Converging culturessep 2014

IWB Task: Cultures Converge Introduction.

Contemporary economic and political forces, combined with advances in transportation and communication technology, encourage and enable a global interchange of ideas. However, such influential contact between diverse cultural groups is not a new phenomenon. Throughout human history; trade, wars, exploration, colonialism, migration and the growth of empires have led to social and cultural clashes, interaction and synthesis. This process has impacted significantly upon the production of artworks and artefacts. It is possible to define two broad categories of artworks that reflect the constant convergence and shifting of cultures:  

Art that may be perceived as a product of cultural interchange and convergence.

Art created specifically to comment upon cultural interchange and convergence.

In this unit you will investigate examples of artworks that reflect cultural convergence in a range of contexts. You will go on to develop studio work of your own which explores the concept further.

Part One. Investigation: Artistic and cultural convergence in context The following pages offer outlines of three historical examples of how trade, exploration, colonialism, wars and the growth of empires have impacted upon the creation of artworks.  

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The influence of war and conquest upon the art & architecture of Seville 150 years of trade, war and communication reflected in 19th Century Japonisme and 21st Century Japanese Pop Art Jake & Dinos Chapman’s artwork: ‘The Chapman Family Collection’ (2002)

Investigation Tasks: 6HL and 4 SL A3 IWB pages: 1. Select one of the three above examples as the starting point for a piece of written and illustrated research into cultural convergence. Use 3 (2) A3 IWB pages. The provided links, videos and references offer resources for your own further investigation.

2. Produce 3 (2) A3 pages of written and visual research into another example of cultural convergence that is particularly relevant or interesting to yourself. Some suggestions are provided below, but you are free to substitute your own.  Trade and communication along the silk road  The artistic impact of Renaissance Venice’s role as a centre for trade and exploration.  The introduction of Christianity in Ethiopia  Interaction between Portuguese and West African cultures in the 15th & 16th Century  British colonisation of India  Spanish colonisation of the Americas  The impact of Western arts & crafts in Japan during the late 19th Century  North African influences within the work of Henri Matisse  Net Art: convergence & collaboration in internet based artworks  International Biennales and their role within the globalization of art.

The influences of war and conquest upon the art & architecture of Seville Iberian peninsula timeline:

1000-1400 AD

Seville timeline:

(12 Century)

th

th

(13 Century)

th

(14 Century)

The Spanish City of Seville has a long and complex history which is reflected in its architecture. For example: fragments of aqueducts reflect early colonisation by the Romans. Like much of the Iberian peninsula, the city was subject to waves of Visigothic and Byzantine conquest. It was subsequently conquered by the Moorish peoples of North Africa. In 712 AD the city fell under Muslim rule and was named Išbīliya, from where the modern Spanish th th name Sevilla is derived. From the 8 – 13 Centuries it was the capital of the Umayyad Caliphate, the Almoravid dynasty, and the Almohad dynasty.

Almohad architecture used brick and stone to combine austere forms with elaborate ornamental surface detail.

Further information: HERE. Construction of the Great Mosque of Seville was begun in 1172 under the Almohad caliph Abu Ya'qub Yusuf ibn 'Abd al-Mu'min (1163-1184). Following the Christian conquest of 1248, by forces of King Fernando III of Castile, the Mosque was consecrated as a Cathedral. Most of the mosque was destroyed th during the construction of the new gothic cathedral in the 15 Century. However, as you can see below, some elements of the Muslim architecture remain integrated into the current structure. Further information: HERE.

The minaret of the original mosque was incorporated into the bell tower of the new cathedral. It is known as La Giralda (click for larger image)

‘The Gate of Pardon’ is another fragment of the original mosque that remains as an element in the cathedral (click for larger image)

The overall footprint of the Gothic cathedral is close to that of the mosque that preceded it on the site (click for larger image)

The Alcázar Palace also exemplifies cultural convergence in the art & architecture of Seville. The original structure was constructed during the 12th century Almohad reign. However, whilst the current palace’s plan, gardens and decoration frequently follows the style of traditional Islamic palaces, it was almost entirely rebuilt in 1364 for the Christian ruler Pedro I. This synthesis of Islamic forms and decorative elements into non-Islamic buildings, that emerged in the Iberian peninsula after the Christian ‘re-conquest’ is known as Mudejar style. This th th idiom remained influential in Spain until the 17 Century and was revived in the 20 Century Neo-Mudejar style.

Alcázar external view: note combination of Islamic and classical arch forms (click for larger image)

Alcázar: View of an internal courtyard with carved decoration (click for larger image)

Other links: UNESCO site on Seville Aerial view of Cathedral & Alcazar

Alcázar interior.

Displaying Mudejar style of Islamic inspired decoration (click for larger image)

UNESCO documentation

The Adriatic Building (1914-1922) built in what is known as the NeoMudejar style. (click for larger image)

UNESCO Video

360 degree Panorama of Cathedral & Alcazar

The Art of the Almoravid and Almohad Periods

The Nature of Islamic Art

The Adriatic Building

150 years of trade, war and communication reflected in 19th Century Japonisme and 21st Century Japanese Pop Art Historical Context Political & economic stability meant that the Edo period (1615-1868) was an active and innovative period for the arts in Japan. However, the country’s isolated, conservative stance meant that trade, communication and cultural th exchange with other nations, particularly in the West was very limited. In the 19 century a growing desire to modernize and engage with the outside world eventually led to the ‘restoration’ of Emperor Mutsuhito (1852-1912) and the beginning of the Meiji period. This was a time of dramatic social, cultural and economic interchange and development. Contemporary Art in both Japan, and those nations in the West with which it had cultural and economic exchanges, soon began to reflect this convergence of ideas. Western interest in Japanese art and culture was labelled Japonisme.

The influence of relatively low cost and readily transportable Japanese Art in the form of woodcut prints was th particularly evident amongst Western Impressionist and Post-Impressionist artists of the late 19 Century. Their depiction of scenes from everyday life inspired artists including Mary Cassatt. Others such as James Tissot sought to recreate Japanese scenes in their own studios. Edgar Degas on the other hand, was more interested in the aesthetic qualities of the works including the use of perspective, elongated pictorial formats and fields of flat colour. Similarly Toulouse-Lautrec, absorbed the exaggerated colours and forms of Kabuki theatre prints.

Woman Bathing is part of the 1891 series of ten prints that explores the private activities of women. Woman Bathing displays the same flat planes and liquid color that Cassatt had particularly admired in the exhibition of Japanese prints she had seen at the Ecole des BeauxArts.

Utamaro was a printmaker & painter.

He is widely considered to be one of Japan’s greatest ukiyo-e or woodcut printers.

Kitagawa Utamaro Japanese (1754-1806) Seiobo: Takigawa from Ogiya c.1794 woodblock print (click for larger image)

Japan timeline:

This image is a typical of Utamaro’s rendering of intimate and domestic scenes. In this case a courtesan and her attendant. His use of line, colour, perspective and composition was highly influential on Western artists at the end of the th 19 Century.

(1800-1900)

Mary Cassatt American (1844–1926) Woman Bathing, 1891 drypoint and aquatint (click for larger image)

(taken from http://www.nga.gov/coll ection/gallery/cassatt/c assatt-46728.html )

(1900-2000) th

Further information on Japonisme (Global influence of Japanese art during the late 19 Century) Further Information on Kitagawa Utamaro [Japanese Painter & Printmaker, 1754-1806]

The 20th Century th

Japan continued to expand as a global economic and military power during the 20 Century. However it was defeated by allied forces during WW2. This defeat was ensured in part by the dropping of atomic bombs on Hiroshima and Nagasaki. During the subsequent allied occupation a great number of social and economic changes were enforced. Japan lost a great deal of territory and was forbidden from maintaining an army. From the late 1950s onwards Japan became a major producer and exporter of consumer goods. American popular culture, especially cartoons, was embraced by a generation of Japanese people eager to forget the horrors of their recent past. Further information.

Takashi Murakami and Japanese Pop Art The work of Japanese artist Takashi Murakami (b.1963) reflects Japan’s position within an ever-changing global cultural and economic community. Murakami’s work has gained international fame through galleries, but also through his association with brands including Luis Vuiton:

...in Tokyo, an art museum was displaying luggage, a luggage shop was exhibiting art, an artist had developed a branding campaign -- and nobody thought anything out of the ordinary...

(Arthur Lubow. “The Murakami Method.” New York Times Magazine, April 3, 2005) This lack of distinction between ‘high’ and ‘low’ or ‘fine’ and ‘commercial’ art is a historical characteristic of Japanese culture. Prior to 1868, when Japan embraced Western culture through the Meiji Restoration, there was no word for ‘fine art’. The concept and vocabulary are both imported.

Murakami operates studios in Japan and America in which teams of assistants print and paint huge canvases based on his original digital designs. His company website Kaikai Kiki is here This system was also used by Andy Warhol, one of the original generation of Pop Artists, in what was known as his ‘factory’. However, this workshop approach of master and students/assistants was also used by many significant artists of previous generations ranging from Rubens to Rembrandt. Murakami is very open in his admiration for the commercial approach of American artists such as Jeff Koons, saying that he produces work to fill a market demand.

Influences and ideas Murakami combines many influences, including work by Japanese artists of the Edo period, with elements of contemporary animated films and pop culture, to form a style which he calls ‘Superflat’ Much of his work is concerned with what he sees as Japan’s difficult post second world war history and subsequent relationship with the USA as an occupying power. He suggests that the horrors of the war, including atomic bombing, and the guilt of defeat are concealed under a veneer of cartoon cuteness provided by characters such as ‘Hello Kitty’ VIDEO. Like his contemporary Yoshimoto Nara , Murakami often subtly distorts or modifies what at first glance appear to be harmless, cute cartoon animals and child figures. Nara’s work features a cast of characters that can be: “both sweet and sour, happy and sad, generous and mean, all at the same time” (Frick, 2006) (VIDEO) Murakami: Kiki (2000)

In this VIDEO, Murakami explains the significance of the image of a nuclear mushroom cloud and the flatness of the painting technique in works such as ‘Time Bokan’ (2001): The Japanese people are unique in that they have experienced attack from atomic weapons (twice).

The painting surfaces is flat like the landscape after the devastation of a nuclear explosion.

Time Bokan (2001)

Cultural convergence may be reflected in an integration of apparently contrasting cultural philosophies: Murakami combines a Western perspective on creativity as a search for something new, surprising and original: One of the visual qualities we look for in the work of the artists we employ at Kaikai Kiki [Murakami's art production company] is "madness". with an Eastern model in which creativity is centred around the learning and refinement of existing traditions: In Japan, we use the expression "God-like" or "superhuman" to describe someone whose craftsmanship, after long years of training, has entered a realm that seems beyond human capability. (http://www.guardian.co.uk/artanddesign/2009/sep/20/guide-to-painting-takashi-murakami) Further Information: Yoshitomo Nara Biography

The art of selling out: Interviews with 5 artists (including Murakami)

8 part Video tour of the exhibition: ©MURAKAMI at MOCA

NYT Article: Murakami on how he paints

Video: Clip from BBC TV programme ‘Japanorama’ on Japanese Pop Art

Jake & Dinos Chapman’s artwork: ‘The Chapman Family Collection’ (2002) Background: The Chapman brothers are British artists who have collaborated on artworks since the 1990s. They have often tended towards shocking or difficult subject matter including Nazism and the holocaust. Some of their most notorious pieces appear to have emerged straight out of a horror film. However, their work tends to resist straightforward interpretation.

In this VIDEO the artists discuss some of their most well known and controversial work.

The Chapman Family Collection (2002) One of their largest pieces is entitled ‘The Chapman Family Collection’. It was first shown at White Cube gallery in London in 2002. The formal press release (HERE) described how the 34 large wooden carvings included: ...virtually unknown primitive trophies and initiation masks from the former colonial regions of Camgib, Seirf and Ekoc, and as such are recognised by accredited experts as being the most noteworthy in the whole wide world.

Watch this VIDEO of the artworks in the exhibition.

The works are carefully illuminated on plinths in a darkened space. The atmosphere is typical of that of a Western ethnographic museum. Archer describes the effect as ‘sepulchral, reverential, almost holy in a selfconsciously contrived and artificial way’ (Archer, p.182). However as you walk amongst the sculptures you become aware of details that seem out of place: the unmistakable face of Ronald McDonald leers out from one of the works. Flame-haired and grinning...Closer inspection reveals countless references to McDonald’s – various squat fetishes can be re-read as cheeseburgers, while the spiky protruberances on many objects are clearly french fries... (http://www.tate.org.uk/servlet/ViewWork?workid=89202&tabview=text) Suddenly you realise that the names of the ‘former colonial regions’ Camgib, Seirf and Ekoc can also be read backwards...

The artist & critic Matthew Collings (2009) describes “The Chapman Family Collection" as thunderously amusing.

The exhibition seems like a worthy and serious display of African sculpture – until you start to notice the repeated visual references to MacDonald’s: The installation is obviously comic but also immediately charismatic. The objects are enjoyable but not amazing in themselves: they're funny in themselves. There are subtle jokes on the ethno-gallery experience.

Entire article HERE Critic Jonathan Jones (2002) describes his encounter with the exhibition: In a darkened, hushed hall, pools of light illuminate painted wooden masks, stuck through with fetish nails, decorated with shells and goats' heads. They appear authentic until you notice the McDonald's logo everywhere. A burger as a primeval deity; a cult statue with the evil clown face of Ronald McDonald...

Entire article HERE He goes on to discuss the work’s ability to provoke debate and discussion on issues of colonialism, capitalism, racism and the responsibilities of art

A comment upon unequal interrelationships between cultures?

As we saw in the case of Japonisme, Western artists of the th th late 19 and early 20 centuries often looked abroad for inspiration. The exhibition guide for the Tate gallery’s Chapman Brothers’ exhibition (2006) describes how modern Western Art frequently consumed the work of foreign cultures, taking them out of their original context and designating them 'primitive'. It cites the example of Picasso’s (1881-1973) collection of African masks which had a significant influence on his early cubist works including ‘Les Demoiselles d’Avignon’ (1907)

Tate gallery exhibition guide: http://www.tate.org.uk/liverpool/exhibitions/jakeanddinoscha pman/guide/room7.shtm

Further information on Picasso’s collection of around 100 pieces of Art from various African cultures: http://www.guardian.co.uk/artanddesign/2006/mar/15/art Information on the influence of these artworks on the development of Picasso’s own work: http://pablo-picasso.paintings.name/black-period/

A comment on globalisation?

Arifa Akbar (2008) explains how many reviewers saw the work as a description of MacDonald’s expansion into the furthest corners of the globe. The Chapman’s themselves tend to avoid giving direct or predictable explanations of their work. Jake Chapman is reported as saying "We want to make McDonald's into a religion."

Full article HERE

Considering an alternative viewpoint on cultural convergence: Some observers perceive a difference between cultural and economic convergence, suggesting that the two processes do not necessarily support each other. David Brooks, writing in the New York Times in 2005 suggests: while global economies are converging, cultures are diverging, and the widening cultural differences are leading us into a period of conflict, inequality and segmentation. (http://www.nytimes.com/2005/08/10/opinion/11brooks.done.html) Whilst some nations or socio-economic groups welcome, or at least adapt to cultural convergence, others can be seen to react strongly against it. This manifests itself through nationalism, conservatism or other attempts to assert and preserve what is perceived to be an original culture or grouping. For example: Reisenfeld (1997) explains how Ernst Ludwig Kirchner’s 1913 chronicle of the German Expressionist group Die Brücke: Chronik der Brücke, describes their use of traditional woodcut printing techniques as an assertion of their ‘Germanness’. This was in response to what they felt was the pervasive influence of other, foreign artistic influences.

Workbook images Having investigated two or more instances of the impact of cultural convergence upon the production of artworks, you will now go on to plan, develop and produce a studio piece of your own which displays further consideration of this theme. Where possible try to draw upon your own personal background, interests or life experiences. They could mean relating your project to cultural convergence within your own family or community. However, you may also choose to expand upon instances of convergence that you may have encountered elsewhere in your studio or investigation work.

Examples of how some other students have used their IWBs to investigate cultural convergence and begin to develop ideas for studio work of their own are provided below (click for larger versions online) As always, begin by considering a number of potential ideas and approaches before gradually converging on possible studio outcomes.

This student has been inspired by artworks seen in museums during a trip to Barcelona. Here she has begun to investigate combinations of Spanish and South American artworks and imagery.

She goes on to consider ideas relating to colonisation, conquest and the subsequent interchange of ideas and imagery.

This student is investigating the work of the artist Yinka Shonibare. Shonibare was born in London and moved to Lagos, Nigeria at the age of 3. He subsequently returned to the UK and studied fine art in London. His work is largely concerned with issues of colonial and post colonial history.

He often combines elements of African textiles with scenes and imagery representing European literature and art history.

One of the student’s subsequent studio outcomes is HERE Over this double page the student is considering a range of possible directions for her investigation and studio work to follow. On the left she looks at the influence of prehistoric cave painting upon the work of Picasso. On the right she begins to consider how images of women are portrayed in a range of cultures and time periods. She subsequently looks at how these images converge and overlap.

This student investigated conservative, nationalistic Soviet socialist realist artworks. On the facing page she describes how, by contrast, her younger brother produced a head based sculpture inspired by research into headwear from a variety of African cultures. She describes her appreciation of his ability to absorb and playfully combine a range of cultural influences. In some of her subsequent artworks she adopts a similar approach to the layering of ideas and imagery that she has assimilated through living in a number of different countries. Example HERE.

References, links & further information images

The influence of war and conquest upon the art & architecture of Seville Iberian Peninsula timeline 1000-1400 AD

http://www.metmuseum.org/toah/ht/?period=07&region=eusi#/Key-Events

Seville Timeline (1000 AD – 2010 AD)

http://www.google.com/search?q=seville+timeline&hl=en&sa=G&tbs=tl:1,tl_ num:100&ei=XAJbTKfYL8664Aa7oeGGAg&ved=0CJcCEMsBKAQ

Almohad architecture

http://archnet.org/library/images/sites.jsp?select=style&key=Almohad&order_by=site_ name&collection_id=-1&showdescription=1

The Great Mosque and its incorporation into the cathedral

http://archnet.org/library/sites/one-site.jsp?site_id=3998

http://s557.photobucket.com/albums/ss19/native716/?action=view&current=P3.jpg&sort=ascending Casselman Archive of Islamic and Mudejar Architecture in Spain

Links and texts

http://digicoll.library.wisc.edu/Arts/subcollections/ CasselmanImageAbout.html

The Alcazar Palace

http://archnet.org/library/sites/one-site.jsp?site_id=4644

UNESCO site on Seville

http://whc.unesco.org/en/list/383

UNESCO documentation

http://whc.unesco.org/archive/advisory_body_evaluation/383.pdf

Aerial view of Cathedral & Alcazar

http://www.geopanorama.com/de/sevilla/sevillaMap.htm

Panorama of Cathedral & Alcazar

http://www.geopanorama.com/de/sevilla/sevilla1.htm

UNESCO Seville video

http://whc.unesco.org/en/list/383/video

The Art of the Almoravid and Almohad Periods

http://www.metmuseum.org/toah/hd/almo/hd_almo.htm

Islamic Art

http://www.metmuseum.org/toah/hd/orna/hd_orna.htm

19th Century Japonisme and 21st Century Japanese Pop Art Japan timeline 1800 – 1900

http://www.metmuseum.org/toah/ht/?period=10&region=eaj#/Key-Events

Japan timeline 1900 - 2000

http://www.metmuseum.org/toah/ht/?period=11&region=eaj#/Key-Events

Edo Period

http://www.metmuseum.org/toah/hd/edop/hd_edop.htm

Japonisme

http://www.metmuseum.org/toah/hd/jpon/hd_jpon.htm

Kitagawa Utamaro

http://www.artcyclopedia.com/artists/utamaro_kitagawa.html

Japanese Post-war economic recovery

http://www.culturalprofiles.net/japan/Directories/Japan_Cultural_Profile/13226.html

Arthur Lubow. “The Murakami Method.” NYT http://www.nytimes.com/2005/04/03/magazine/03MURAKAMI.html kaikaikiki

http://english.kaikaikiki.co.jp

Warhol’s Factory

http://www.nyc-architecture.com/MID/MID025.htm

Lisa Frick (2006) Biography of Yashimoto Nara

Meiji Restoration

http://www.notablebiographies.com/newsmakers2/2006-Le-Ra/NaraYoshitomo.html

http://www.sjsu.edu/faculty/watkins/meiji.htm

NYT Article: Takashi Murakami on how he paints

http://www.nytimes.com/2005/04/03/magazine/03MURAKAMI.html

BBC Japanorama Video: http://www.youtube.com/watch?v=FYkrQXvCTP4

8 part Video tour of the exhibition: ©MURAKAMI at MOCA

http://www.moca.org/murakami/

References, links & further information Jake & Dinos Chapman’s artwork: ‘The Chapman Family Collection’ (2002) Archer, M. (2003) ‘Jake and Dinos Chapman’, In: ArtForum, May 2003, vol. XLI no.9, p.182.

Interview with Jake & Dinos Chapman

http://www.youtube.com/watch?v=9QeNatsDV4I

white cube press release

http://www.whitecube.com/exhibitions/chapmanfamilycollection/1/

Chapman Family Collection Video

http://www.youtube.com/watch?v=DpWZCBbW6VA

Jonathan Jones:

http://www.guardian.co.uk/culture/2002/nov/06/artsfeatures.turnerprize2003

Tate guide:

http://www.tate.org.uk/liverpool/exhibitions/jakeanddinoschapman/guide/room7.shtm

Akbar http://www.independent.co.uk/arts-entertainment/art/news/tate-snaps-up-chapmans-family-collection-787277.html Matthew Collings:

http://www.saatchi-gallery.co.uk/blogon/art_news/put_downs_and_suck_ups_matthew_collings _weekly_ventings_about_the_art_world_no_31_tate_or_the_tate?/5785

Jonathan Jones: http://www.guardian.co.uk/culture/2002/nov/06/artsfeatures.turnerprize2003

Other links & references Yinka Shonibare

http://www.yinkashonibarembe.com/

Reisenfeld (1997) Cultural Nationalism, Brücke and the German Woodcut: The Formation of a Collective Identity in Art History Volume 20, Issue 2, pages 289–312, June 1997

Image sources Seville images: (author’s own) http://www.flickr.com/photos/51716331@N07/sets/72157624548064887/with/4868923950/ Cassatt ‘Woman Bathing’ http://media.photobucket.com/image/cassatt/orange_peeler/Art/Mary%20Cassatt/113.jpg?o=23 Utamaro ‘Seiobo’

http://media.photobucket.com/image/utamaro/mexgeisha/9000-utamaro-seiobo-takigawa-fromo.jpg?o=40

Murakami ‘Kiki’ (2000)

http://www.flickr.com/photos/wallyg/2411440955/

Murakami ‘Time Bokan’ (2001)

Picasso

http://media.photobucket.com/image/murakami%20time%20bokan/Kenblu77/ MurakamiTimeBokan.jpg?o=1

http://s557.photobucket.com/albums/ss19/native716/?action=view&current=P3.jpg

TOP MARKBAND OPTION B DESCRIPTORS (INVESTIGATION)   

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Analyses and compares perceptively art from different cultures and times, and considers it thoughtfully for its function and significance.

Demonstrates the development of an appropriate range of effective skills, techniques and processes when making and analysing images and artifacts.

Demonstrates coherent, focused and individual investigative strategies into visual qualities, ideas and their contexts, an appropriate range of different approaches towards their study, and some fresh connections between them.

Demonstrates considerable depth and breadth through the successful development and synthesis of ideas and thoroughly explained connections between the work and that of others.

Demonstrates effective and accurate use of the specialist vocabulary of visual arts.

Uses an appropriate range of sources and acknowledges them properly.

Presents the work effectively and creatively and demonstrates effective critical observation, reflection and discrimination.

Presents a close relationship between investigation and studio.

TOP MARKBAND OPTION A DESCRIPTORS (STUDIO)

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Exhibits excellent understanding of the ideas and techniques that underpin artistic expression.

Consistently demonstrates the production of personally relevant artworks that show excellent exploration of ideas reflecting cultural and historical awareness and artistic qualities.

Shows thoughtful development of ideas and strategies for expression.

Displays sensitivity to materials and their use. The coherent body of work has been reviewed, modified and refined as it has progressed, resulting in an accomplished resolution of ideas and medium.

Displays excellent technical competence.

Demonstrates confidence and inventiveness.

Shows an informed, reflective judgment that challenges and extends personal boundaries

Aims The aims of the visual arts course at HL and SL are to enable students to:  investigate past, present and emerging forms of visual arts and engage in producing, appreciating and evaluating these  develop an understanding of visual arts from a local, national and international perspective  build confidence in responding visually and creatively to personal and cultural experiences  develop skills in, and sensitivity to, the creation of works that reflect active and individual involvement  take responsibility for the direction of their learning through the acquisition of effective working practices.

Assessment objectives students will be expected to:  respond to and analyse critically and contextually the function, meaning and artistic qualities of past, present and emerging art, using the specialist vocabulary of visual arts  develop and present independent ideas and practice, and explain the connections between these and the work of others  explore and develop ideas and techniques for studio work through integrated contextual study and firsthand observations  develop and maintain a close relationship between investigation and a purposeful, creative process in studio work  produce personally relevant works of art that reveal evidence of exploration of ideas that reflect cultural and historical awareness  develop and demonstrate technical competence and artistic qualities that challenge and extend personal boundaries (option A) and technical competence and selfdirection (option B).