WELCOME TO HSC VISUAL ARTS - General Education @ Gymea

We hope you enjoy your trip...
Jeff Soto (U.S. b 1975) The Last Voyage, acrylic on
wood, 180 x 150cm, 2010.
Some key Visual Arts Syllabus concepts we will look at are:
• Practice;
• The Conceptual Framework;
• The Frames.
You will become more
familiar with them as we
travel on…
JMW Turner (U.K., 1775-1851) Rain, steam and speed, oil on canvas, 91 x 121cm, 1844.
In the HSC Syllabus, ‘Practice’ refers to all
the content of this course. The course
• Art history;
• Art criticism;
• Artmaking.
These 3 aspects form the sides of the
Practice triangle.
Laura Moncur (U.S. b. 1969),
Practice, drawing, 2005
One side of the Practice triangle. We’ll spend time looking at the
historical background to contemporary art. All art looks back to
what has gone before. You will often find references to historical
artworks and compositions in contemporary work.
The more aware of art history you are, the more you can understand
and enjoy any art. An important Art history keyword for the HSC is
<<<Jack Duncan, The transition of human experience,
(Body of Work, 2012 HSC Visual Arts.) Crayon and
gouache on panel, 6 panels, each panel 20cm x 30cm.
Jack’s artwork is based on an
appropriation of the album cover
of ‘Dark Side of the Moon’ by Pink
Floyd (1973.)The artwork is by
English design group Hipgnosis.>>
The second side of our Practice triangle. Art critics interpret and
describe works for an audience.
Art critics have a (hopefully) good understanding of what the artist is
trying to communicate with an artwork. They have often either
spoken to the artist, or done research on them if the artist is dead
etc. They tend to have a good knowledge of art history, because (as
we know) this helps a viewer to understand art.
As part of Practice in this course, you will act as an art critic, which
involves critiquing artworks, including your own. You will also look at
some art critical writing, and critique that!!
The third side of our Practice triangle. It is made up of:
• Art you make yourself;
• Looking at other artist’s work: what they do; what materials,
technologies, or processes they use; why they may do it. As an
example, let’s look at the work of Australian sculptor Ron
Mueck, who produces amazing life-like sculptures of the human
figure, generally on an unusual scale.
Part 1:
Ron Mueck, (Aust.b. 1958)
Boy, 1999. Mixed media
including fibreglass,resin,
silicone, 490 cm × 490 cm ×
240 cm.
one of the tools we use when
dealing with Practice.
The Conceptual Framework
looks at the relationships
involved with art. David
Beckham can help us with
this...(who would have
Brainstorm: think about a Soccer game….it’s much more than just
one player and a ball.
The artworld is precisely the same. It’s not just an artist and an
artwork. There are many other relationships and connections
involved and each effects the other. We need to consider this. Each
of these circles is an agency in the artworld.
The Conceptual Framework:
agencies in the artworld.
Video: Public Art
While we watch, please consider the
Conceptual Framework and its agencies.
Listen carefully for comments on:
• Audience responses to various Public
• Commissions: - this means, employing an
artist to complete a certain artwork for a
specific site, generally after a call-out and
then a selection process. Often, a committee
chooses a certain artist to do the work. A
committee may include Council officers;
architects; developers.
• Note any particular artwork you find
Brett Whiteley (Aust.19391992) Almost once, timber
& fibreglass, 1968, approx.
metres high, outside Art
Gallery of NSW, Sydney

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