Frames ConcFramewk Artmaking 1
Frames ConcFramewk Artmaking 1
Frames ConcFramewk Artmaking 1
ARTMAKING
The Frames
The following questions can be used to introduce students to the application of
the frames in art criticism, art history research and investigation, and in
negotiations with the teacher about art making.
ARTWORK
Material, physical, virtual
objects
Art, Craft, Design
2D,3D,4D / time based works
Representations of ideas
personal experience,
cultural views, symbolic
interpretations and
challenges to other ideas
AUDIENCE
ARTIST
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ARTIST
WORLD
AUDIENCE
What opinions do
audiences have about
the artist (Audiences
include critics)
How is the artist
positioned within the
world culturally and
geographically?
How has the artist been
influenced by his or her
experiences with the
world? What comments
is the artist making
about the world?
ARTWORK
ARTIST
WORLD
AUDIENCE
ARTWORK
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POSTMODERN
STRUCTURAL
CULTURAL
SUBJECTIVE
Artists may be
thought of as:
Artworks may
be thought of
as:
Audiences may
be thought of
as:
naturally talented,
geniuses, or
emotionally
compelled individuals
whose intentions are
shaped by the free
play of the
imagination.
records of emotional
outpourings, highly
evocative reminders
of personal memories
and experiences.
the realm of
experience, the
imagination, fantasy,
dreams, the
subconscious.
forms of cultural
capital that reflect
social, community
and cultural interests.
Artworks can be
exchanged,
commissioned,
purchased, collected,
preserved etc.
shared and
competing
community interests
and issues.
consumers, patrons,
sponsors, collectors,
critics, historians, and
the public. The value
of art lies in its social
meaning.
challengers of the
prevailing views
about what is of
value in art, and who
use parody, irony and
satire to expose
power assumptions.
configurations of
previous texts that
mimic, appropriate
and reinterpret other
ideas in art to reveal
paradoxical and
hidden assumptions
about what art is.
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Practice
Includes social structures, positions, actions, and sequences that affect the choices,
perceptions, directions, ways of working and views of those involved in the visual
arts. Students are introduced to the beliefs, interests and values circulating in the
visual arts and how they may proceed in their own work. Below are questions to
introduce to students to address practice outcomes. These questions arise in
teaching/learning activities, negotiations with the teacher regarding artmaking
Artmaking
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ARTMAKING PRACTICE
In art making, students need to understand the nature
of the practice of artists so that they can apply
acquired knowledge, skills and values to their own
practice. They should explore how artists make
selections and decisions, how they organise their
investigations, what actions or procedures they take
and what processes of selfevaluation and editing they
pursue.
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Sustained intentions
The intention or focus for art making can be of a
concept, idea, process, event, artist, theme, style,
artist, etc. This intention should be sustained through
a network of related activities, processes and
investigations.
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Artmaking practices
Expressive Form
Drawing
food paintings
monoprinting
lithography
digital printmaking
digital manipulation
collage
digital printing
website
authored DVD
interface design
storyboarding
2D animated sequence
3D animated sequence
filmed sequence
editing
Painting
Printmaking
Photography,
Digital Media, Film
& Video
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Expressive Form
Graphic Design
advertisement or poster
packaging design
miniature
clay sculpture
wood carving
vermiculite carving
plaster casting
utilitarian forms
spinning
weaving
sewing
batik / resist
shibori
ikat
felting
dyeing
recycled materials
wearables
soldered metals
beadwork
Sculpture
Ceramics
Jewellery
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References:
NSW Department of Education and Training (Date unknown)
Stage 6 Visual Arts: Key Concepts and Terms pp. 19, 22, 12-13, 14, 15
Downloadable from:
http://www.curriculumsupport.education.nsw.gov.au/secondary/creativearts/stage6/vi
sarts/index.htm
NSW Office of the Board of Studies (2000) Visual Arts Stage 6: Support Document
pp. 6
Rentz, Janet (2005) Conceptual Framework Matrix COFA, UNSW
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