Outcome 1

On completion of this unit the student should be able to explore the characteristics and properties of materials and demonstrate how they can be manipulated to develop subject matter and represent ideas in art making.

Examples of learning activities

Identify art forms, materials (including properties and characteristics) and relevant techniques

• As a class or in groups, select, identify and organise images from a broad range of both traditional and contemporary artworks from a range of art forms. The images could be printed or in digital form, but do not need to contain the didactic information. Consider providing prompts for the various groupings that the images could be sorted into. This could include art form, materials, techniques, contexts, and the manipulation of characteristics and properties.
• Work in groups to research varying art forms. Create mind maps under headings of art forms, materials, techniques, properties and characteristics. For example: printmaking; lino, copper plate, acetate, paper types; relief and intaglio; negative / positive and mark making; brayer, baren, editioning etc. Use visual thinking to unpack each art form further. Include appropriate terminology and visuals. These could be shared as a class resource through the school's learning management system.

Research and document the way artists explore and use materials and techniques

• Engage in thinking about how artists use materials and techniques by watching interviews from a diverse range of artists who work across art forms. Actively listen to how the artists discuss their experimentation, play and use of materials and techniques.
  
  • How does the artist(s) articulate and represent the relationship to the materials within their art making?
  • What choices and reasons are explained in their approach? What different approaches are observed?
    
• In your Visual Arts journal, create mind maps and use brainstorming that illustrates what you are hearing, learning and understanding.

Investigate the appropriate health and safety practices of art forms

• Locate the Material Safety Data Sheets (MSDS) for the materials that will or might be explored. Recognise and understand the information found on the MSDS for each material. Document key information into the Visual Arts journal. This could be through identifying and / or illustrating the safe handling and requirements through sketches, tables or annotated visual imagery.
• Identify and document environmental and sustainable practices associated with the material and art forms.
• Share and collaborate on a shared platform to build a community of knowledge. Use and promote this information within the ‘studio’ and the classroom context.

Formulate inquiry questions that will form the basis of the exploration of materials and techniques

• As a class, consider expanding on and using provocations from the Area of Study 1 inquiry question (How do artists use materials and techniques in their art making?) such as:
  
  • What materials and tools do artists use to explore and create artworks?
  • Have materials and tools changed over time?
  • Are there particular characteristics that apply to all art forms?
  • What associations does a material have and what are these?
  • How do we care for these materials, tools, and the classroom space?
• Document the preferred approach and methods in the care involved in art making when using this art form.
• Use thinking dispositions to help foster curiosity and inquiry prior to the exploration of materials and techniques. Use the Visual Arts journal to record the learning that has occurred to extend understanding when examining artworks by a range of artists.

Understand the characteristics and properties of materials in order to manipulate them

• Identify and describe the characteristics and properties of a material(s) as small groups or as individuals.
• Collect three artworks that use a material in different ways and analyse how the artist(s) has manipulated the material. Alternatively, document three different techniques using the material.
• Research appropriate art terminology to assist in your documentation of art making using this art form.
• Document your thoughts and attitude in relation to a material.
  
  • What does it remind you of?
  • When have you used this material before?
  • How have you seen it used before?
  • How do you think you could use this material?
  • How do you care for this material?
  • What can’t be done with it?
  • What potential do you see in it?
  • How can you use these insights to explore it further?

Explore the properties and characteristics of materials through different techniques

• Reflect and think critically when documenting the sequential steps of two specific techniques (refer to Ideas to support annotation in the Visual Arts journal).
• Choose two techniques in an art form to spontaneously explore and play to create an experiment.
  
  • What are the advantages and disadvantages that you have observed when being spontaneous and using approaches such as play, to learn about the characteristics of art making?
• Examine the differences and similarities of two different researched techniques in two art forms using a Venn diagram.
• Explore and emulate other artists' use of materials and techniques. Document these explorations in your Visual Arts journal.
• Create provocations to set up the exploration of a material and discuss in your Visual Arts journal. For example:
  
  • What are the conventions when using this material?
  • When can we; how can we; and why can we break from these conventions?

Develop technical skills

• Select one of the techniques previously explored in this Area of Study 1. In your Visual Arts journal reflect on the way in which the material was used.
  
  • How could the perceived failures be resolved?
  • How could the perceived successes be further enhanced?
  • In what way could these be used to represent ideas?
• Use metacognitive questioning to elicit greater reflection on the future development of the use of materials and techniques. Such as:
  
  • Did the material behave in the way that you had expected?
  • What surprised you about the material?
  • How would you use the material differently next time?
• Use informed decisions from the documented research, to develop skill, alertness and a greater inclination to develop within the material and techniques.

Use visual language

• In pairs, look at the explorations in the materials that were either facilitated through teacher demonstration or from individual explorations within a studio and classroom context.
  
  • Are there differences evident in the way in which the materials have been handled?
  • Are there any similarities in the approaches using the same material or same technique?
  • Describe and identify these similarities and differences.
  • Analyse how and why there may be differences.
• Analyse the art elements and art principles evident in the explorations within the techniques and material used. Engage with the explorations by visually annotating over and on the visuals. (Refer to Ideas to support annotation in the Visual Arts journal).
• Examine your explorations of materials and techniques.
  
  • What comparisons can you observe from traditional and contemporary approaches to the same technique or material?
  • How is the application of the materials and techniques influenced by context?
  • How do the material and techniques create, support or develop a visual language?
• Guide the exploration by placing some constraints (time, material, space, art elements and art principles, tools or the process), to examine the areas that fuel and sustain the inquiry and the boundaries of exploration.

Detailed example

Art Form Research Project

Materials and techniques can be related to a specific art form. Each art form has its own unique terms and associated language. For example, Painting, as an art form, is perhaps the most familiar and recognised in relation to the language and techniques employed by a painter. For example, brushes, paint, a stretched and primed canvas and a palette are most likely to be used by an artist in their studio. Other art forms such as digital media may have terms that are less commonly understood because they are part of new and ever-changing technology. Ceramics on the other hand has quite a long history, but it is very specialised as an art form.

This project is designed to help you become familiar with at least one art form that is intended to be explored in Unit 1. Present the following in your Visual Arts journal.

1. Select one art form and use the following as a guide for your research to write an introduction. Your research needs to be put into your Visual Arts journal. Please omit any of the headings below. This needs to be presented as your own work and not as a teacher-guided task. This means that you can be creative with both the layout and how far you want to take the task.

Introduction of 1–2 paragraphs. What is the art form? Why is it of interest to you? What is your experience with the art form?

2. History of the art form

Collect 3–5 visual examples that represent the historical development of the art form (from historical to contemporary times and from different contexts)

• Paste the images into your Visual Arts journal. Include dates and attributions if possible. Discuss why and how the art form was used in this time period.
• Use the following prompts: Consider if there were any technological advances within the art form. Investigate whether the art form has been used in a range of different contexts. What contextual influences are evident?

3. Analysis of the Materials and techniques

Choose a specific period in the art form's history that interests you and find a further 2–3 examples. Paste these into your Visual Arts journal and document the date and attributions.

Using the visual examples collected, identify evidence and annotate them using the following analysis questions:

• What materials were used?
• How might they have been applied?
• How might the materials have been manipulated?
• What effects have been created by using specific techniques?
• Consider the characteristics and properties of the materials. This refers to the material's traits or the way it behaves. Some traits often can’t be changed. Each material has subtle differences that you need to be aware of.
• Identify specific techniques you can find evidence of in the examples.
• What ideas are being represented through the manipulation of the material?What type of emotion, symbolism or idea may the artist have been trying to portray or communicate through these techniques?
4. Appropriate terminology

Create a comprehensive list / guide to the correct art terminology related to the art form and its associated materials, techniques and processes. Create lists, facts, examples of techniques, images of specific tools and any other equipment or resources needed for this art form.

Read art texts, art magazines and online art sites and pay attention to how the artists’ use of materials and techniques are crafted into the analysis of their artwork. Use the internet to find descriptions of how artists utilise various materials and techniques. It is also useful to read art reviews in which art ciritics analyse the use of materials and techniques in the work of practising artists. This kind of research not only develops your personal knowledge of the appropriate terminology but also expands your ability to analyse the use of materials and techniques in different artworks.

Outcome 2

On completion students should be able to make and present at least one finished artwork and document their art making in a Visual Arts journal.

Examples of learning activities

Responding to a set theme

• Select a small range of artworks that connect with the selected theme. Facilitate a group discussion using slow looking and thinking routines that are easily accessible from Project Zero (Artful Thinking | Project Zero (harvard.edu) or Visual Thinking Strategies (What is VTS? — The Thinking Eye). As a class, look closely into an artwork, without the teacher revealing didactic or contextual information. This will assist in offering the opportunity for exploring perspective, noticing detail, and building community. Students should lead the conversation by listening and asking questions.
• Create a class padlet that will allow for the visible participation of each student. Each member of the class posts a found image that reflects their initial ponderings on the set theme. The images they post are not what is liked or disliked about the theme, but what first comes to mind. Students respond via a post to each image posted. Responses to the image could include: ‘I wonder’, ‘This reminds me of’, ‘I see’, ‘This connects through…’.
• Create a class mind map to unpack the theme using an online platform such as jamboard, or another shared document, or large sheets of paper. This will present multiple perspectives and approaches to the set theme.

Development of technical skills and ideas

• Within a selected art form, explore two different materials and trial two different processes and techniques for each.
• Look for artists in the selected art form and / or whose work relates to the theme. Examine what your experience is looking at this work.
  
  • What does the artwork evoke? How?
  • What ideas do you perceive that the artist is inviting you to consider?
  • How has the artist used and manipulated materials and techniques to represent these ideas?
  • What similarities or differences to your use of materials, techniques and processes have you observed?
• Seek feedback. Share with the teacher, peers or family your art making. Art making is active and is expanded upon when feedback is sought. Habits can be formed through a routine so aim to schedule time each week to actively seek feedback on areas within your art making. For example: write a description of the materials that were manipulated to explore and represent specific ideas. Include visuals of your process so far. Share with your friend and make notes about their reaction and advice.
• Consider the visual language that is being developed. Take photos of the techniques from Area of Study 1. Look closely at the visuals in a row.
  
  • What do you notice about each consecutive experiment?
  • Where do you see specific techniques that communicate your ideas?
  • How can you further develop techniques in an artwork?
• Present teacher- or peer-led focus sessions for smaller groups in sharing an understanding of using specific materials or employing specific techniques. Use each member of the class.
  
  • What new and innovative approaches to a technique or material are occurring in the ‘studio’ or classroom?
  • How can we share, learn and build from the knowledge and experience of others?
• Recognise creative blocks, moments of uncertainty and the challenges often inherent to art making. To help expand upon decisions, resolve ideas, use of materials and specific techniques, use prompts and triggers for creative thinking. For example, use Oblique Thinking Strategies cards as prompts to support progression and new approaches within the same exploration. Such strategies can be used in moments of a process to help build skills in persistence and inclination. The class could make their own class set of prompts.
• Progressively evaluate the successes within your development. Select and document using photos / photocopies of the effective manipulation of techniques and the communication of ideas. Move away from ‘I like…’ by using teacher-led sentence starters to help guide insightful analysis.

Presenting and reflecting on a final artwork

• In the Visual Arts journal, write a reflective evaluation on the art making experience. Write a short artist’s statement to accompany the presented artwork. This statement provides context and insight in relation to the final artwork and the approach taken to the set theme.

  Consider how the materials and techniques connect to the ideas and meaning.
  How is visual language representing individual ideas on the theme?
  Refer to the researched terminology from Area of Study 1 to include in your evaluation of the making and presentation of the final artwork.

Detailed example

Reflection Statement and Artist Statement

On one Visual Arts Journal page, complete the following (3–4 paragraphs approximately):

• Reflect on your initial responses and early documentation on the theme. Discuss your interpretation of the theme
• Select two experiments and examine the application of materials, techniques and processes. How do they compare? Discuss the choices made that contributed to your final artwork. Where are these evident in the artwork?
• Think critically about how you approached the theme. Reflect on and analyse how the artwork communicates your ideas. Use evidence from the artwork to support your discussion.
• What did you learn in creating this artwork? Is the artwork what you imagined you would make? How so? What did you learn in this process? How might this influence your future artworks?
• Include a photo of your final artwork. Include relevant details. E.g.
• Name of the artist
• Title of the work
• Year of creation
• Materials
• Dimensions

• Write constructively and accurately about your final artwork, drawing on evidence from your artwork
• Avoid using terms that are vague or too broad unless you explain them further. Eg. Interesting, Effective, Unique. Be specific!
• Include adjectives wherever possible Eg. swirling vibrant beetroot pink brushstrokes
• Use appropriate terminology related to your art forms.

Write an Artists’ Statement for the school online newsletter or onsite presentation of artworks. Upload to the school LMS or email to your teacher

• Include basic information; Artists Name, Title, Date, Material / Medium, Description

First name SURNAME
Title
Date:
Materials used
Description

Some questions to consider for writing your description (100 words approx):

• What does your process and / or artwork look like? What is the subject matter? What is the title of your work? How does the title link to your interpretation of the theme? What elements or principles are most obvious in your work? Describe these.
• What material is your artwork made from? What tools, techniques or processes did you use to create your artwork?

What or who inspired your artwork? What is the big idea or provocations on the theme that the artwork is communicating?

Outcome 3

On completion of this unit the student should be able to research Australian artists and present information about them in a format appropriate for a proposed exhibition.

Examples of learning activities

• 
  Plan and participate in an on-site excursion or virtual visit to a chosen art exhibition / collection that includes artworks by at least three Australian artists and at least one Aboriginal and Torres Strait Islander artist.
• Access the chosen exhibition / collection of artworks via a guided tour.
• View an online video about the chosen art exhibition / collection.
• Document in the Visual Arts journal and reflect on the experience of viewing the exhibition / collection of artworks.
• Examine examples of art exhibition / collection publications such as catalogues, extended wall labels and room sheets.
• Undertake further research about the three chosen artists and their artworks.
• Arrange to meet the artist(s) and interview them about their artwork.
• 
  Present research in the form of a series of extended wall labels, poster, media release or oral presentation.

Detailed example

Visit an exhibition or collection and present information about three selected artworks by Australian artists

Research and choose an exhibition / collection for students to visit during Unit 1 that includes at least three artworks by the Australian Artists, including at least one Aboriginal and Torres Strait Islander artist. Many public, regional and university art galleries and museums host temporary exhibitions and / or hold collections of artworks that include works by Australian artists. Find out what is currently on display in the galleries, accessible behind the scenes and/or online. (Use the Art Almanac and VCAA VCE Art Making and Exhibiting exhibitions list for further information .)

Before the visit:

Prepare for the visit:

• Make contact with the venue before visiting. The size of the group may affect access. Plan ahead.
  
• Discuss outcomes for the visit with education staff at the venue beforehand to ensure you cover key knowledge and skills during the visit. Ensure that students are aware of the purpose of the visit and how it relates to the study design.
• Design a question sheet with the prompts below to address the key knowledge and key skills of Unit 1 Outcome 3.
• Be aware of etiquette and appropriate behaviour in a gallery space.

During the visit:

Document the visit with reference to the key knowledge and key skills for Unit 1, Outcome 3. This will include:

1. Considering the context within which each artist created their work and how this influenced the finished artworks.
2. Exploring how selected artists have used materials, techniques and processes to make their artworks.
3. Engaging with how selected artists have expressed ideas and communicated meaning within their artworks.
4. Explaining the strategies used by the arts organisation to develop a cohesive exhibition / collection of artworks by various Australian Artists including Aboriginal and Torres Strait Islander artists.
5. Detailing how the arts organisation has presented information about the selected artists and their artworks through associated exhibition / collection collateral, such as wall labels and texts, room-sheets, catalogue essays, online website links and education resources.
6. A glossary of terms related to the selected artists and the exhibition.

If undertaking an online or virtual visit, students must document the same information that is required for an on-site visit.

After the visit:

Students conduct further research about the selected artists and their artworks; then structure, consolidate and present information about the three selected Australian artists, including at least one Aboriginal and Torres Strait Islander artist, in a chosen format. Formats may include:

• illustrated introduction to the selected artworks for an exhibition catalogue or website
• series of extended wall labels or an exhibition room sheet for the three selected artworks
• media release promoting the selected artists and their artworks to local arts writers and critics
• recorded audio or video guide introducing the three selected artworks.

Outcome 1

On completion of this unit the student should be able to select a range of artworks from an exhibition and other sources to design their own thematic exhibition.

Examples of learning activities

• Plan and participate in an on-site excursion or virtual visit to a thematic exhibition.
• 
  Access a thematic exhibition of artworks via a guided tour either on-site or online.
• View an online video or education resource about a thematic exhibition.
• 
  Document and research the experience of viewing the exhibition artworks in the Visual Arts journal.
• Examine examples of art exhibition didactics and publications such as catalogues, extended wall labels and room sheets.
• Identify three artists from the exhibition and their artworks to research in more depth.
• Arrange to meet one or more of the exhibiting artist(s) and interview them about their artwork.
• Conduct further research via online collection databases, journals, books and the internet to identify three additional artists whose artwork relates to the theme of the exhibition.
• 
  Develop an exhibition proposal for a thematic exhibition including artworks from six artists (three from a thematic exhibition visited and a further three from artists whose work has been found through own research).

Detailed example

Research a thematic exhibition and present an exhibition proposal

Choose a current example of a thematic exhibition to visit for this outcome. Use the Art Almanac / VCAA annual listing for further information.

Before visiting the exhibition:

Prepare for the exhibition visit:

• Make contact with the venue beforehand. The size of the group may affect access. Plan ahead.
• Discuss outcomes for the visit with staff at the exhibiting venue beforehand to ensure you cover key knowledge and skills during the visit. Ensure that the students are aware of the purpose of the visit and how it relates to the study design.
• Design a question sheet addressing the key knowledge and key skills for Unit 2, Outcome 1.
• Be aware of etiquette and appropriate behaviour in a gallery space.

During the exhibition visit:

• Document the exhibition in relation to the key knowledge and key skills required for Unit 2, Outcome 1. This includes:
• Background information about the exhibiting artists and artworks on display
• The theme of the exhibition and why the artworks on display have been selected in relation to that theme
• Examples of relationships and connections between artworks within the exhibition
• The ways various artworks have been presented in the exhibition space with respect to the intention(s) of the artist(s) and context in which the artworks were made.

• If undertaking an online or virtual visit, students should document the same information that is required for an on-site visit.

After the exhibition visit:

Students identify three artworks they have seen during the exhibition visit for inclusion in a thematic exhibition they will develop for a selected exhibition space (hypothetical or one they have visited TBC). They conduct further research into the chosen theme of their exhibition and select three additional artworks related to the theme from other sources (such as catalogues, journals, online museum databases and artists' websites) to include in their exhibition.

Exhibition proposal

Students develop and present an ‘exhibition proposal’ in the form of a PowerPoint presentation for consideration by a hypothetical venue or exhibition space they have visited. The proposal should contain:

• Written information about the background of each of the six selected artworks and artists (including: the scale / dimensions of the artworks, the materials and art form they are made from, the context/s in which each of the works was made, ideas and meanings within the artworks, and the intentions of artists)
• A written justification of the selection of each artwork and how it relates to the theme of the proposed exhibition
• A detailed explanation of the connections between the six artworks (for example: thematic, material, aesthetic and conceptual relationships)
• A description of the chosen venue for the proposed exhibition and an annotated plan of the proposed exhibition space showing the design and placement of artworks in relation to one another
• An explanation of the proposed methods to display each of the six artworks (with reference to practical, aesthetic and ethical considerations for each artwork).

Students present their exhibition proposal to an audience of their peers and teacher(s).

Outcome 2

On completion of this unit students should be able to explore and progressively document the use of art elements, art principles and aesthetic qualities to make experimental artworks in response to a selected theme.

Examples of learning activities

Generate a theme

• The class generates a theme through a teacher-guided approach. Begin by curating a playlist of contemporary artists' interviews to watch as a class. While watching the diverse range of artists discuss their practice, make notes about where they find inspiration. Identify the themes that they are exploring.
  
  • What questions or reactions do the artists have in response to the theme?
  • Are there similarities in the way in which artists find and understand inspiration?
  • Discuss as a class the themes explored by these artists.
  • What is our relationship to the themes explored?
  • Are these evident in our context?
  • What themes are relevant and spark curiosity in us?
  • What questions does this theme evoke?
  • As a class, select a theme developed from the discussion.
• The teacher selects a theme that is accessible and inclusive. This could be place, connections, balance, systems, change, protest, power, sustainability or identity. Aim to guide students through the inquiry within the theme by facilitating multiple opportunities for them to increase engagement, uncover complexities and communicate with their peers. As a class, continue to explore the teacher's selected theme by using thinking dispositions routinely in art making.

Develop ideas and subject matter

• Take a photo of one of your sources of inspiration for your subject matter (this can be an object, person, or artwork that explores a similar subject matter) and paste it into your Visual Arts journal. Include didactic information. Annotate how you might use this influence as a starting point for your own subject matter in your art making.
  ‘Paintings are but research and experiment. I never do a painting as a work of art. All of them are ‘researches’. I search constantly and there is a logical sequence in all this research. That is why I number them. It is an experiment in time. I number them and date them. Maybe one day someone will be grateful.’ Pablo Picasso
  Collect quotes by artists talking about their art making processes and organise them according to:
  • subject matter
  • materials
  • techniques
  • processes
  • visual language
  • style
  • ideas
  • influences
  Use the quotes as guides for experiments and making artworks.

Art elements and principles, aesthetic qualities and style

• 
  Reflect on artists and their artworks investigated in Area of Study 1. Write a visual analysis of different artworks by these artists to inspire your art making.
• Create a library of artworks in your Visual Arts journal. Collect one artwork for each art element and art principle. This could be constrained to one art form or a range of art forms. Annotate how the art elements and art principles have been applied and describe the style of the artwork. This could be a collaborative task or an individual task. Include didactic information for each artwork.
• Share your experiments and progression in art making that have occurred so far. Using post-it notes or a printed feedback form, each student addresses the headings: Elements & Principles, Aesthetic, Style. Spend five minutes as individuals in a round-robin, looking silently at each other’s experimentation in the Visual Arts journal. Anonymously, identify and write down the most dominant art element, art principle, aesthetic qualities and style across the work presented. At the end of the cycle, reflect on what others observed.
  
  • Is there a commonality?
  • Do others’ observations confirm or readjust your own?

Experimental artworks

• Choose two materials that have different properties and characteristics. Sketch a proposed experiment for each material. Label the proposed techniques that will help to convey your idea based on the set theme. Annotate the reasoning and explain the relationship to the intended ideas to be represented. Take this further and create both. Once they are completed, annotate the changes that occurred in your ideas or use of materials.
  
  • Did the experiments reflect your initial sketch and how did the representation of ideas develop?
• Select three different combinations of art elements and art principles that connect with your approach to the theme. Use these three combinations to guide the creation of three experimental artworks in a selected art form.
  
  • How do the different combinations represent your ideas?
  • Reflect on and address which combination supported and represented your ideas on the set theme.
• Reflect on your exploration of ideas and examination of your artistic influences. Create a series of experimental artworks in the same art form that emulate the style or aesthetic qualities used by your artistic influences.
• Create a series of three experimental artworks where the main focus for each artwork is different. For example:
  
  • subject matter
  • aesthetic qualities
  • materials and techniques.

Evaluate

• Critically reflect on what has been achieved in each lesson. Use annotation in a similar manner as an exit ticket strategy. Make time in lessons for annotation and reflection. Teacher provides students with a bookmark for their Visual Arts journal that contains prompts, annotation sentence starters; a checklist of terminology; and reminders. For example, include a list of the art elements and art principles for students to refer to.
• Write a short evaluation in your Visual Arts journal on each of the experiments. Include written and visual imagery. Consider the inquiry and how you intended to approach the set theme. Evaluate how each experimental artwork has represented your ideas. Identify and discuss the strengths and the perceived weaknesses in each. Identify and describe how you might extend on or resolve the following:
  
  • use of materials and techniques
  • subject matter
  • style
  • visual language
  • representation of initial ideas.

Detailed example

How does an artist develop aesthetic qualities and style in artworks?

In your Visual Arts journal, investigate art elements and art principles, aesthetic qualities and styles of other artists.

• Refer back to the artists studied in Area of Study 1.
• Find one more artwork from two of the artists explored. Aim to select artworks that influence you.
• Paste into your Visual Arts journal and include all didactic information and attributions.
• Identify the aesthetic qualities of each artwork and extend this list by adding six synonyms. For example: Dark: sombre, ominous, morose, bleak, foreboding.
• Identify the two most dominant art elements. Visually identify these within each image. List four descriptive adjectives for each art element. For example: Line: meandering, inconsistent, or distinct, prominent.
• Identify the two most dominant art principles. Visually identify these within each image. List four descriptive adjectives for each art principle.
• Identify or describe the style. Make a few notes about how style is created or evident.
• Find an existing analysis in a review or text piece on any other artwork. Paste this into your Visual Arts journal. Highlight any references to art elements and art principles, aesthetic qualities, style, descriptive words or evidence. Remember that some areas may overlap.
• Craft a short, handwritten analysis (100 words) for each of the two artworks. In your writing, ensure each observation mentioned is coupled with evidence directly from the artwork being discussed. Aim to connect how the art elements have been applied using art principles. What look, feeling, mood or atmosphere has been created through these? How and what style is created? Use your written and visual observations from earlier steps to assist in the analysis.

In your Visual Arts journal, examine your art making and consider what aesthetic qualities, materials and particular techniques are most successfully reflecting your ideas. Complete the following on one page:

• Take a photo of one of your explorations that reflects the aesthetics you wish to use (look, mood, feeling, atmosphere). Paste into your Visual Arts journal.
• Paste in a photo that shows the art form and material that you will use to create a final artwork.
• Take a close-up photo of the technique you have used and paste it into your Visual Arts journal.
• Identify the art form and describe the materials and techniques you have used, using terminology where possible. Think about the characteristics of the materials and how you have used these.
• Describe how you have manipulated particular art elements and particular art principles within the exploration. Use adjectives.
• Describe the aesthetic qualities you are using and why this aesthetic helps to convey your ideas. Identify what your specific ideas are. Use selected examples from your experimental artworks.
• Identify how these aesthetic qualities support the representation of your ideas.

Outcome 3

On completion of this unit the student should be able to progressively document art making to develop and resolve subject matter and ideas in at least one finished artwork.

Examples of learning activities

Documentation in Visual Arts journal

• Select materials and techniques used in Area of Study 2 to further develop and refine. Annotate how you intend to enhance and improve on the technique. Refinement is not extreme but considered and selective in order to resolve. Connect your ideas of the set theme to the characteristics and properties of the materials.
  
  • How do the materials support your specific ideas?
  • Describe the technique and consider if the process used helps to convey ideas.
• Create a system for visually identifying areas in your art making that will be refined and further developed. Identify a range of areas for refinement. Aim to cover each of the Characteristics of Art making. For example: colour codes, headings or post-it notes.
• In small groups, conduct a feed-forward strategy session. Each individual focuses on providing feedback on a different area of another student's experimental artworks. For example, one student could address subject matter and another student might focus on visual language.
  
  • What do you see?
  • How does the experimental artwork make you feel?
  • What does it make you think about?
  • What do you think is effective?
  • What do you think could be further developed?
  • Feedback is to be pasted into the Visual Arts journal.
• Link and connect your artistic influences to your personal style through comparison.
  
  • Where is there evidence of artistic influences in your experimental artworks?
  • How will these support the representation of a range of ideas in your art making?
• Paste in three photos from Area of Study 2 that show how you have progressively developed your subject matter.
  
  • Identify and discuss what developments have happened and why.
  • What further refinement needs to occur prior to making an artwork?
  • Describe how your intended artwork will use subject matter to represent your ideas in response to the set theme.
• 
  Create a mind map that plans the intended artwork.

Create artworks

• Make an artwork in a specific art form that consolidates the learning from experimental artworks in Area of Study 2.
• Document the making of the artwork by photographing and recording key stages in the process. Make brief annotations to accompany the process of art making. Apply appropriate art language and terminology.
• Evaluate your artwork in your Visual Arts journal. Take a photo of your final artwork and include relevant didactic information. Use the following prompts in your evaluation and aim to support your thinking with evidence from the artwork.
  
  • Discuss your interpretation of the set theme.
  • Reflect on and analyse how your artwork communicates specific ideas.
  • Identify and discuss the refinement of your visual language.
  • What art elements and art principles were applied and to what effect?
  • Explain and evaluate how materials and techniques and aesthetic qualities were refined and applied in the artwork.Describe your style and state how it has been influenced by specific artists and their artworks.
  • Describe your style and state how it has been influenced by specific artists and their artworks.

Detailed example

Where to next?

In your Visual Arts journal, use a double page to create a mind map as a strategy to consolidate your art making.

In the centre of the page write the central word as ‘Artwork’. Label the following headings surrounding ‘Artwork’:

• Ideas and meaning
• Materials, techniques, process
• Art elements and principles
  
• Aesthetic qualities
• Subject matter
• Artistic influences
• Style
• Visual language.

Under each heading document ‘What, why and where to next?’

What is it? Why is it relevant or important? Where to with this?

How have you explored this area and how can it be further refined? Consider drawing arrows to link areas and make connections. Include visual images and notes to make your thinking visible and clear.

Ensure that each area of art making and the criteria are addressed.

Outcome 1

On completion of this unit the student should be able to collect information from artists and artworks in specific artforms to develop subject matter and ideas in their own art making.

Examples of learning activities

• Research and collate documentation in a Visual Arts journal that includes:
  
  • an exploration of at least three artists in a specific artform
  • development of ideas and visual language
  • exploration and experimentation of materials, techniques and processes
  • ideas and artworks developed from responses to sources of inspiration, experimentation and exploration
  • reflection on art making in personal responses.
• Research a specific art form to collect information about:
  
  • key terms and vocabulary
  • historic and experimental equipment and technical practices
  • properties of traditional and contemporary materials
  • essential processes.
    
  Connect the information collected to three artists with the selected art form using artworks by each artist to justify the connections.
• Generate a collection of images related to a specific theme to use as subject matter for experimentation and exploration of ideas and technical skills. The images could be photographs, found images, drawings or sketches. Position and organise the images in the Visual Arts journal with attributions that identify the source of the image or how the image was generated. Further annotation could explain how the image will be interpreted in art making.
• Identify and collect images of artworks that communicate the following aesthetic qualities:
  
  • anguish
  • bliss
  • comfort
  • despondency
  • indignation
  • pleasure
  • rage
  • resistance.
    
• Make an archive of images that represent past experiences in art making to identify common themes, artistic influences, subject matter and art forms that occur regularly in your practice. Use this evidence to facilitate a class discussion or presentation about the art form(s) and theme that can be explored as a starting point for art making.

Research of three artists

• Identify three artists and two significant (widely recognised) artworks by each artist. Research the artist’s process. Try to find reproductions of the artworks that show the artworks presented in a gallery space to understand the artwork’s scale and relationship to the environment. Make detailed notes in the Visual Arts journal about the artworks’ paying specific attention to the use of materials and techniques. Research information about the artworks that can be directly attributed to the artist. Research the artist’s intention – what motivated them to make the artwork? Then, consider and answer the following questions:
  
  • What does the artwork show or reveal about the artist?
  • Where do these revelations (biographical, cultural, political, economic, social) stem from?
  • Do the artworks convey similar revelations about the artist?
  • What is a consistent feature in the artist’s art making process and how is this reflected in their artworks?
• Each student in the class is allocated a universal theme, for example:
  
  • Abundance / scarcity
  • authority
  • beauty
  • coming of age
  • courage
  • family
  • freedom
  • friendship
  • heroes
  • love
  • loyalty
  • prejudice
  • pride
• Prepare a presentation that illustrates and explains how three artists have explored your universal theme using at least two artworks by each artist. The presentation should also address the specific ideas reflected in the artworks, the artist’s visual language and focus on a specific art form that you would like to explore in your art making. A print of the presentation can then be stored in the Visual Arts journal.
• 
  Identify three artists who can be connected by a theme and who work in the same art form. The artists that are selected for Area of Study 1 will be the same artists selected for Area of Study 3. Select two artworks by each artist and record the didactic information for each artwork. Explain how each artist has used art elements, art principles and aesthetic qualities to represent ideas. Use evidence from each artwork.
• Identify a set of technical skills that are related to specific art forms; for example, if the art form is painting, then the techniques might include colour mixing, tonal ranges, underpainting and glazing. Find examples of artworks by three different artists that illustrate each technique. Print and credit these artworks in the Visual Arts journal. Use the examples selected as benchmarks for experiments to reproduce the techniques identified earlier with a subject matter that will be explored during the art making process. Document and evaluate the results in the Visual Arts journal.
• Collect and organise written and visual information about any of the following artistic processes:
  
  • Chance encounters
  • Interferences and obstructions
  • Impressions and recollections
  • Routine activities
  • Rulemaking and breaking.
• Select three artists and two artworks by each artist. Use the questions below as a guide to collect information about each artist. Present the information collected in the Visual Arts journal.
  
  • Why did this person decide to become an artist?
  • What inspires the artist to make art?
  • Who are the artist’s artistic influences and how do they influence their artistic decisions?
  • What ideas and themes are recurrent in the artist’s art making?
  • What is the artist's context and how is this reflected in their art making?
  • What is the artist's working routine or art making process?
  • Where does the artist work?
  • How was the artist trained?
  • How many art forms does the artist use in art making?
  • Where does the artist find ideas for art making?
  • How does the artist conduct research?
  • How many artworks does the artist make at one time?
  • How long does it take for the artist to complete an artwork?
  • Does the artist work with assistants? If so, why?
  • What kind of studio does the artist use to make artworks?
  • How does the artist know when an artwork is finished?
  • Does the artist rework artworks after a period of time? If so, why?
• Identify a position within the binaries listed below and select artists and artworks that represent these forms of inspiration:
  
  • anger or pity
  • culture or nature
  • chaos or quiet
  • familiarity or mystery
  • fulfilment or frustration
  • joy or sorrow
  • humans or non-humans
  • past or present
  • production or consumption
  • relaxation or tension
  • war or peace
  • wealth or poverty.
  Present the research in the Visual Arts journal.
• Choose one of the following prompts to experiment with a range of materials, techniques and processes related to a specific art form to develop ideas for art making. Document and evaluate the experiments in the Visual Arts journal.
  
  • Visit a location that is important to you. At the location, make notes about the things you notice such as the temperature, terrain, landscape, animals / insects / people, architecture, trees, plants. Take photographs of the location and make audio recordings of the sounds to develop ideas for art making.
  • Interview three people and ask them to explain the last exhibition they visited. Use the notes from the interview to develop ideas for art making.
  • Choose five songs to listen to and make one drawing for each song to develop ideas for art making. The drawings commence and finish at the start and end of each song.
  • Interview three people about their dreams. Combine the descriptions of the subject matter in the dreams to develop ideas for art making.
  • Go for an Art Walk and take photographs of objects you find along the way. Organise the objects according to the art elements and art principles to develop ideas for art making.
  • Make a protest sign or banner without any recognisable text or symbols.
  • Create a series of objects that will exist outdoors. Place the objects in different locations and document their location using photographs. Invite friends and family to see the objects (if they haven’t already been removed) like you would when you visit a gallery. If an object has been removed, make a sign to indicate the object has been removed using a photograph that shows the original place the object occupied. Re-photograph the objects each time you visit the location and use a combination of audio recordings, photographs and written commentary to record each visit. Use the documentation to develop ideas for art making.
  • Find a series of didactic texts that describe artworks in a gallery or museum. Use the didactic information in each text to develop ideas for art making.
  • Make a sculpture using sound.
  • Collaborate with an Artificial Intelligence app to develop ideas for art making.
  • Use one sheet of paper to make a series of ten sculptures. Photograph each sculpture before commencing the next using the same sheet of paper as a starting point for art making.
  • Choose a colour and photograph variations of the colour in your environment. Use the photographs as starting points for art making.
  • Curate a display of everyday objects in your home or school and document the display using photography. Use the photographs as starting points for art making.
• Evaluation
  
  • What have I learned about myself during this project?
  • What did I do that helped me to learn? (This could be a teacher or someone in your class.)
  • What did I do? Did I produce the best work I could, or if not, what could I have done to improve?
  • What did I learn?
  • What did someone else do to help me to learn this?
  • How do I feel at the end of the project?
  • How did I feel during the project?
  • Did that affect my progress? What might have helped?

Detailed example

Finding Inspiration

1. Identify three artists who can be connected by a theme and work in the same art form. The artists that are selected for Area of Study 1 will be the same artists used for Area of Study 3.
2. Select two artworks by each artist. Ensure that information about the artists and artworks is easily accessible and reliable. For example, is the artwork part of a major museum collection? Can you find resources about the artwork on the internet or in books? For this task, it is important that information about the artist and artworks can be directly accessed.
3. Print high-quality images of the artworks and place them in the centre of separate pages in the Visual Arts journal.
4. Underneath each artwork, record the artist’s name, the artwork’s title, the materials used to make the artwork, the scale of the artwork and the date the artwork was created. Make a note of where the artwork was sourced for future reference.
5. Make annotations for each artwork in the form of mind maps to identify, analyse and evaluate:
   • the artist’s interpretation of subject matter
     
   • the artist’s use of art elements and art principles
   • aesthetic qualities
   • the artist’s visual language and style
   • the properties of materials, and the techniques and processes used by the artist
   • the artist’s personal experiences and how the artist has influenced their art making
   • communication of ideas and meaning.
6. Brainstorm ideas inspired by each artwork that will lead to experimentation and art making.
   
7. This task could also become a presentation that is shared with the class.

Outcome 2

On completion of this unit the student should be able to make artworks in a specific art forms prepare and present a critique, and reflect on feedback.

Examples of learning activities

• Prepare a presentation about Unit 3 art making to share with a group or class as a critique. Include all aspects of Outcomes 1 and 2. The presentation is limited to 10 pages from the Visual Arts journal, and at least two artworks.
• The presentation can be conducted in one of the following formats:
  
  • oral or written presentation with supporting visual evidence
  • annotated visual report
  • annotated poster or display
  • publication either in hard copy or online with written and visual material
  • presentation in a digital format such as an online presentation or videography with written and visual material.
• Gather feedback from the critique and reflect on it to further develop at least one artwork in Unit 4.
• Transform responses to artistic influences in the Visual Arts journal into a series of experiments that will lead to the development of at least two artworks in specific art forms.
• 
  Plan and make two artworks in specific art forms inspired by sources of inspiration, ideas, techniques and styles that have been refined from exploratory and developmental work in the Visual Arts journal.
• Use the following prompts as starting points to annotate experiments in the Visual Arts journal:
  
  • What is the intention of the experiment?
  • Provide a factual account of what you did / what happened (what, who, why, when, where, how, context).
  • How successful was the experiment?
  • How valuable was the experiment?
  • What did you learn? What didn’t you learn?
  • How did you feel about it?
  • What was the most difficult thing?
  • What was the most satisfying thing?
  • What would you do differently?
  • List the strengths and weaknesses of the experiment.
  • What does it all mean?
  • What if…?
  • Where to next? What are you going to do with this?
  • Identify a new set of key questions, priorities and directions for future experiments.
• Prepare a presentation to discuss the process of making two artworks using evidence from the Visual Arts journal.
• Present a critique to present to the class. The aim of the critique is to share ideas, reflect on and explain art making processes and collect feedback that will support the evaluation of at least two artworks.
• Discuss the development of ideas and visual language using evidence from the Visual Arts journal and at least two artworks to support the critique.
• Select and use exploratory and developmental work from the Visual Arts journal to make at least two artworks in specific art forms that demonstrate the refined application of materials, techniques and processes.
• Consider teacher’s suggestions of ways to define the nature and structure of a critique that will support the provision of feedback. Some approaches to feedback might include audio recordings, emails, proforma, rubric, or an entry on the Authentication record form.
• Discuss methods of progressively documenting art-making processes in the Visual Arts journal and take advice on how to effectively evaluate, organise and present written and visual information.
• Collect, review and collate feedback from the critique to strengthen and revise practices that will lead to further improvements in art making during Unit 4.
• Use specialised art terminology related to specific art forms in the documentation, discussion and evaluation of art making practices.

Detailed example

Making two artworks

1. Collect images that represent the most successful experiments presented in the Visual Arts journal.
2. Analyse the collection of experiments and ask the following questions:
   • What does each experiment have in common?
   • What is successful about the experiment?
   • What is deficient and needs improvement?
   • How can the experiment become an artwork?
   • What would the experiment look like on a larger or smaller scale?
   • Is the artistic influence in the experiment too obvious?
   • What is unique about the experiment?
3. After reviewing the experiments, define and record in the Visual Arts journal an intention for making two artworks.
4. Using the intention as a guide, select two experiments that reflect the ideas, aesthetic qualities and visual language that justifies the overall intention for the two artworks.
5. Commence making the two artworks. Document the Characteristics of Art Making for each artwork in the Visual Arts journal.

Outcome 3

On completion of this unit the student should be able to research and plan an exhibition of the artworks of three artists.

Examples of learning activities

• Plan and participate in a series of on-site excursions or virtual visits to a range of art exhibitions in various types of art spaces.
• Access the chosen exhibitions via guided tours with art industry education staff and / or personnel involved in curating, designing and presenting the exhibitions.
• Find out about the intention, development and presentation of each exhibition.
• View online videos and resources about the chosen art exhibitions.
• Collate relevant information about each exhibition in the Visual Arts journal.
• Examine examples of art exhibition / collection publications such as catalogues, collection databases, extended wall labels and room sheets.
• Apply knowledge about exhibition design and curating to plan an exhibition of artworks by three artists researched in Unit 3, Outcome 1 in a designated exhibition space during a School-assessed Coursework task.
• 
  Research a range of thematic exhibitions and investigate the characteristics of the exhibition, how the artworks in the exhibition are linked and the information provided about the artworks in the exhibition. Using this research design and plan an exhibition drawing on research.
  

Detailed example

Curate, design and plan an exhibition drawing on research

Select a number of thematic exhibitions to visit at galleries, museums, collections, online galleries, other exhibition spaces and / or site-specific during Unit 3. The spaces could be located in close proximity to one another or be guided by the interests of the students. (Use the Art Almanac and VCAA VCE Art Making and Exhibiting exhibitions list for further information .)

Before visiting the exhibition spaces:

Prepare for the exhibition visit:

• Make contact with each of the exhibition spaces beforehand. The size of the group may affect access. Plan ahead.
• Discuss outcomes for the visit with staff at each of the exhibition spaces beforehand to ensure you cover key knowledge and skills during the visit. Ensure that the students are aware of the purpose of the visit and how it relates to the study design.
• Devise a series of structured questions in the form of a matrix / handout addressing each area of the key knowledge and key skills foe Unit 3, Outcome 3.
• Be aware of etiquette and appropriate behaviour in a gallery space.

During the exhibition visits:

Explore each exhibition in relation to the key knowledge and key skills for Unit 3, Outcome 3. Encourage students to document their experiences and gather relevant information about the curatorial process including:

• characteristics of exhibitions
• characteristics of exhibition spaces
• roles and responsibilities of personnel involved in curating each exhibition
• thematic connections between artworks in exhibitions
• examples of didactic texts and information about exhibitions / artworks at each venue
• glossary of relevant terms in relation to curating and exhibition making.

If undertaking an online or virtual visit, students should document the same information that is required for an on-site visit.

After the exhibition visits:

Guide students to research and plan an exhibition of six artworks, identifying two artworks by each of the three artists they have researched in Unit 3, Area of Study 1 for inclusion. They apply appropriate curatorial principles and processes based on the understandings they have gained during their exhibition visits in a School-assessed Coursework (SAC) task.

School-assessed Coursework task: Plan a thematic, group exhibition

Create a series of structured prompts in a School-assessed Coursework task that addresses the key knowledge and key skills for Unit 3, Outcome 3 (see a suggested structure below). Students respond to the prompts to plan an exhibition design for a hypothetical exhibition space / exhibition space they have visited.

Part 1: Exhibition wall text

• Develop didactic introductory information about the theme of the exhibition, curatorial intention for the project and thematic connections between the six chosen artworks.

Part 2: Extended wall labels

• Present didactic information about each of the exhibiting artists and artworks in the exhibition.

Part 3: Exhibition design

• Define the chosen space / venue / context where the exhibition will be presented.
• Produce an annotated floor plan / sketch / digital visualisation of the exhibition design in the chosen space, documenting spatial, practical, aesthetic, environmental and ethical considerations for the presentation of each artwork and communicating the relationships between artworks.

Outcome 1

On completion of this unit the student should be able to refine and resolve at least one finished artwork in a specific art form and document the materials, techniques and processes used in art making.

Examples of learning activities

• Make at least one finished artwork in a specific art form that expands on the artworks completed in Unit 3. At least one finished artwork must demonstrate:
  
  • refinement of materials, techniques and processes explored in Unit 3, in a specific art form
  • extension and resolution of ideas and aesthetic qualities from Unit 3
  • resolution of visual language in at least one finished artwork.
• Use feedback collected in the Visual Arts journal to further develop and extend thinking about how to make at least one finished artwork in Unit 4.
• Present the documentation used to inform the art making in the Visual Arts journal, including the reflection and evaluation of the resolution and refinement of at least one finished artwork.
  
  • How does the subject matter reflect the central idea and theme of the artwork?
  • How does the subject matter in the artwork provoke or represent divergent ideas and support different interpretations?
  • How do the ideas in the artwork address and enhance the audience’s existing understanding and knowledge of the idea?
• Use the Visual Arts journal to record the process of making at least one finished artwork. The Visual Arts journal must:
  
  • document and evaluate art making in at least one artform
  • arrange and clearly label visual documentation
  • explain the connections between student-generated artworks and specific artists and artworks
  • provide visual documentation to explain the processes used for resolving artworks
  • present visual documentation and clearly label artworks
  • research the selection of student-generated artworks for display and the planning of exhibitions
  • consider the conservation and care of student-generated artworks in preparation for AOS 3.
• Document and explain the development and refinement of a specific skill using written and visual material in the Visual Arts journal.
• Collect visual and written material to document at least one finished artwork to explain and justify the refinement and resolution of:
  
  • aesthetic qualities
  • ideas
  • influences
  • inspiration
  • style
  • subject matter
  • visual language.
• Use visual documentation of at least one finished artwork to refine and evaluate the selection and application of materials, techniques and processes to justify decisions, identify challenges and propose opportunities for improvement.
• Identify and discuss connections between the artworks made in Units 3 and document this work in the Visual Arts journal. Identify specific information about how the artworks are connected through subject matter, ideas, aesthetic qualities, visual language, and style. Discuss how the development of skills in a specific art form and the use of materials, techniques and processes will contribute to the resolution of art making in Unit 4.
• 
  Write a reflective evaluation that addresses the inquiry question ‘How do artists refine and resolve artworks?’
• Write an artist’s statement (200 words, present tense, first-person) for a viewer in a gallery to read. At the top of the statement, include an image of the artwork and a credit line underneath the artwork that includes:
  
  • name of the artist
  • title of the work
  • year of creation
  • materials
  • dimensions.

  The artist’s statement needs to address:
  

  • the artist’s intention
  • use of materials and techniques in the artwork
  • ideas and themes explored in the artwork
  • aesthetic qualities in the artwork
  • influences of other artists and artworks.
• Use the Visual Arts journal to record and evaluate how the feedback has been responded to in art making in Unit 4.

Detailed example

Reflective evaluation

Answer the following questions to reflect on and evaluate at least one finished artwork in Unit 4. Present responses to the questions below alongside visual material in the Visual Arts journal.

• What was your artistic intention and how did you achieve it?
• How did you generate ideas for the artwork based upon the artworks completed during Unit 3?
• What influenced you when selecting an art form to make the artwork? Is it the same art form as for Unit 3? If not, why did you decide to change to another art form?
• Describe your process of making artworks. How has your process been influenced by an artist you have researched this year?
• What are the properties and characteristics of the materials used to make the artwork?
• How did you develop and enhance your skills in using materials, techniques and processes?
• What specific techniques did you need to practise in order to make the artwork?
• How did artistic influences help to develop ideas for your art making?
• How have other artists inspired or influenced your art making?
• What challenges did you encounter and how were these resolved?
• What ideas or suggestions did you get from critiques or other mentors and how was their feedback used to develop and resolve artworks?
• How would you explain your visual language?
• How has your visual language evolved since Unit 3?
• How did your manipulation and application of the art elements and art principles help you to achieve the aesthetic qualities in the artwork?
• How might viewers interpret the artwork?

Outcome 2

On completion of this outcome the student should be able to plan and display at least one finished artwork in a specific art form and present a critique.

Examples of learning activities

• Plan a display and present a critique to the class on at least one finished artwork. After the critique, use the written or verbal feedback collected and reflect on at least one finished artwork. Display at least one finished artwork considering the specific characteristics of the exhibition space and why the artwork should be presented in this environment. The exhibition space can be real or hypothetical. Use the Visual Arts journal to document the planning for the display.
• Plan for the display of one artwork for a specific exhibition space. The space could be one visited or a hypothetical one based on knowledge and understanding of exhibition spaces. Images of gallery spaces can be found online and used for a hypothetical space. The position, display conditions and size of the space needs to be determined. Document the planning of the display in the Visual Arts journal.
• Write a short statement that provides an overview of at least one finished artwork that defines the intentions and the artwork’s didactic information. Document the overview in the Visual Arts journal and use this information as a starting point to prepare a presentation for the critique.
• Prepare a presentation that will support the delivery of a critique that explains the thinking and art making. The presentation needs to address the following:
  
  • development of ideas
  • use of visual language
  • presentation of artwork
  • resolution and refinement of at least one finished artwork.
• During the critique, the class can ask questions to the student presenting, to support reflection and explain the decisions they made while making artworks.
• Compile a collection of images that demonstrates how artworks can be displayed in different exhibition spaces to communicate ideas and enhance aesthetic qualities. Use the information to consider how at least one finished artwork should be displayed. Prepare didactic information that explains the use of materials, techniques and processes and visual language. The didactic information will be displayed alongside the artwork in the space. Present all of the information in the Visual Arts journal.
• Select one artwork and discuss how the materials will deteriorate over time and what measures can be activated to delay their deterioration to extend the quality and longevity of the artwork. Use this information in the critique to demonstrate an awareness of conservation and care practices.
• Visit a gallery space to view a solo exhibition. Consider how the artist has presented their artworks to increase the overall unity and flow of the display, for example:
  
  • Are the artworks on the same or on a similar scale?
  • Does the artist use a consistent colour palette?
  • Is the subject matter and theme consistent in each artwork?
  • Are the artworks presented at the same height or level?
  • Do the artworks represent a consistent idea?
  • Do the artworks convey a similar message?
  • How is lighting used to unify the artworks on display?
• Identify the properties and characteristics of materials used to make at least one finished artwork. Record these observations using written and visual material in the Visual Arts journal to explain:
  
  • conditions required to display, transport and store these objects
  • changes that will occur to materials over time and in specific conditions
  • measures and processes used to delay and minimise changes to materials over time.
• 
  Explain and discuss the presentation of at least one finished artwork and include reference to any of the following considerations:
  

  • artwork dimensions
  • cases or cabinets
  • framing
  • floor treatment
  • hang height
  • lighting
  • plinths
  • wall colour
  • relationship to the exhibition space and other artworks
  • vitrines.
• Explain and illustrate how at least one finished artwork should be displayed, packed for transport and correctly stored. Provide detailed explanations and use step-by-step instructions, illustrations and images to show how the artworks should be, packed and unpacked prior to and after display.

Detailed example

Presenting artworks

Illustrate, explain and discuss the presentation of at least one finished artwork and include reference to any of the following considerations:

• artwork dimensions
• cases or cabinets
• framing
• floor treatment
• hang height
• lighting
• plinths
• wall colour
• relationship to the exhibition space and other artworks
• vitrines.

Finding a hypothetical gallery space to display the artwork

1. Collect images of empty gallery spaces from the internet.
2. Use images that are higher in resolution and can be imported into an image-editing program such as Photoshop.
3. Import selected images of the empty gallery space into the image editing program and place photographs of at least one finished artwork into the selected spaces to demonstrate how the artwork should be presented in a gallery.

Display considerations – lighting

1. Consider how lighting will affect the display of at least one finished artwork.
2. What lighting improves the appearance of the artwork and what type of lighting will create distractions?
3. How will the lighting temperature also affect the display of the artwork?
4. Record and document in the Visual Arts journal the ideal type of lighting that will complement the display of at least one finished artwork.

Extension activity

Use the images of a hypothetical exhibition space to make a maquette using foam-core or cardboard. Place the image of the finished artwork in the model to demonstrate how it will be displayed in space. Consider including images of artworks made during Unit 3 alongside images of artworks selected for study in Unit 3 Outcome 1 to create a model of an exhibition, alongside artworks that influenced the finished artworks. Document the maquette using photographs and place the images in the Visual Arts journal.

Outcome 3

On completion of this unit the student should understand the presentation, conservation and care of artworks, including the conservation and care of their own artworks.

Examples of learning activities

Exhibition research

• Plan and participate in on-site excursions or virtual visits to at least two art exhibitions and / or art collections storage facilities.
• Access the chosen exhibition and / or collection storage facilities via guided tours with art industry education staff and / or personnel involved in curating, collection management and installation of artworks.
• Research best practice methods and museum standards for the care and conservation of artwork while on display and in storage.
• View online videos and resources about conservation and care of artworks such as ‘Conservation at MUMA’.
• Collate relevant information in the Visual Arts journal about how specific examples of artworks and art forms are cared for and conserved.
• Develop a case study on the topic of conservation and care of artworks.

Exhibition making

• Artworks and their meaning are contingent upon where, when, why and how they are displayed. Often curators, and sometimes artists who position themselves as curators, determine answers to these questions with a specific audience in mind. The exhibition is a medium that presents objects and creates experiences in social spaces for audiences.
  Some questions to consider:
  
  • What is an exhibition?
  • What is the purpose of the exhibition?
  • What is the mission or vision of the exhibition space?
  • Is it a permanent or temporary display?
  • What is the curatorial rationale of the exhibition?
  • Who is your audience?
  • Is the exhibition online?

Exhibition types

• There is a range of exhibition types. These include:
  
  • Object-based exhibition: collections, recent acquisitions
  • Thematic: to tell a broad story about a topic or focus on specific parts of a theme to tell a specific story
  • Interactive displays: rely upon artworks that the audience will be able to touch and engage within the exhibition spaces
  • Group exhibitions: artists are often selected by a curator; this kind of exhibition can be linked back to the Western tradition of salon exhibitions of the late 18th and early 19th centuries
  • Retrospective: usually focused on a late-career artist to recognise their artistic practice
  • Survey: usually focused on one artist or a group of artists
  • Solo exhibition: focused on examining the practice of a specific artist
  • Biennial, Triennale and other forms of group exhibitions: large scale and ambitious exhibitions that seek to draw a large audience and are often supported by grants from the government as well as other philanthropic supporters.
  Question: What is the difference between a display, an exhibition and a show?
  

Exhibition display

• Colour
  How can colour influence the way artworks are viewed in exhibitions? Colour can help to organise artworks or suggest meaning, suggest cultural connections and context, and can be used purely for emphasis. The change of colour can help audiences understand that the narrative of the exhibition has changed.
• Museum floor plan and flow
  There are three types of floor plans used in a gallery:
  • Linear – cases and temporary walls can help direct the audience through an exhibition space.
  • Radial – a central display is used as a radial hub that creates loops that explore strands of central focus but ultimately return to the focal point. Think about the shape of the primary object in the exhibition.
  • Random – most audiences prefer a random exhibition design that allows them to wander around as they please.
  Activity: Make a model of the exhibition space and place small-scale replicas of your artworks in the space.
• Labels and wall text
  
  1. Way-finding signs: help audiences to navigate the space, and find entry and exit points within the exhibition.
  2. Donor / credit signs: exhibitions require the support and assistance of businesses and this is a method that the gallery can use to thank them for their support and assistance.
  3. Exhibition title: a large sign that the audience recognises as the title of the exhibition, often placed in the foyer or front of the exhibition.
  4. Section titles: Inside the exhibitions, titles and wall text can be used to navigate broad thematic areas.
  5. Interpretive labels: texts placed next to artworks that often contain information such as the artist’s name, the title of the artwork, materials used to make the artwork and the year the artwork was created.
• Writing interpretive labels
  
  1. Start with the object: What can be seen?
  2. Tie into the big ideas: What is the artwork saying about an issue or idea?
  3. Make sense on its own: Labels can be read out of order and any label in the exhibition may be the first label read by the audience.
  4. Keep it short: The label should be short enough to be read in ten seconds (i.e. about 50 words).
  5. Target the audience: Make sure you try to include as many visitors as possible. Young visitors might not remember significant cultural, political, social and economic events, so provide context.
  6. Text size and typeface: The preferred typeface is Times-Roman or Arial; however, some galleries and museums will invent their own typeface that is part of their brand identity. The smallest font size that should ever be used in a label in a gallery space is eighteen.
  7. Accession information: Written in a smaller font size at the bottom of the label and includes the accession number.
  8. Colour of labels: Use wall labels that complement the colours used in the exhibition. The most important thing is a contrast between the colour of the text and the ground it sits on. The audience should be able to easily read the Description.
  9. Alternative wall texts: We live in a world that assumes we are all similar. Consider how people with different needs access the information we are presenting and how we can better support more inclusive approaches to presenting information in gallery spaces.
  Activity: Choose a series of artworks and practise writing interpretive labels. They should be no longer than 50 words.
• Collateral material
  Exhibitions will often produce room sheets, floor plans, public program handouts and other forms of collateral material that will support the dissemination of events and information about the exhibition. Some common forms of collateral material include:
  • handouts
  • websites
  • audio tours
  • catalogue
  • apps
  • room sheets.
• Building an exhibition
  Some things you will need to consider when presenting artworks are:
  • Hanging systems and eye level
  • Exhibition cases (vitrines)
  • Barriers (protecting fragile artworks)
  • Mannequins
  • Object display mounting
  • Lighting
  • Wall colour.

Detailed example

A case study: Conservation and care of artworks

Select at least two exhibitions and / or collections to visit at galleries, museums, collections, online galleries, other exhibition spaces and / or site-specific spaces. The choice of venues for the visits could be guided by the artforms being studied by students. For example, students working with lens-based artforms might visit the Centre for Contemporary Photography (CCP) and students who are creating ceramic works might visit Shepparton Art Museum (SAM), while those interested in finding out more about a wide range of artforms might access the collection behind the scenes at Monash University Museum of Art (MUMA). (Use the Art Almanac / VCAA annual listing for further information.)

Before visits to the exhibition / collection spaces:

Prepare for the visits:

• Make contact with each of the venues beforehand. The size of the group may affect access. Plan ahead.
• Discuss outcomes for the visit with staff at each of the exhibiting venues beforehand to ensure you cover key knowledge and skills relevant to Unit 4, Outcome 3 during the visit. Ensure that the students are aware of the purpose of the visit and how it relates to the study design.
• Devise a series of structured questions in the form of a matrix / handout addressing each area of the key knowledge and key skills of Unit 4, Outcome 3.
• Be aware of etiquette and appropriate behaviour in a gallery space / collection storage facility.

During the exhibition / collection visits:

Explore both spaces in relation to the key knowledge and key skills required for Unit 4, Outcome 3. Encourage students to document their experiences and collect relevant information about the presentation, care and conservation of specific artworks and art forms including examples of:

• exhibition furniture and Invigilation practices
• art handling, transport, condition reporting and storage
• principles of material stability for different art forms and best practice for their presentation, care and conservation
• how lighting levels, temperature and humidity can affect the condition of artworks on display and in storage
• ethical and cultural considerations and protocols for the display, storage and handling of specific artworks, including works by Aboriginal and Torres Strait Islander artists
• balancing the intentions of artists with the conservation of artworks and access for audiences
• a glossary of relevant terms in relation to the care, conservation and presentation of artworks.

If undertaking an online or virtual visit, students should document the same information that is required for an on-site visit.

After the exhibition / collection visits:

Discuss and reflect on the visits and guide students to summarise and consolidate their understandings of the presentation, conservation and care of artworks. Encourage students to apply their knowledge of presentation, conservation and care of artworks to one of their own artworks.

School-assessed Coursework task: Plan a thematic group exhibition

Devise a School-assessed Coursework task consisting of a series of structured prompts that address the key knowledge and key skills for Unit 4, Outcome 3. Students develop a case study with written and visual material outlining the conservation and care of:

1. A selected artwork they have viewed during a visit to an exhibition / collection
2. The conservation and care of one of their own artworks.

Conservation and care of own artworks:

Prepare a condition report to plan and document the display for at least one finished artwork from Unit 4. A condition report is a detailed report used to document and monitor the physical appearance of an artwork. The condition report is used for information and insurance purposes and it is an important practice that exhibition spaces maintain before shipping, storing or exhibiting artworks. A condition report includes information such as:

• name of the artist
• title of the artwork
• number of the artwork (1, 2 or 3 etc.)
• date of writing the condition report
• orientation of the artwork (use an arrow to suggest the correct orientation for display)
• overall dimensions/duration
• short description of the artist’s intention
• description of the preferred display conditions for the artwork such as lighting, wall colour and floor treatment
• equipment needed to display the artwork, including exhibition furniture
• description of how the artwork should be packaged for transport and / or storage
• photographs / images of the artwork on display
• recto (front) / verso (back) – the information contained on both sides of the artwork
• file type for digital artworks and devices and equipment need to display the artwork.

To support the accuracy of the terminology used in a condition report, access a website such as the Australian Institute for the Conservation of Cultural Material to identify and select specific terminology related to the artwork. The format of the condition report should align with the art form of the artwork. For example, a condition report template for a painting will require the collection of different information compared to a video, sculpture or photograph. Present the condition report in the Visual Arts journal and refer to it during the critique.