Objects, people and places - many artists base there work on things they have OBSERVED. Many artists claim that there is a difference between ordinary everyday 'looking' and 'seeing'.
You are going to explore some of the ways it is possible to use close observation of the world around you to create your own art.
We will undertake some studio workshops, and you will undertake investigation.
We will get some idea of the history of western art.
We will experiment with technique and approach
You have an opportunity to both use some Subject specific language and achieve DEPTH in your analysis.investigation - both things that many of you mentioned in your targets for the mid-semester reports.
You are going to explore some of the ways it is possible to use close observation of the world around you to create your own art.
We will undertake some studio workshops, and you will undertake investigation.
We will get some idea of the history of western art.
We will experiment with technique and approach
You have an opportunity to both use some Subject specific language and achieve DEPTH in your analysis.investigation - both things that many of you mentioned in your targets for the mid-semester reports.
Below are resources for our practical work in this unit.
You will need to know about Caravaggio and Caravaggistas.......
Tasks:
Investigate Caravaggio. Include some analysis of the formal qualities of one painting - use the 'Analysing Artwork document' ( or similar...) to ensure you show you have fully engaged with one of his works. Show you understand HOW the paintings were made.
How does this relate to your own observation work? How does this relate to the work of Uglow?
Once you have done this you will need to plan a 'Caravaggista' composition. You will be aiming for a PHOTOGRAPHIC piece. I have red, green and white cloth for you to use. You need a story to tell..... Your class mates will be your models. You need to control lighting and environment.
You must document your planning and process leading to the photograph including drafts/versions/rejected images.
SSL: chiarascuro - light and shadow, dynamics of tone used for dramatic effect in painting.
Tasks:
Investigate Caravaggio. Include some analysis of the formal qualities of one painting - use the 'Analysing Artwork document' ( or similar...) to ensure you show you have fully engaged with one of his works. Show you understand HOW the paintings were made.
How does this relate to your own observation work? How does this relate to the work of Uglow?
Once you have done this you will need to plan a 'Caravaggista' composition. You will be aiming for a PHOTOGRAPHIC piece. I have red, green and white cloth for you to use. You need a story to tell..... Your class mates will be your models. You need to control lighting and environment.
You must document your planning and process leading to the photograph including drafts/versions/rejected images.
SSL: chiarascuro - light and shadow, dynamics of tone used for dramatic effect in painting.
Unit 'End Game' Task
Now that you have a portfolio of work that includes:
You will be using the attached documents to help you meet all of the requirements ( these relate to what you have to evidence for Process Portfolio, Comparative Study and Exhibition).
Brief:
Initiate, sustain and resolve an artistic inquiry over a 6 week period that has its root in the work we have done so far. You may combine ideas, add new ones, go off at tangents, interpret, extend, but there must be an initial link with the work we have done so far.
You will submit your work at the start of the new year and it must include evidence for each thing on the rubric.
You should think about documenting all of your thinking from initial mind-mapping to final piece/s. The is no limitation/parameter to outcome.
If you are stuck...... you will have the Caravaggista photograph to use as a starting point for an artwork/s.
- evidence of thinking about the claims of the course aims and art education
- Evidence of meeting an artist and experimenting with the medium of collage
- Evidence of having been open minded about abstraction and the notion of it being 'honest' or 'pure' compared to representational art.
- Evidence of having explored representational art and some of the ideas and implications of trying to depict 'reality'.
- Evidence of having worked in a range of media - 3 media from 2 columns of the Art Forms Table. ( including a Caravaggista photograph and comment/reflection about artists using tools like the camera obscura)
You will be using the attached documents to help you meet all of the requirements ( these relate to what you have to evidence for Process Portfolio, Comparative Study and Exhibition).
Brief:
Initiate, sustain and resolve an artistic inquiry over a 6 week period that has its root in the work we have done so far. You may combine ideas, add new ones, go off at tangents, interpret, extend, but there must be an initial link with the work we have done so far.
You will submit your work at the start of the new year and it must include evidence for each thing on the rubric.
You should think about documenting all of your thinking from initial mind-mapping to final piece/s. The is no limitation/parameter to outcome.
If you are stuck...... you will have the Caravaggista photograph to use as a starting point for an artwork/s.
student_record_rubric_ib1_.docx | |
File Size: | 74 kb |
File Type: | docx |
grading_descriptors_ib1_visual_art.docx | |
File Size: | 139 kb |
File Type: | docx |