least one finished artwork, having using selected Analytical Frameworks to underpin reflections on their art making. Nature of task A body of work that presents broad and creative explorations within the selected artform/s and/or media. The work includes both written and visual material that clearly demonstrates personal thinking and working practices. The work focuses on creative exploration, investigation and experimentation and includes at least one finished artwork. Students use appropriate aspects of the Analytical Frameworks to reflect upon and annotate their work. A refined body of work that builds on the work developed in Unit 3; includes at least one other finished artwork and employs a visual language reflecting imagination and the progressive development and refinement of skills. The work includes both written and visual material that communicates ideas and directions within selected artforms and the effective manipulation of the formal elements and principles of art. Students use appropriate aspects of the Analytical Frameworks to reflect upon and annotate their work. They should use appropriate aspects and language of the Formal Analytical Framework and at least one other Analytical Framework (Personal, Cultural and/or Contemporary). Scope of the task A range of visual responses should be developed to demonstrate the student s ideas, concepts and observations. Sound and video recording of performance art or site specific artwork may be required depending on the medium selected by the student. The use of visual language should demonstrate the ability to manipulate the formal elements and principles of art, and technical artmaking skills. The refinement of a visual language includes an aesthetic awareness used in conjunction with skills and techniques to communicate ideas and personal concepts. All the student s exploration, refinement and resolution contributes to and constitutes their body of work and at least one finished artwork must be produced. A finished artwork is one that is judged by the student to best demonstrate their acquisition of the key knowledge and key skills for the outcome. This includes their knowledge of a visual language that reflects imagination and demonstrates the communication of the student s ideas, concepts and skill in their application of techniques and 3

4 materials. It should be evident that the finished artwork in this unit is a progression from the artwork presented at the completion of Unit 3. Written responses in Unit 4 should demonstrate progression and refinement of work produced in Unit 3. The documentation should demonstrate how the student applies materials and techniques to achieve an effective visual language. The manipulation of formal and technical qualities should be supported by the application of techniques and materials. Evidence of initial ideas, exploration, investigation and experimentation of materials and techniques in the body of work and in accompanying annotations should be linked to the finished artwork. The investigations and personal explorations of Unit 3 may be continued in Unit 4 or new directions may be undertaken having evolved from the previous investigations in Unit 3. Students continue to select appropriate aspects and language of the Analytical Frameworks to reflect upon and annotate their work in an informed manner. Students must select the specific language and appropriate concepts of the Formal Analytical Framework to support their reflective annotation when discussing the formal aspects of their creative artmaking. Students continue to select the appropriate aspects and language of at least one other Analytical Framework to support their developed and reflective annotation on the personal, cultural and/or contemporary aspects of their artmaking. The Analytical Frameworks selected by the student must be identified and clearly labelled throughout annotation. Students clearly indicate the development, progression and refinement of their ideas, directions, skills and application of materials and techniques. It should be clearly evident that realisation and resolution of ideas, directions and application of materials and techniques has extended and evolved beyond work begun in Unit 3. Students should: continue to develop the body of work begun in Unit 3 and complete at least one finished artwork for Unit 4. At the conclusion of Unit 4, the student must have at least two finished artworks continue to reflect on personal concepts as they progressively develop, refine and resolve their artworks investigate, refine and show their developed knowledge of materials, processes and artforms continue to analyse and reflect on thinking and working practices in an informed way using the language and context of the Formal Analytical Framework and at least one other selected Analytical Framework as appropriate to support their reflection on either personal, cultural and/or contemporary aspects of their artworks apply and clearly identify selected Analytical Framework/s when annotating their work to demonstrate reflection on the context and influences on their work and ongoing inquiry and refinement of a visual language continue to document their thinking and working practices to reflect exploration, experimentation and developed skill provide documentation that indicates the initial idea/s or concept/s, the refinement of these directions and the resolution of all finished artwork/s. The realisation and resolution of student s thinking and working practices in the refinement of ideas and concepts must be effectively communicated and documented with visual and written material. This may include: grouping, numbering, dating and/or commenting on specific aspects or sections of work from initial concept to the resolution of ideas related photographs, models and/or experimental proofs explaining the sequential development of work/s in progress through to refinement of finished artwork/s progressive annotation, explanation and evaluation of ideas, concepts and visual directions 4

5 work organised chronologically, thematically and/or stylistically to logically reflect the student s conceptual approach to their practical work. Teachers need to be aware of the following: They must sight and monitor the development and documentation of the student s thinking and working practices throughout the unit to authenticate the work as the student s own. Students must acknowledge the source of materials and information used to support the development of ideas including materials identified for inspiration and further development. This includes documentation of any appropriated imagery with information detailing how the work has evolved from the source imagery. Framing of finished artworks or any aspect of the body of work is not required at the end of Unit 4. However students should use appropriate labelling to clearly identify their finished artwork and label as Finished artwork Unit 4. Identification is also required in their documentation and evaluation. Students should be encouraged to complete their artwork in school. Where students use external service providers, their documentation must demonstrate that they have researched and identified the appropriate and correct technical methods required and also created their own specifications for the service provider. This will show their complete creative control over the making of their artwork. Without this evidence the teacher may not be able to authenticate the student s artwork, or apply the SAT assessment criteria fairly. Finished artwork/s completed in Unit 3 must be released from secure storage to be assessed collectively with finished artwork/s completed in Unit 4. Students must acknowledge and employ appropriate health and safety practices relevant to their practical work with respect to themselves and the environment. GENERAL COMMENTS This report is based on the results of the VCE Art Visitation and Review in The review assessed a broad range of VCE Art folios developed for VCE Art accredited for study in 2010 against the published assessment criteria located at Students undertaking this study utilised a wide variety of artistic styles, materials and processes. These included realistic and representational artworks as well as explorations of various forms of abstraction. Additionally, folios employed drawing, painting, printmaking, ceramics, sculpture, fashion/textiles, darkroom and digital photography, installation and mixed-media/cross-media practices. Digital forms of photography and film continue to be well represented. The folios that attracted higher scores presented work that demonstrated effective use of the digital medium to deepen and strengthen the concepts, visual qualities and technical competency. In other cases, however, folios relied on simplistic technical functions available through various computer-aided design software programs without engaging in a broad, creative or innovative investigation relevant to student intentions. It should be noted that when students are working with digital media, they must provide evidence of their working processes in the form of progressive screen dumps and/or storyboards, which demonstrate their knowledge and understanding. Through authentication processes, teachers must identify the specific level of technical skill that students attain in order to assess the work appropriately according to the specified criteria. Authentication record forms are located at and can also be downloaded from the VASS system. 5

6 As in previous years, most students structured their folios chronologically; however there is no one method of organisation that is recommended or preferred. Students may present their body of work in a manner most appropriate to their intended directions. Teachers should ensure that students clearly present their thinking and working practices throughout the folio. The current study requires the completion of at least two finished artworks (at least one of which is submitted at the end of Unit 3), these are assessed at the completion of Unit 4 with the complete body of work. Folios that did not score highly often contained limited written and practical explorations of personal ideas. Low-scoring folios often relied on borrowed imagery from magazines or the Internet, which did not provide enough evidence of the relevance to the student s ideas. Where students use this type of imagery, the source must be identified and acknowledged (see notes for Visual Communication and Design Study Design). Many lower-scoring folios simply nominated an initial starting point but did not fully investigate a broad range of related possibilities. In some cases, work appeared to be based on teacher-directed or whole-class tasks, which often did not appear to be relevant to the stated intentions of the individual students. Many lower-scoring folios were limited in the progressive development and refinement of ideas, providing only basic evidence of the student s decision-making processes. Many lower-scoring folios evidenced an initial exploration linked to a final artwork without providing adequate information to identify the consolidation of thinking and working practices. Often these folios provided limited evidence of the student s understanding, use and manipulation of visual language, which includes their working knowledge of art elements and principles or the necessary level of control and application of materials/processes. Lower-scoring folios often contained basic, descriptive documentation of working practices and simplistic critical analysis or evaluation of finished artworks. In many of these folios, students made limited or insufficient reference to the Formal Analytical Framework and at least one additional Analytical Framework, often without explicitly identifying the most appropriate for personal reflection. Finally, many lower-scoring folios were poorly organised and not presented effectively. It is important that folios awarded assessment criteria are able to demonstrate this effectively. Students should work through processes and continue to reflect and record developments with the teachers assessments in mind. Higher-scoring folios most often had a range of written and practical responses that led to a broad and creative exploration of personal ideas. This was not only evident in the initial stages of folio development, but occurred throughout the body of work as students evaluated their progress. Students progressively and comprehensively developed and refined their ideas and concepts, which provided strong evidence of their thinking, their visual language and their use of selected media, materials and processes. They demonstrated control and manipulation of visual qualities in the work, including the use of elements and principles of art that were highly appropriate to the communication of their intentions. Student folios that were awarded high scores demonstrated consistent experimentation leading to a high level of control of technical skill throughout the body of work from initial stages through to finished artworks. In the higher-scoring folios, it was noted that the work presented a thorough documentation of the student s thinking and working processes that was critically evaluated and reflected upon using the explicit language of the Analytical Frameworks. These students clearly selected and identified the Formal Analytical Framework and at least one other Analytical Framework consistently throughout the body of work from the initial stages to the resolution of the work, and included a critical evaluation of the final artworks. Several aspects relevant to support the current study are explained as follows: Students may wish to include an initial written explanation of their overall intentions at the outset but this is not required. There is no specific requirement for students to present a design or work brief, nor identify a design process explicitly. These terms are not reflective of the VCE Art Study Design and therefore are not acceptable terminology. The VCE Art Study provides opportunity to develop ideas and explore 6

7 them progressively. Students must clearly label and identify their finished artworks. The piece or pieces submitted in Unit 3 should be identified as such, in order to clarify their place within the body of work and to avoid any potential authentication issues later on. The final artwork/s produced in Unit 3 must be securely stored for assessment purposes. The final piece or pieces produced in Unit 4 should also be clearly labeled and identified. It is suggested that students may wish to provide photographic documentation of the final artworks within the body of work. This may help with effective organisation/presentation and enable students to refer to specific qualities in the artworks in their personal reflections and evaluations. Students must select and clearly identify the Analytical Frameworks most appropriate to critical evaluation of, and personal reflection on, their thinking and working practices. Students must use the language of the Formal Analytical Framework and at least one other Analytical Framework throughout the body of work. It is strongly suggested that students devise a way to identify the frameworks they are referencing. They may wish to create headings, use a key of some sort, and highlight key words and phrases to provide evidence for assessment purposes. Teachers are encouraged to support their students to understand the construct of the Analytical Frameworks by ensuring they are familiar with the appropriate sections of the VCE Art Study Design , (p. 12). SPECIFIC INFORMATION Criterion 1 Exploration of personal ideas through a conceptual and practical investigation in artmaking. Most students started their explorations from ideas related to their personal experiences of friends, family, travel or other interests. Other students explored specific themes related to personal, social, cultural or political issues that interested them. Some students undertook explorations that focused on particular visual elements, artistic style/s and/or artforms/media. Many students initially created one or more mind/concept maps that identified their areas of interest. Other students compiled lists of ideas and some students undertook further research into areas related to their thinking and interests. Most students provided visual imagery related to artistic or other influences and inspirations, but it is important to reiterate that these must be clearly related to the personal thinking of the student, and that the source of such imagery must be acknowledged. Books, websites and dates of when sites were accessed should be noted to support authentication. Evidence should be provided to identify the relationship of such material to the student s ideas. Lower-scoring folios often lacked a personal exploration of ideas, concepts and observations, providing only limited evidence of thinking and working practices. These folios were generally unable to describe and discuss the students personal connection to the work presented. Often these folios relied heavily on borrowed imagery, with a cut and paste approach that was not always relevant to the stated intentions. These folios were often simplistic in initial approach and the investigations were often narrow and lacking depth. These lower-scoring folios often provided limited written and visual material to support the exploration of concepts, visual qualities and materials/processes. In the higher-scoring folios, students identified and explained their initial ideas and observations in a highly informative manner with written and visual material that provided insightful evidence of their concepts, directions and development of skills. These folios contained creative, comprehensive and imaginative investigations of artforms and ideas relevant to the students stated intentions. This included numerous practical trials of imagery, visual language and materials/processes that were later developed and refined as the work progressed. Higher-scoring folios demonstrated a consistency of approach throughout the 7

8 body of work, during which students analysed and evaluated their explorations, making changes and improvements where needed. Criterion 2 The progressive development and refinement of ideas and concepts demonstrated in the body of work. In this criterion, students were required to give breadth, depth and strength to their initial explorations, consolidating their thinking and working practices. This involved the students consistent and ongoing investigation throughout their study, which should be evident in the visual material provided in the folio. A consistent investigation may or may not include a visual entry for every day but more appropriately should show the visual evidence of the evolution, development and refinement of an idea. It is expected the development and refinement of ideas and concepts will be evidenced in the visual representation of the student s decision-making process where aspects of initial explorations may be altered, combined and reconfigured. Inherent in this notion is the expectation that students are making progress in the conceptual, visual and technical areas of their folios. Simply repeating simplistic compositions of material trials without any further extension, or completing exercises that are not relevant to the stated intentions do not constitute adequate development and refinement and cannot attract a high score. Lower-scoring folios often did not present visual evidence that demonstrated the required consistent consolidation of thinking and working practices. The development and refinement of concepts was not evident and formal qualities and technical skills were most often limited. Many of these folios did not provide sufficient visual evidence of a focus to support initial thinking and lacked material to identify the student s ideas. Generally these folios continued to be over reliant on borrowed imagery (images and artwork from other artists, designers or photographers), which had not been interpreted personally or did not provide clear links to the student s stated directions. The borrowed imagery was often stuck down on pages with no correlating visual responses made by the student. There appeared to be little or no extension developed from this material. Too often low-scoring folios simply replicated the imagery identified as stimulus without providing any conceptual, technical or personal development from the original source material. Often lower-scoring folios provided evidence of an initial exploration directly followed by the finished artwork/s, without providing any documentation of progressive development or the decision-making process in visual material. In higher-scoring folios, there was visual evidence that students had investigated solutions through the demonstration of different interpretations and approaches to initial thinking, rather than simply relying on a single primary area of exploration. These high-scoring folios identified and developed links to earlier concepts, visual explorations and technical trials. Thinking and working practices were given focus and strength through ongoing consolidation of visual imagery that was supported by highly effective visual evidence. Personal choices and decision-making processes were clearly and comprehensively articulated in the visual material of higher-scoring folios. Often ideas that proved they were not working were evaluated and subsequently eliminated; at other times multiple ideas were combined to create a new direction resulting in a progression in the body of work. Criterion 3 Exploration, investigation and experimentation of materials, techniques, processes and artforms and in the development of related technical skills. In this criterion students were required to explore, experiment and investigate materials, processes and artforms that led to the control and application of various media and related skills. It is important to recognise that this must be linked and appropriate to the stated intentions of the student. Skill building or experimental activities undertaken by the whole class that do not relate to the personal direction of an individual student, or visual evidence of 8

9 haphazard experiments with a variety of materials bearing no relationship to an investigation relevant to the student s ideas are not appropriate responses to address this criterion for assessment. Too often, the review revealed evidence of these practices. Students must show knowledge of the materials/techniques and artforms that they are using and must provide visual documentation of their working practices. In order to score highly, students must provide evidence of effective and consistent handling of materials and techniques, from initial exploratory work to the finished artworks. This may take the form of a visual account of what has been undertaken in the classroom or studio practice and often includes artwork samples, sketches and trials. Some students presented photographs of stages of work in addition to trial samples. This practice provided evidence of the students exploration and investigation of techniques and processes. Low-scoring folios were often lacking in sufficient evidence of an exploration and investigation of selected artforms. Often, experimentation was limited to one or two superficial trials of materials and techniques that were not appropriate or effectively linked to the students stated intentions. Often, in low-scoring folios, students did not effectively investigate a range of alternate methods of applying media to gain further knowledge and understanding or to improve the communication of the student s idea. As a result, there was limited control and an inconsistent application of materials and techniques throughout the exploratory work and in the finished artworks of low-scoring folios. The finished artworks themselves were often lacking overall in technical skill. In higher-scoring folios students demonstrated evidence of an innovative exploration and investigation of selected artforms, which was relevant to their stated intentions. In these folios, there were clear links between the conceptual directions, formal qualities and materials/techniques utilised. High-scoring folios showed evidence of ongoing, sustained experimentation, which led to visual evidence of a high degree of confidence and control in applying these materials/techniques throughout the body of work. Written documentation is not a requirement for the assessment of this outcome; however, folios that offered annotation that clearly explained the use of innovative and experimental processes and/or nontraditional or conceptual artforms supported clarity in understanding how the visual material, selected forms and media were relevant to the students intentions. Finally, in higher-scoring folios that employed digital media and/or moving images, screen dumps or storyboards were employed to document the working practices. Criterion 4 Understanding, application and manipulation of visual language and formal qualities in artmaking. In this criterion students were required to demonstrate skill in the use of visual elements and principles in their artmaking. This meant that they needed to demonstrate their understanding of how to use a visual language to communicate their ideas, concepts and observations in their personal art responses. Visual language is defined in the study design as a student s ability to employ artmaking skills and aesthetic awareness through the use of the formal art elements and art principles in the process and production of artworks. In the development of an effective visual language students also consider their own distinctive personal visual style and the visual symbols that may be present in their work. To score highly, students needed to show both a high degree of understanding and their ability to effectively manipulate a visual language relevant to their intended communication of ideas. A high score could not be awarded to student work that did not provide clear evidence of both areas. Importantly, to attract a high score, student work had to show this evidence consistently throughout the body of work. The lower-scoring folios provided limited evidence of the use and manipulation of formal qualities and a limited presentation of how a visual language can be employed to communicate personal art responses, ideas and concepts. This meant that students personal 9

10 art responses, ideas and observations were not consistently or effectively communicated throughout the body of work. Often there were limited compositional/design trials, which did not sufficiently investigate a range of possible visual solutions. In many less successful folios, the selection of formal art elements and principles, such as the use of colour or contrast, were inconsistently applied or not fully explored, or elements and principles selected were in conflict with the student s stated intentions. In lower-scoring folios it was evident through the presentation of work that either the understanding or the manipulation of visual language was superficial, not relevant to the student s ideas and not personalised. The higher-scoring folios showed a skilled and effective use and manipulation of visual language, which clearly and comprehensively communicated the students stated intentions. There was evidence of insightful and conceptually sophisticated use of formal qualities throughout the body of work. Successful folios generally contained a process and production of visual solutions that demonstrated considered and well-developed responses to various stages of artmaking. This often included initial compositional/design trials, and a selection of visual responses that best expressed ideas and concepts, which resulted in an ongoing consolidation of visual thinking that led to highly successful, finished artworks. Criterion 5 Reflective annotation and documentation of working practices that use art language and selected Analytical Frameworks. In this criterion, students were required to document, analyse and evaluate their thinking and working practices as they progressively explored, developed, refined and resolved their ideas and observations. The Analytical Frameworks provide a construct to guide and support students to undertake this written reflection effectively. The Analytical Frameworks are presented in the VCE Art Study Design (pp ). In the Advice for Teachers section (pp ) guidelines are provided in the form of specific questions under each framework to assist students to identify the formal, personal, cultural and/or contemporary aspects of their artmaking in reflection. When students respond to these questions they can draw on this information to support the annotation required for the assessment of this criterion. Each of the four Analytical Frameworks has specific art language embedded within the descriptions and students should refer to this and apply as appropriate to the annotation of their work to successfully address this component of the practical outcome. Students must select and identify the Formal Analytical Framework and at least one other Analytical Framework in their written reflections. To be awarded a high score the annotation must also present clear evidence of the students understanding of the Analytical Framework as it applies to the reflection of their own work. It is a requirement that students consistently identify the specific Analytical Frameworks being drawn upon for the written reflection throughout their body of work. It may help to create an initial key, to provide explicit headings, and/or to highlight key words and phrases that show the students understanding of the Analytical Frameworks construct. In lower-scoring folios there was some evidence of an understanding of art language through limited documentation. The application of the Analytical Frameworks often lacked conceptual clarity, with written reflections being simply descriptive rather than analytical or evaluative. The review identified that many students used phrases such as I like this or this turned out really well but the annotation did not offer an analysis as to how the result was achieved nor did it evaluate why it was appreciated and what direction may be pursued as a result. This limited the ability of the student to demonstrate their thinking or employ art language effectively. It is important that students are able to articulate what they understand about their work practices. In lower-scoring folios, the construct of the Analytical Frameworks was inconsistently applied. It is not appropriate for teachers to infer a degree of understanding for which there is insufficient evidence provided. Many lower-scoring folios did not explicitly select, make reference to or identify the specific Analytical Framework/s being used. In some 10

11 lower-scoring folios there were only one or two references to the frameworks, often at the very beginning or very end of the body of work. In higher-scoring folios there was strong evidence of a high level of understanding of art language through insightful and conceptually sophisticated reflective annotations. These folios employed the language of the Formal Analytical Framework and at least one other Analytical Framework (Personal, Cultural or Contemporary) consistently and effectively throughout the body of work. In these folios, students clearly and insightfully showed their understanding of the construct by explicitly identifying the framework/s being used. The use of the frameworks was linked to an informed analysis and critical evaluation of thinking and working practices. This was employed from the initial stages of folio development to the completion of the finished artworks. In many of these higher-scoring folios, students employed a colour-coded key, specific headings and/or the highlighting of relevant words and/or phrases to clarify the explicit use of the Analytical Frameworks. Criterion 6 Resolution of ideas, directions and/or personal concepts in a body of work that includes at least two finished artworks. In this criterion students resolved their personal art responses and presented a body of work that included at least two finished artworks. To do this successfully, they were required to demonstrate an imaginative resolution of thinking and finished artworks that showed a high level of understanding and skill in the manipulation of formal qualities and materials/techniques. They also provided evidence of considered reflection on the progressive development and refinement of concepts and directions. In order to present the body of work effectively, many students chose to organise their folios chronologically, stylistically or thematically. Many also included photographs or other documentation of works in progress. They used headings and/or highlighters to indicate key thinking or working practices, and/or critically evaluated each finished piece to indicate how it related to earlier concepts and directions. When work presented a specific evaluation of each finished artwork, many students included a photograph of the finished work adjacent to the written reflection. Although it was not necessary, some folios also included an initial statement of intentions while in others the visual diaries were bookmarked to guide the viewer through the student s artistic journey. It is important to note that the body of work should be resolved and presented in a manner that best demonstrates the student s intentions and that there is no one correct formula for doing so. In some instances, students presented their work in a manner not particularly conducive to assessment, for example too often students sanitised their folios by placing work entirely in plastic display folders without reference to how or why this format for presentation supported their conceptual ideas. Others presented loose collections of work in no particular order thus making it difficult to understand the progression of their thinking. Presentation of work requires legibility to support assessment and the style and format should be authentic and reflective of the student s working practice and ideas. Students need to understand that the finished artworks are part of the totality of the folio and must be supported by all developmental work. In far too many cases, finished artworks were not clearly labeled and it was often difficult to ascertain which were the finished works and in which unit they were produced. Teachers are advised to monitor this and ensure students clearly label their work as Unit 3 and Unit 4, as the absence of clear labeling can present authentication issues and affect a fair assessment. Teachers must use authentication forms provided by the VCAA. These forms may be required to be used as evidence to support the VCAA 2012 VCE school-based assessment audit and review process. In lower-scoring folios there was some reflection with limited evidence of thinking and working practices. Low-scoring folios too often lacked consistent and comprehensive exploration. The development and refinement of personal directions and concepts was 11

12 incomplete. In many cases promising initial explorations were not fully realised and could not be translated into successful, finished artworks. In many low-scoring folios, the finished works were not sufficiently supported by developmental work and didn t provide evidence of the context in which they were developed. In these folios there was limited evidence provided of the understanding and manipulation of a personal visual language appropriate to the stated intentions. Often finished artworks with limited levels of technical skill could only be awarded a low score. Unfortunately too often the finished artworks in lower-scoring folios could not be identified due to insufficient or unclear labeling. In higher-scoring folios, the body of work was innovative and well presented. The annotation included a consistent approach to articulate reflection, detailing how thinking and working practices had been developed. Folios that were awarded high scores provided evidence of the imaginative resolution of concepts, directions and observations. They provided at least two finished artworks that successfully manipulated formal art elements and principles. These folios were completed with a high level of technical skill and resolution of ideas. Importantly, the finished artworks complimented visual and written material throughout the body of work that detailed a comprehensive process of exploration and the development and refinement of ideas relevant to the stated intentions. Finally, in higher-scoring folios, the finished artworks were always clearly identified and correctly labeled, which provided easy navigation of the students artistic journey from initial stages to the completion of the body of work. 12

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