2011

Visual Arts 1.4

AS 90021

‘Extend ideas in other media and

techniques.’

Credits: 4

McLean, D., 1988, Openings. 100 NZ craftsmen

Artists

Models

Trubridge, D., Offering II - figure Matai, elm crotches. . 100 NZ craftsmen

McWhannell, H,

1917 & China &

Sterling silver. 100 NZ craftsmen

Sutherland, W, ‘Hors dDoeuvre' cuttlefish & casting & found objects , 100 NZ Artists

Selwyn Muru,

‘Hows your

father?’

1984, painted

found objects

Fraser, J., ‘Ko Aoraki Te Maunga’ (Mt Cook is the mountain) 1988, 100 NZ Artists

Huffadin, Megan, 1988, Compassion, Mixed media drawing & Cabinet, 100 NZ Artists.

Gascoigne, Rosalie, Habitation, 1984, softwood compartmented, 100 NZ Artists

Gascoigne, R., Pink Window, 1974,, window frame, pink undercoat 100 NZ Artists

Whiting, C., 'Tawhiri-Matea' 1984

Harrison. 'Tane'

depicting the

separation of

Rangi & Papa

Matchitt, P.,

'Whanau a Apanui'

Aotea Centre, 1990

Gascoigne, R., c. 1970,

Homage to McCahon

Muru, S., '1984.

'Bird' painted found

objects, Maori artists

of the Sth Pacific,

NZ Maori artists

S, Muru, 'Waharoa' gateway to Aotea Centre in Auckland, 1990

Adams, Brendan,

1988, Factory

Earthenware and

steel, 100 nz craft

artists

Tunnel book

Student

work

2005

An example of student excellence 1.4

http://www.nzqa.govt.nz/qualifications-

standards/qualifications/ncea/ncea-subject-resources/visual-arts/visual-

arts-annotated-exemplars/annotated-exemplars-level-1-as90021/

• This sample is in the middle of the Excellence grade range

• The methods and ideas of Joseph Cornell have been sufficiently understood to enable the learner to generate a Pacific coastal outcome that integrates rather than imitates the work of the artist.

• The concept drawing and collage stages are then developed into a series of alternative three dimensional trials before embarking on the final assemblage.

• This collage/assemblage procedure is moved beyond creative play paradigms, by the use of annotations throughout the development sequence that clearly demonstrate the evaluative requirements of the first criterion for Excellence.

• Each stage of development is informed by a clear understanding of its particular purpose within the developmental sequence. The concept drawings investigate layout and choice of objects, while the montage/assemblage stages explore colour and technical issues.

• A degree of visual cohesiveness has been created by this careful selection of objects and appropriate application of shellac. The result is an aged craft effect that enables the work to operate as a single unified object.

• The technical finish demonstrates sufficient skilful use of media within the context of the assemblage convention and level six strands of The Arts in the New Zealand Curriculum document, as defined in explanatory note one of the standard.

The End