1 VISUAL CULTURE STUDIES EXAMINATION GUIDELINE GENERAL: Use full sentences and paragraphs. 10 marks equal about one page, but rather write too much than too little. No ‘bullets’. How should you approach the question? Confirm whether you are to “Discuss”, Compare” or “Analyze” and ensure you adhere to these instructions. Use the glossary to understand the meaning of the instruction. Compare means to refer simultaneously to both works. To ANALYSE means you must discuss the issue/work in great detail and break it down into small components. What is the main subject of the question e.g. politics and art. How are you limited? How much must you answer? Is it two specific works of an artist? Is it at least two? Underline these instructions on the paper. Look for specific issues of the questions which you cannot study and prepare for and which demand insight, opinion and interpretation. Use a basic essay format in your answer. A brief introduction which addresses the given question, the body in paragraphs and a conclusion. Be specific. Do not make personal judgments that are not justified with reasons. See that you really know the formal elements and design principles and apply them. Do not use informal language and slang. Use SHORT, well-structured sentences. Use the correct terminology. Tips: - Make a short diagram or “brainstorm” before you begin your answer (based on keywords in the question). - Plan your time – it is better to do ALL the questions in part, rather then four in detail. - If you run out of time, list the points, but do this alongside one another rather than beneath each other- this way it still appears to be paragraph format - Imagine that your marker knows absolutely nothing. Do not assume that anything is too simple or unimportant to discuss.
Questions usually consist of two parts:
1. Unseen artworks where you must apply your visual literacy skills. 2. Parts that you have studied.
2 Tips on answering unseen works: Study the captions – it provides the name of the artist, title of the work, date and medium. These are all clues to use. E.g. the medium is important – is it a sculpture, painting or drawing? You are not going to discuss the background of a sculpture. If it is a painting you can write about the style, brush strokes, etc. Carefully consider what you must discuss and see that you write on each of these – it is of no use only discussing colour and ignoring composition (depending what is asked). Usually what you must discuss in a work are important aspects of the work. Do not be obscure – a small vertical line in the background does not portray strength and power. Stick to the main elements. Meaning/interpretation – beware of unjustified stories without any relation to the artwork. The theme of the question is there to help you e.g. if it is for example on gender issues, you apply your knowledge of this issue to the unseen work. Beware of ‘sermons’ on social issues or religion that are not related to the work – women as slaves, etc.
The following is a guide on how one discusses an artwork.
1. LABEL INFORMATION Given with unseen works and is a clue for you. In works that you have studied, you must provide the surname of the artist and titles of works. Provide the medium – you may say it is a painting, but if it is a new/different medium name it e.g. Van der Merwe’s rusted sculptures or films by Kentridge.
2. DESCRIPTION Identify things that you can see – name and describe them. Ensure that your description is not evaluating, opinionated or interpreting – say only what you see. Describe the main objects in the painting and their position in relation to each other e.g. the cow is below the tree. Only mention what you can see with your eyes as if describing the work to a blind person. Subject: Is it a still-life, landscape, portrait study, etc.? Does the work belong to a specific art movement? This includes the instruction of ‘the visual appearance’.
3. DISCUSSION Technique This is not the medium, but how it was done? Is it smooth (like a photo), impasto, stippled, clear brushstrokes, collage, etc. Style Refers to naturalism, figurative, expressionism, abstraction, decorative works, stylization, etc. Beware of the incorrect use of abstract – if there are no references to reality then something is abstract. A work can be abstracted – a tendency to abstract shapes, but they are still figurative.
FORMAL ART ELEMENTS
The formal aspects are things that exist in an artwork. o Line When discussing line in an art work consider the following: Type (curvyed, straight, etc.) Direction (horizontal, vertical, diagonal)
3 Function (Contour lines, ddecorative lines, lines formed by objects in a painting, etc.)
o Shape When discussing shape one can speak about: Positive shapes- the actual positive image on which the eye initially focuses. Negative shapes- these are the spaces or shapes in-between the positive shapes Organic shapes- these are natural and curvilinear they look relaxed Geometric shapes- these are man-made and rectilinear they look formal A sculpture has form, is three-dimensional and has mass. The surrounding space is the negative form. Look at the shape of the work – does it penetrate space or is it a closed form?
o Texture When discussing texture one can speak about: Tactile texture- this is texture that can actually be felt – like the impasto paint used by van Gogh or the real texture in a sculpture. Implied texture- it looks as if it has texture e.g. the dog in the Arnolfini painting seems hairy, but is in reality very smoothly painted. Many painting use this technique to convince us of reality. The ultimate point in portraying visual texture is called trompe l’oeil, - the French term meaning ‘to fool the eye’, e.g. a mural that seems to be landscape.)
o Space When discussing space one can speak about: Actual space – this exists around forms and is real. Artists use actual space in the design and creation of three-dimensional art works. Real space – in three-dimensional works such as sculpture and installations real space is used e.g. the space between different parts of a sculpture/installation forms a part of the work. Two-dimensional works are created on a flat surface. Illusionistic space – to portray 3D objects on a 2D surface artist use illusionism. This is done by using the correct perspective (line and/or aerial) so that an object seems to exist ‘in’ the picture. In modern artworks the flatness of the canvas is often emphasised and space is flattened e.g. Pollock’s works.
o Tone When discussing tone one can speak about: Tone value indicates the light and dark areas of the content. When artists use variations of tone and sharp contrasts to indicate a light source in images, it’s called chiaroscuro e.g. Rembrandt. . Creating an atmosphere e.g. dramatic with large contrasts or soft when predominantly light tones are used. Tone helps to create atmosphere and feeling in an artwork. Create focal areas by contrasts. In painting tones of colour play an important role?
o Colour (study colour theory)
When discussing colour one can speak about: Look for the dominant colour in a painting and use the correct terminology e.g. it is mainly done in monochromatic blues creating a cool feeling. Use of primary and secondary colours. Use of complimentary colours (red and green. Blue and orange, yellow and purple) to create brightness. Use of tints, shades, colour intensity, etc. Psychological effects of colour – warm and cool. Also how colour creates space e.g. blue retreating in a painting.
4 How colour help to convey meaning e.g. the dark colours in Goya’s Third of May, 1808 helps to express the meaning. Colour can thus carry emotion, have symbolic meaning e.g. black for grief, convey an atmosphere, emphasize certain areas, etc.
o Pattern When discussing pattern one can speak about: The repetition of elements create pattern e.g. the tin roofs in Sekoto’s work. The function of pattern e.g. decoration, creating an atmosphere.
Art Principles o Composition: Has the picture been done on a horizontal, vertical or square format? Where is the focal point (main area of attraction) and why is it the focal point, e.g. all the lines in the work lead to it; it’s the brightest or dullest part of line picture, etc. Pick out the main geometric groupings as found in the work. Often the objects create a triangular composition. The composition could also be circular or square – this is seen through the main lines and groups in the work. Pick out the main geometric groupings as found in the work. Often the objects create a triangular composition. The composition could also be circular or square – this is seen through the main lines and groups in the work. Is the picture balanced (it normally is) if so – how? Symmetrically or asymmetrically? Discuss how various objects balance each other e.g. the big tree on the left is balanced by the two small cows on the right etc.
o Emphasis, contrast and focal points
Emphasis is created by contrast and isolation. Contrast is brought about through the contrast between design elements for e.g. a contrast in tone, or colour or shape etc. Are there contrasts in colour such as dull - bright, cool - warm, dark – light? Are there contrasts of shape, texture, movement, size, complexity – simplicity? Focal point is where your eye finally comes to rest. Explain why a certain element is the focal point e.g. use of perspective lines, etc.
o Scale and proportion
Both scale and proportion refer to size. A work can be on a large scale e.g. installations, earth art or be very small such as Vermeer’s Lace maker. In an artwork the scale of objects can sometimes be in consistent because the artist did not want to create a logical space. Proportion refers to relative size of objects, e.g. the parts of the human body. Artists distort proportions deliberately to create emotional statements. Proportion can ruin a painting if it seems that the proportions are faulty due to the inaptitude of the artist. On the other hand proportion can add qualities of shock, surprise and humour when used with skill.
o Balance Balance is the equal distribution of motifs or design elements. The work must be visually balanced on both sides. What creates the balance in the composition? Is the balance symmetrical - when something looks exactly the same on one side of a vertical axis, as it does on the other side? Symmetrical balance is used more often in architecture and sculpture than in painting.
5 Is the balance asymmetrical - balance is achieved with dissimilar objects that have equal visual weight, or equal eye attraction? Imbalanced can be used by artists for effect – it usually creates a sense of unease and even movement.
o Rhythm This concept refers to the movement of the viewers’ eye, across the surface of an image, picking up the recurrent motifs, providing the repetition inherent in the idea of rhythm. Rhythm is created by repetition, and creates a sense of movement.
o Atmosphere What feeling does the work creates – is it warm and crowded or empty and depressive? Atmosphere is conveyed by how the elements such as colour were used.
4. INTERPRETATION/MEANING/CONTENT Content has to do with the deeper meaning of the artwork – the message of the work. Contextual factors - the context of the work plays a big role in determining meaning – the biography of the artist, political and social situations, historical factors and/or physical place e.g. a work created during Apartheid South Africa. Influences, sources and inspirations also play a role. In grade 12 we work with specific themes that provide background on the meaning of specific works. Use the information gathered from your DESCRIPTION and DISCUSSION (ANALYSIS) to help you identify the CONTENT of works (what the artwork tells of the human experience). This is to do with the MESSAGE of the work. Defend your hypothesis with evidence from other sources such as art history, past experiences the work reminds you of, or presumed purposes: to praise, criticize, predict, record an event, make a political or social statement, ridicule, and so on. Look at the symbolic meanings where possible e.g. a dove meaning peace.
NB. Works of a more conceptual nature do not always fit
the above model. A guide is : Describe the work in detail e.g. Beuys sat on a chair with his face covered with gold leave... It is necessary to convey all the main elements of the work. Refer to the media – e.g. a performance captured on photos for documentation. Meaning – expand.
