Duration: 2 weeks

Overview

Students are introduced to the conceptual framework through analysis of practice by examining artworks and engaging in criticism.

Visual Arts 7-10 Syllabus © NSW Education Standards Authority (NESA) for and on behalf of the Crown in right of the State of New South Wales, 2003.

Content

The conceptual framework is used by students to explore the practice of artists within its holistic existence. Students will explore and investigate practice within a scenario that allows them to report their understanding of the frames.

Assessment

All activities require students to demonstrate their learning and are all assessment for learning activities.

Teaching and learning activities

Students will:

• read and complete the activities in The Conceptual Framework slideshow
• read through the Visual Arts Conceptual Framework posters (PDF 2.32MB)
• study, summarise and complete the tasks in the Interactive study guide to Visual Arts website.

Critical analysis

In groups of 4-5, students will

• select a specific frame – subjective, structural, cultural or postmodern
• research and feature the work of an artist addressing each section of the conceptual framework. Answering the questions
  • How was the artwork created?
  • Who is the Artist and what is their background?
  • Why did the Artist create this artwork?
  • What influenced the artist?
  • What is the Artwork (for example, a painting, sculpture etc)? What is the name and when was it made?
  • How does the artwork make you feel?
  • Identify the signs and symbols on the artwork.
  • Who is the intended audience?
  • What was the intentions of the artist and were they successful in portraying this to the audience?
  • Has the audience changed over time? Does the meaning change over time?
• write and present an innovative presentation listing their findings from above
• share with the class
• design an interactive game to be played on a mobile phone, based on the artist and artwork of their favourite presentation. The game must journey a character through the perspectives and frames of the artwork, showing their understanding of the conceptual framework
• paint, draw, animate or use a computer software of their choice, to design the story of their game
• present to the class.

Communicate

Written responses are documented and shared within collaborative discussion facilitated by the teacher.

Multimedia blog

Students are to:

• document the process of their artmaking within a journal. This can be their visual arts process diary, or an online blog through sites such as Google classroom.
• photograph or sketch the process used
• write a response to the process used following literacy structures, language forms and features, as seen in the DoE text type support document.

Differentiation

Extension

Students could:

• create a short film to about the conceptual framework and its role when analysing art.

Life skills

Visual Arts 7-10 Syllabus © NSW Education Standards Authority (NESA) for and on behalf of the Crown in right of the State of New South Wales, 2003.

Students could:

• with one piece of art in mind, cut out images in magazines that represent
  • the world
  • the artist
  • the artwork
  • and themselves as the audience
• share with the teacher.
• repeat the activity focusing on another artist.

Evaluate

Feedback is formative for the duration of the project.

This sequence and accompanying worksheets are available as word documents below.

1. The conceptual framework sequence (DOCX 51.58KB).

Reference list and resources

• Visual Arts 7-10 Syllabus © NSW Education Standards Authority (NESA) for and on behalf of the Crown in right of the State of New South Wales, 2003.
• Art smart, date accessed 09/03/18.
• Literacy structures, language forms and features date accessed 09/03/18.
• Slideshow defining the conceptual framework, date accessed 09/03/18.
• The elements of design date accessed 09/03/18.
• The frames and conceptual framework date accessed 09/03/18.

Duration: 3 weeks

Driving question

When does graffiti become art?

Overview

Students investigate the meaning of graffiti art through a study of online curation. Students are initiated into the practice of art historical and critical studies through exploration of the relevance and significance of their links to learning relating cultural context to meaning and change created through the art world.

Visual Arts 7-10 Syllabus © NSW Education Standards Authority (NESA) for and on behalf of the Crown in right of the State of New South Wales, 2003.

Content

By examining contemporary graffiti art, students will engage with aspects of the conceptual framework and the frames. Students will recognise the significance and relevance of art making within their day to day lives as an advocate for change.

Assessment

All activities require students to demonstrate their learning and are all assessment for learning activities.

Teaching and learning activities

Students will:

• view The joy of not being sold anything as a stimulus for a debate/ discussion as a class. Ask:
  • is this artwork? Moreover, what form does it represent? (performance art? Environmental art? Drawing? Painting?) Why/ why not? Discuss/ debate the above issues within the class to stimulate discussion.
  • What are the intentions behind the artwork? What does it mean? What is the subject matter? Discuss.
  • What is the most recent activity you can find on Banksy? Research the internet to see where Banksy has most recently produced work.
• plot the work of Banksy on a global map. Get students to investigate his contemporary practice by collecting images from across the globe. Pin the art locations to a map similarly to the website The Banksy tour.
• create a presentation to share with the class addressing his access to an audience internationally.
• create a pinterest page constructed of images from around the globe of Banksy’s work. Attach articles describing the artworks and write blog as seen in the examples below.

1. Most iconic examples of Banksy street art
2. Banksy in NYC

• Students will:
  • discuss the online audience and exposure to his work through this media
  • create a series of #hashtags that utilise metalanguage related to the artist Banksy that could be used to search his work.

Art Historical and Critical studies

Critical analysis

Students are to explore the driving question through critical analysis of performance art.

Students will:

• explore Banksy by answering the question: how does the media portray Banksy?

Historical texts use objective language in contrast to critical texts that show bias through subjective language.

• construct a table of two columns to identify and define the language features used in the blog posts above. For example:

• use the table above to identify examples when reading Who is Banksy?

• question: is this a ‘historical’ text or a ‘critical’ text? Justify the answer using the examples found in the table above.

Art historical and critical studies do not have to be written texts.

Students will:

• analyse the script Banksy, da vinci, and the art of protest. Engage with the text and content by answering in their process diaries:
  • What is the intention of this critical study?
  • How does the audience engage with the text?
• study the basic conventions of script writing. Write a documentary about Banksy. Using your script:
  • examine and identify any language forms and features.
  • create a Storyboard for your script. Consider camera angles, shots, effects and transitions. The My state film festival website has extensive links to resources to support film strategies for teaching and learning.
  • use a device to construct a film documentary. In preparation for this, timeline filming to organise shots for further editing using movie making software such as iMovie or Moviemaker.

Communicate

Written responses are documented and shared within collaborative discussion facilitated by the teacher.

Multimedia blog

Students are to:

• document the process of their artmaking within a journal. This can be their visual arts process diary, or an online blog through sites such as Google classroom.
• photograph or sketch the process used
• write a response to the process used following literacy structures, language forms and features, as seen in the DoE text type support document.

Differentiation

Extension

Students are to:

• explore the driving question by creating a mind map about current politics and agenda for media bias. They are to view the contemporary interactive work of Les Misérables by Banksy and use it as a stimulus to present a response.
• write a newspaper article about the political meaning behind one of Banksy’s artworks.

Life skills

Visual Arts 7-10 Syllabus © NSW Education Standards Authority (NESA) for and on behalf of the Crown in right of the State of New South Wales, 2003.

Students are to:

• cut and paste their favourite Banksy artworks into a word document
• write a short explanation of what artwork is their favourite and why
• using photoshop, change an image using the style stencil settings similar to Banksy.

Evaluate

Feedback is formative for the duration of the project.

This sequence and accompanying worksheets are available as word documents below.

1. Graffiti art lesson sequence (DOCX 53.73KB).

Reference list and resources

• Visual Arts 7-10 Syllabus © NSW Education Standards Authority (NESA) for and on behalf of the Crown in right of the State of New South Wales, 2003.
• The frames
• Literacy structures, language forms and features
• The joy of not being sold anything
• Interactive Map
• Banksy blog examples:
  • Banksy blog one
  • Banksy blog two.
• Critical Banksy study
• Banksy, da vinci, and the art of protest
• My state film festival
• Contemporary interactive work of Banksy.

Conceptual practice

Duration: 1-2 weeks

Driving question

How can we develop public art in NSW that reflects the concerns of our citizens?

Overview

Students investigate contemporary cultural art practices through the topic of public art. They will examine the stakeholders of Australian public exhibition spaces and the relationship between the artist and the world during the artmaking process.

Visual Arts 7-10 Syllabus © NSW Education Standards Authority (NESA) for and on behalf of the Crown in right of the State of New South Wales, 2003.

Content

Students will explore art practices through a current public art sculptural prize in their local community.

Assessment

All activities require students to demonstrate their learning and are all assessment for learning activities.

Teaching and learning activities

Students are to use their art journals to investigate and answer the driving question through a series of activities.

Suggested student learning activities include:

• explore the Biennale of Sydney either through an online or face to face excursion
• using examples from the Biennale of Sydney website, write a definition of contemporary installation
• research, write and define a list of jobs, roles and responsibilities they would need to complete to run a sculpture prize event successfully.
• design a local sculture prize event. Students can:
  • develop a fake social media page for the identity of someone working for their event. This can be done in photoshop or a website such as Fakebook
  • create an avatar for their character
  • list the avatar’s personal interests and professional qualities needed for the event manager’s position
  • create a job description and advertisement listing the roles and responsibilities required of the person responsible for the running of the exhibition.
• investigate and explore the different careers, and previous participants at the Biennale of Sydney website.

Critical and historical study skills

Conceptual practice

Conceptual practice is the ideas behind artmaking. It involves the process an artist uses when developing their art to communicate their intention and meaning to the audience. Those with influence in the process include practicing artists, stakeholders/patrons, curators and media frontiers who participate in formulating the conceptual strength and meaning with the artists.

Students will:

• case study a chosen artist from a current exhibition such as the Bieannle of Sydney or Sculpture by the seaand research a real world issue they have promoted.
• write an article for a visual arts journal that promotes the work of a specific artist for a target audience. Some suggested journals could be:
  • Art education Australia
  • National association for the visual arts
  • Art Australia

• debate the intentions behind the artmaking of a public artwork studied in class. Debate topics could include:
  • real world problems inform artmaking
  • artmaking can affect real world problems
  • artmaking is avant-garde to real world problems and reflects shifts in changing perspectives.

Communicate

Written responses are documented and shared within collaborative discussion facilitated by the teacher.

Multimedia blog

Students will:

• document the process of their artmaking within a journal. This can be their visual arts process diary, or an online blog through sites such as Google classroom.
• photograph or sketch the process used
• write a response to the process used following literacy structures, language forms and features, as seen in the DoE text type support document.

Differentiation

Extension

Students could:

• create a public art exhibition proposal for their local council or community. Students will need to consider the environmental, social or political concerns that are relevant to the contemporary audience by brainstorming and researching local interests.
• map out the proposed location, define the theme and create an advertisement to promote the idea.

Life skills

Visual Arts 7-10 Syllabus © NSW Education Standards Authority (NESA) for and on behalf of the Crown in right of the State of New South Wales, 2003.

Students could:

• look at a brochure for an exhibition (these can be found online, for example the Biennale of Sydney provides educational resources in pdf format. After reading, study the artists and their artworks and put them into categorises. For example, Aboriginal and Torres Strait Islanders, women, men, religious groups, etc...

Evaluate

Feedback is formative for the duration of the project.

This sequence and accompanying worksheets are available as word documents below.

1. Introduction to public art lesson sequence (DOCX 52.1KB).

Reference list and resources

• Visual Arts 7-10 Syllabus © NSW Education Standards Authority (NESA) for and on behalf of the Crown in right of the State of New South Wales, 2003.
• Sculpture by the sea
• Bieannle of Sydney
• Fakebook online
• Careers at the Bieannle of Sydney
• Literacy structures, language forms and features
• Art Education Australia
• National Association for the Visual Arts
• Art Australia Biennale of Sydney educational resources.

Duration: 2 weeks

Overview

Students investigate still life through art history and compare this to contemporary practices of the ready-made object. Students interpret their understanding of one genre and composition through their own art making.

Visual Arts 7-10 Syllabus © NSW Education Standards Authority (NESA) for and on behalf of the Crown in right of the State of New South Wales, 2003.

Content

Students study Dutch still life compositions. They will compare the Dutch composition to kitch and conflicting ideas when constructing their own composition.

Assessment

All activities require students to demonstrate their learning and are all assessment for learning activities.

Teaching and learning activities

Students will:

• watch the video Introduction to ‘Dutch Art’ (00:03:25) and answer the following question in your art process diary
  • Why is still life important for this period in history?
• watch the youtube analysis of Balloon Dog by Jeff Koons (00:04:19)
• complete the following activity comparing the two videos above
  • What does the Balloon Dog represent and why?
  • How does this artwork compare to the practice of historic Dutch painters?
  • What did they choose to represent and why?
• summarise the information and complete the activities in the Still life or Observation drawing presentation
• design and construct a still life drawing with ready-made objects
• read the information about the Rembrandt tart competition on the Art Gallery of NSW website
• make an infographic outlining the process for creating a still life composition using ready-made objects, for someone who has never done it before. Canva is a website which contains pre-made infographic templates that can be completed on any device, however, any design program can be used
• copy your infographic into your process diary blog, share and discuss.

Communicate

Written responses are documented and shared within collaborative discussion facilitated by the teacher.

Multimedia blog

Students are to:

• document the process of their artmaking within a journal. This can be their visual arts process diary, or an online blog through sites such as Google classroom
• photograph or sketch the process used
• write a response to the process used following literacy structures, language forms and features, as seen in the DoE text type support document.

Differentiation

Extension

Students could:

• create a still life installation that uses ready-made objects to portray a concept studied above.

Life skills

Visual Arts 7-10 Syllabus © NSW Education Standards Authority (NESA) for and on behalf of the Crown in right of the State of New South Wales, 2003.

Students could:

• photograph an item from home
• create a still life inspired art work based on that item
• discuss why they selected that item.

Evaluate

Feedback is formative for the duration of the project.

This sequence and accompanying worksheets are available as word documents below.

1. Installation lesson sequence (DOCX 51.81KB).

Reference list and resources

• Analysis of Balloon Dog by Jeff Koons, date accessed 27/03/2018.
• Rembrandt tart competition, date accessed 27/03/2018.
• Still life PowerPoint, date accessed 27/03/2018.
• Visual Arts 7-10 Syllabus © NSW Education Standards Authority (NESA) for and on behalf of the Crown in right of the State of New South Wales, 2003.
• Youtube introduction to ‘Dutch Art’, date accessed 27/03/2018.

Duration: 3 weeks

Driving question

What do artists create for a public audience?

Overview

Students investigate Aboriginal art to inform the practice of structural and cultural frame in art making through landscape painting.

Visual Arts 7-10 Syllabus © NSW Education Standards Authority (NESA) for and on behalf of the Crown in right of the State of New South Wales, 2003.

Content

Students follow the practice of contemporary and historical compositions by examining signs and symbols as a form of communication linked to cultural significance.

Assessment

All activities require students to demonstrate their learning and are all assessment for learning activities.

Teaching and learning activities

Before investigating Aboriginal art, consider your local community and their resources. Get in contact with the local Aboriginal education consultative group (AECG) and Aboriginal elders to organise visits and excursions.

Recommended reading

Before commencing this sequence, teachers are encouraged to read through the Protocols for producing Aboriginal Visual Arts written by The Australia Council for the Arts.

Investigating an Aboriginal artist

Students will:

• identify their local clan through the link on the Australian Museum website
• using the clan name, use the internet to locate a local Aboriginal artist
• write an artist profile of their chosen artist and present it to the class
• read and complete the exercises in the National Indigenous art triennial Culture Warriors handout by the National Art Gallery of Australia
• select another Aboriginal artist, research and complete the Research an Aboriginal Artist worksheet (PDF 4.3MB).

Article

Students will:

• read through the article 'Outside of the land, looking in': Van Gogh's Seasons through Indigenous eyes
• analyse the artwork provided in the article
• discuss what is included and excluded from the examples in the article?

Making skills

Painting

Students will:

1. look at the landscape by Albert Namatjira, Mt Hermannsburg Finke River c 1946-51
2. print out an enlarged colour copy of the artwork
3. identify the foreground, midground and background
4. study perspective within the art and complete the activities below in their books:
   1. What is the time and place of this image?
   2. What story does it tell?
   3. Construct a story told by the artwork of Albert Namatjira from an Aboriginal perspective.
5. write a story based on events that have happened in their local community
6. create a landscape that reflects their story and its intended meanings
7. view the Elements and principles of design slideshow
8. watch the following clips, noting the steps and instruction in their books
   1. How to prime a canvas
   2. Painting - Mixing Primary, Secondary, and Tertiary Colors
   3. Acrylics: How to Paint a complete Landscape with acrylics: Painting Techniques
9. How to draw & paint landscapes in perspective.

Communicate

Written responses are documented and shared within collaborative discussion facilitated by the teacher.

Multimedia blog

Students will:

• document the process of their artmaking within a journal. This can be their visual arts process diary, or an online blog through sites such as Google classroom.
• photograph or sketch the process used
• write a response to the process used following literacy structures, language forms and features, as seen in the DoE text type support document.

Differentiation

Extension

Students could:

• discuss and compare traditional forms of Aboriginal painting with contemporary practices of artists
• consider the different perspectives in landscape compositions to inspire and influence artmaking
• watch the video ‘Daniel Boyd interviewed in 2007 on 'We Call Them Pirates Out Here' from the MCA webpage and noting the information below
  • How are the views in this artwork different to a Western perspective?
  • What is missing from the artwork?
  • What is included?
  • What stories can be told by looking at the artwork through different eyes?

Life skills

Visual Arts 7-10 Syllabus © NSW Education Standards Authority (NESA) for and on behalf of the Crown in right of the State of New South Wales, 2003.

Students could:

• read and complete the activities in the Indigenous art PDF.

Please note - this resource is a South Australian publication and the works have no direct connection to lands in NSW.

Evaluate

Feedback is formative for the duration of the project.

This sequence and accompanying worksheets are available as word documents below.

1. Painting lesson sequence (DOCX 55.01KB)
2. Research an Aboriginal artist worksheet (DOCX 68.64KB).

Reference list and resources

• Visual Arts 7-10 Syllabus © NSW Education Standards Authority (NESA) for and on behalf of the Crown in right of the State of New South Wales, 2003.
• Clan names within coastal Sydney date accessed, 06/06/17
• Research an Aboriginal Artist worksheet (PDF 4.3MB)
• Protocols when using Aboriginal art within the Visual Arts date accessed, 06/06/17.
• The Guardian article date accessed, 06/06/17
• Albert Namatjira, Mt Hermannsburg Finke River c 1946-51, date accessed, 06/06/17
• Elements and principles of design within compositions slideshow date accessed, 06/06/17.

Elements of design within perspective drawing

Duration: 2 weeks

Overview

Students investigate traditional drawing practices through one and two point perspective focus using the elements and principles of design.

Visual Arts 7-10 Syllabus © NSW Education Standards Authority (NESA) for and on behalf of the Crown in right of the State of New South Wales, 2003.

Content

Students will learn about and use the En Plein Aire technique and style when completing an artwork, based on the environment.

Assessment

All activities require students to demonstrate their learning and are all assessment for learning activities.

Teaching and learning activities

Students will:

• read the information and study the image on the Gallery of NSW website titled Brett Whiteley drawing is everything
• complete the following activities
  • What do you see in the image?
  • Construct a narrative that describes what is happening in the drawing
• complete the Elements and Principles of Design slideshow and familiarise themselves with one and two point perspective drawing.

En Plein Aire Drawing

Materials required

• computer/phones/digital device
• A3 paper
• 6B Progresso pencils (an alternative will be acceptable).

Students will:

• watch the video titled How to draw one and two-point perspective, with Karl Gude (00:01:05)
• move into an area of their choice outside of their classroom, within supervision access of the teacher
• draw a one-point perspective of the landscape of that area, using the techniques demonstrated in the YouTube video above
• map out the lines of the perspective
• highlight the tones and textures in the shadows created from the natural light.

Communicate

Written responses are documented and shared within collaborative discussion facilitated by the teacher.

Multimedia blog

Students are to:

• document the process of their artmaking within a journal. This can be their visual arts process diary, or an online blog through sites such as Google classroom.
• photograph or sketch the process used
• write a response to the process used following literacy structures, language forms and features, as seen in the DoE text type support document.

Differentiation

Extension

Students could:

• use an electronic device to capture an image of a one or two-point perspective that demonstrates at least two elements of design and two principles
• write a description of the shot explaining how these aspects are captured and work together within the composition
• construct a representation of their image from a different perspective, such as aerial or the Brett Whiteley artwork investigated earlier.

Life skills

Visual Arts 7-10 Syllabus © NSW Education Standards Authority (NESA) for and on behalf of the Crown in right of the State of New South Wales, 2003.

Students could:

• rule an A3 page into four
• watch the video Continuous line drawing (00:03:35)
• attempt 4 continuous line drawings within the timeframes of
  • minute
  • minutes
  • minutes
• expand them into a larger artwork, using a variety of materials.
• answer the questions similar to
  • Today I practised continuous line drawing. It looked at linear perspective. I found this easy/ difficult because it required me to… (describe how you did this style of drawing) …
  • I was able to improve my drawings by…. (explain what you did differently each time to improve) …
  • Linear perspective requires a horizon line and focal point. What is a horizon line and a focal point?

Evaluate

Feedback is formative for the duration of the project.

This sequence and accompanying worksheets are available as word documents below.

1. Drawing lesson sequence (DOCX 53.33KB).

Reference list and resources

• Visual Arts 7-10 Syllabus © NSW Education Standards Authority (NESA) for and on behalf of the Crown in right of the State of New South Wales, 2003.
• Continuous line drawing
• Art Gallery NSW - Brett Whiteley
• Perspective drawing.

The task

Through the subjective, structural and cultural frameworks create a sculptural self-portrait using the additive approach. Use newspaper, plaster bandages and clay to make a bust and head. Paint the outside of the sculpture with acrylic paint.

The sculpture will be influenced by the sculptural portraits of Chinese artist Ah Xian. The sculpture produced should:

• have similar physical characteristics to yourself
• be painted with patterns and/or symbols reflective of your personality/self
• be documented in your visual arts process diary.

Practices

There are three practices. These include:

• art making: vocabulary and understanding the process of additive sculpture, sculptural construction through paper, plaster bandages, clay and acrylic paint
• art criticism: series of questions in class based on the frames
• art history: research and investigation into western, Chinese and Indigenous cultures, artists' practice and sculptural self-portraits.

Sculpture requirements

The following are requirements for the task:

• Materials – sculpture must be made of newspaper, plaster bandages, and clay
• Size – roughly 40cm high x 40cm across (bust to the head)
• Four symbols and/or patterns painted with acrylic paint, reflecting your personality/self
• The sculpture must represent your physical form – your eyes, nose, mouth and so on.

Visual arts process diary requirements

• 3 detailed ideas/sketches of your sculptural bust and head
• 4 detailed ideas/sketches of your symbols/patterns and why they reflect your personality
• A3 page sketch of the sculptural bust and head with symbols/patterns explaining why you have chosen them
• 4 paragraph reflections on the process of making the sculptural self-portrait – explain what is working, how you have created your sculpture, changed your sculpture and how you could improve

Outcomes

A student:

• 5.3 makes artworks informed by an understanding of how the frames affect meaning
• 5.4 investigates the world as a source of ideas, concepts and subject matter in the visual arts
• 5.5 makes informed choices to develop and extend concepts and different meanings in their artworks
• 5.6 demonstrates developing technical accomplishment and refinement in marking artworks.

Visual Arts 7-10 Syllabus © NSW Education Standards Authority (NESA) for and on behalf of the Crown in right of the State of New South Wales, 2003

Teaching and learning activities

Marking guidelines