ARTWritten examination

Monday 9 November 2015 Reading time: 9.00 am to 9.15 am (15 minutes) Writing time: 9.15 am to 10.45 am (1 hour 30 minutes)

QUESTION AND ANSWER BOOK

Structure of bookSection Number of

questionsNumber of questions

to be answeredNumber of

marks

A 4 4 25B 2 2 25C 2 2 25

Total 75

• Studentsarepermittedtobringintotheexaminationroom:pens,pencils,highlighters,erasers,sharpenersandrulers.

• StudentsareNOTpermittedtobringintotheexaminationroom:blanksheetsofpaperand/orcorrectionfluid/tape.

• Nocalculatorisallowedinthisexamination.

Materials supplied• Questionandanswerbookof16pageswithadetachableinsertforSectionAQuestions1,2and3

andSectionBQuestions5and6inthecentrefold.• Additionalspaceisavailableattheendofthebookifyouneedextrapapertocompleteananswer.

Instructions• Detachtheinsertfromthecentreofthisbookduringreadingtime.• Writeyourstudent numberinthespaceprovidedaboveonthispage.

• AllwrittenresponsesmustbeinEnglish.

At the end of the examination• Youmaykeepthedetachedinsert.

Students are NOT permitted to bring mobile phones and/or any other unauthorised electronic devices into the examination room.

©VICTORIANCURRICULUMANDASSESSMENTAUTHORITY2015

SUPERVISOR TO ATTACH PROCESSING LABEL HEREVictorian Certificate of Education 2015

STUDENT NUMBER

Letter

2015ARTEXAM 2

SECTION A–continued

Question 1 (3marks)Howistone usedasaformalelementinthefirstartworkillustratedonpage1oftheinsert?

Question 2 (3marks)Howisform usedasaformalelementinthesecondartworkillustratedonpage1oftheinsert?

SECTION A

Instructions for Section AAnswerallquestionsinpeninthespacesprovided.

3 2015ARTEXAM

SECTION A–continuedTURN OVER

Question 3 (8marks)Refertopage2oftheinsert.Comparethemeanings and messages ofthetwoartworks.

2015ARTEXAM 4

SECTION A – Question 4–continued

Question 4 (11marks)TheimagesontheoppositepageshowtwoartworksbytheartistHenryMoorethathavebeendisplayeddifferentlyintwolocations.Thetwoartworksarethesame,sincetheyarepartofaneditionoffoursculpturescastinbronze.

Imaginethatyouarevisitingthetwoartworks.Howdothedifferencesbetweentheirphysicalplacementaffectyourinterpretationofthem?

5 2015 ART EXAM

END OF SECTION ATURN OVER

Art museum installation view Henry Moore, Standing Figure, bronze, 1950, 221 cm (height); © The Henry Moore Foundation (www.henry-moore.org/DACS), licensed by Viscopy, 2016

Outdoor installation view Henry Moore, Standing Figure, bronze, 1950, 221 cm (height) © The Henry Moore Foundation (www.henry-moore.org/DACS), licensed by Viscopy, 2016

Phot

ogra

ph: T

he H

enry

Moo

re F

ound

atio

n

2015 ART EXAM 6

SECTION B – Question 5 – continued

Question 5 (15 marks)Refer to page 3 of the insert. Use the cultural analytical framework to discuss the different ways in which the two artists have responded to the depiction of identity in art.Your answer must include reference to the artworks illustrated and to the ideas raised in both of the commentaries provided below.

Commentary on artwork 1: JM Crossland (born in England, migrated to Adelaide 1851), Nannultera, a young cricketer of the Natives’ Training Institution, Poonindie, 1854This portrait was commissioned by the head of the Poonindie Natives’ Training Institution in South Australia, where the portrait’s Indigenous subject, Nannultera, had come to live after being displaced from his homeland. The portrait was meant to demonstrate the institution’s success in ‘civilising’ the Aboriginal residents by making them adopt European manners and dress. Nannultera holds his cricket bat as if ready to hit the ball, but his stiff pose and sad expression suggest that he has not fully accepted the new identity imposed on him by colonial culture.

Commentary on artwork 2: Christian Thompson (born Gawler, South Australia, Bidjara people), Un-titled, from the series ʻEmotional Striptease̓, 2003This photograph depicts a self-portrait of a contemporary Indigenous artist holding a traditional Aboriginal hunting artefact in a pose that is similar to the previous work. The combination of historical artefact and contemporary clothing creates a tension between traditional and contemporary life, and between Aboriginal and non-Aboriginal culture. Thompson wears an old-fashioned ruff collar around his neck, perhaps indicating his continuing struggle with the history of injustice towards Aboriginal people. His forceful expression and framing within the black and red colours of revolution and resistance, however, suggest that he is strong and capable of expressing his identity in contemporary society.

SECTION B

Instructions for Section BAnswer all questions in pen in the spaces provided.

7 2015ARTEXAM

SECTION B–continuedTURN OVER

2015ARTEXAM 8

SECTION B – Question 6–continued

Question 6 (10marks)Theeditorofanewartjournalhasaskedyoutowritearesponsetotheartworkillustratedonpage4oftheinsertforpublicationinthejournal.Inyourresponse,refertotheartworkillustratedandtotheideasraisedinatleastoneofthecommentariesbelow.

Commentary 1‘Thedramaoftheworkisunleashedonlybytheviewer’sinteractionwithit…Soingrained1isourexpectationoftheimperativetolookbutnottouchwhenencounteringanartwork,thatthereissomethingdisorientingaboutapiecethatsoopenlyinvitesintervention.’

Source:BenjaminSecher,‘RiverbedbyOlafurEliasson,LouisianaMuseumofModernArt’, The Telegraph,28August2014

1ingrained –deeplylearned

Commentary 2‘OnequestionIkeptasking:Whyisitsoclean?Surelythisisamissedopportunity.Eliassoncouldhavehadalotmorefun,tossingtrashabout,perhapsmakingthespaceabitmoredangeroustonavigate,whilesimultaneouslyforging1avaluableandintriguingcommentaryonthepollutionoftheworld’srivers,thegradualpoisoningoftheearth’swatersupply,andotherpressingecologicalcrises.’

Source:TravisJeppesen,‘OlafurEliasson’,Artforum International,January2015,pp.230and231

1forging–creating

Commentary 3‘Eliasson’sexhibitionalsoquestionsthemeaningandexperienceofthemuseumitself,andthecomplexitiesoftherelationshipbetweentheartist,building,andviewer.’

Source:SadiaQuddus,‘OlafurEliassonCreatesanIndoorRiverbedatDanishMuseum’,ArchDaily(website),22August2014

9 2015ARTEXAM

END OF SECTION BTURN OVER

2015ARTEXAM 10

SECTION C – Question 7–continued

Question 7 (13marks)‘Anartworkmaycontainanumberofdifferentaspectsandlayersofmeaning.’

Discussthisstatementwithreferencetotwoanalyticalframeworksandoneartworkthatyouhavestudiedthisyear.

Nameofartist

Titleofartworkandapproximatedate

Analyticalframework1

SECTION C

Instructions for Section CAnswerallquestionsinpeninthespacesprovided.

11 2015ARTEXAM

SECTION C–continuedTURN OVER

Analyticalframework2

2015ARTEXAM 12

Question 8 (12marks)Discussyourownviewpointregardinganartissuethatyouhavestudiedthisyearwithreferencetoatleastoneartworkandtwodifferentpointsofviewexpressedincommentaries.

Artissuethatyouhavestudied

Nameofartist(s)

Title(s)ofartwork(s)andapproximatedate(s)

END OF QUESTION AND ANSWER BOOK

13 2015ARTEXAM

TURN OVER

Extra space for responses

Clearly number all responses in this space.

2015ARTEXAM 14

15 2015ARTEXAM

TURN OVER

2015ARTEXAM 16

Ananswerbookisavailablefromthesupervisorifyouneedextrapapertocompleteyouranswer.Pleaseensureyouwriteyourstudent numberinthespaceprovidedonthefrontcoveroftheanswerbook.At the end of the examination, place the answer book inside the front cover of this question and answer book.

SECTION A – continuedTURN OVER

1 2015 ART INSERT

Insert for Section A Questions 1, 2 and 3, and Section B Questions 5 and 6

Please remove from the centre of this book during reading time.

25.4 × 29.8 cm Jin Nong, Prune Tree Buds, ink on paper, 1757

40 cm (height), 28 cm (diameter)Michael Eden, The Wedgwoodn’t Tureen – Tall Pink Round, three-dimensional printing from a plaster/polymer material with unique, non-fired ceramic coating, 2009

Artwork for Section A Question 2

SECTION AArtwork for Section A Question 1

Phot

ogra

ph: M

icha

el E

den;

cou

rtesy

of A

dria

n Sa

ssoo

n, L

ondo

n

Phot

ogra

ph: T

he M

etro

polit

an M

useu

m o

f Art/

Art

Res

ourc

e/Sc

ala,

Flo

renc

e

2015 ART INSERT 2

END OF SECTION A

Artworks for Section A Question 3

85.5 × 80 cm Petrina Hicks, Jackson and Tiger, lightjet print, 2005

90 × 69.9 cm William Hogarth, The Painter and his Pug [self-portrait with dog], oil on canvas, 1745

Phot

ogra

ph: T

ate,

Lon

don

Phot

ogra

ph: P

etrin

a H

icks

/Stil

ls G

alle

ry, S

ydne

y

3 2015 ART INSERT

SECTION B – continuedTURN OVER

99 × 78.8 cmArtwork 1: JM Crossland, Nannultera, a young cricketer of the Natives’ Training Institution, Poonindie, oil on canvas, 1854

SECTION BArtworks for Section B Question 5

107 × 95 cmArtwork 2: Christian Thompson, Untitled, from the series ‘Emotional Striptease’ [self-portrait], Pegasus print colour photograph, 2003

Phot

ogra

ph: C

hris

tian

Thom

pson

/Gal

lery

Gab

rielle

Piz

zi, M

elbo

urne

Phot

ogra

ph: R

ex N

an K

ivel

l Col

lect

ion,

Nat

iona

l Lib

rary

of A

ustra

lia

2015 ART INSERT 4

dimensions variableOlafur Eliasson, Riverbed, water, blue basalt, wood, steel, foil, hose, pumps, cooling unit; Louisiana Museum of Modern Art, Humlebæk, Denmark, 2014

Phot

ogra

ph: A

nder

s Sun

e B

erg;

cou

rtesy

of L

ouis

iana

Mus

eum

of M

oder

n A

rt, H

umle

bæk

END OF INSERT

Artwork for Section B Question 6