STUDIO ARTSWritten examination

Monday 10 November 2014 Reading time: 9.00 am to 9.15 am (15 minutes) Writing time: 9.15 am to 10.45 am (1 hour 30 minutes)

QUESTION AND ANSWER BOOK

Structure of bookSection Number of

questionsNumber of questions

to be answeredNumber of

marks

A 4 4 25B 3 3 24C 2 2 26

Total 75

• Studentsarepermittedtobringintotheexaminationroom:pens,pencils,highlighters,erasers,sharpenersandrulers.

• StudentsareNOTpermittedtobringintotheexaminationroom:blanksheetsofpaperand/orwhiteoutliquid/tape.

• Nocalculatorisallowedinthisexamination.

Materials supplied• Questionandanswerbookof12pageswithadetachableinsertinthecentrefold.

Instructions• Detachtheinsertfromthecentreofthisbookduringreadingtime.• Writeyourstudent numberinthespaceprovidedaboveonthispage.

• AllwrittenresponsesmustbeinEnglish.

At the end of the examination• Youmaykeepthedetachedinsert.

Students are NOT permitted to bring mobile phones and/or any other unauthorised electronic devices into the examination room.

©VICTORIANCURRICULUMANDASSESSMENTAUTHORITY2014

SUPERVISOR TO ATTACH PROCESSING LABEL HEREVictorian Certificate of Education 2014

STUDENT NUMBER

Letter

2014STUDIOARTSEXAM 2

SECTION A–continued

SECTION A

Instructions for Section AYoumayselectthesameartworkoradifferentartworkfromthedetachableinsertforeachquestioninSectionA.Answerallquestionsinthespacesprovided.

Question 1 (6marks)Selectoneartworkfromthedetachableinsert.

Artworknumber

Discusstheartist’suseofmaterialsandtechniquesintheartwork.

3 2014STUDIOARTSEXAM

SECTION A–continuedTURN OVER

Question 2 (6marks)Selectoneartworkfromthedetachableinsert.

Artworknumber

Describeconservationconsiderationsandmethodsinvolvedinstoringthisartwork.

2014STUDIOARTSEXAM 4

SECTION A–continued

Question 3 (6marks)Selectoneartworkfromthedetachableinsert.

Artworknumber

Discusstheroleofacuratorinpreparingthisworkforexhibitioninapublicgallery.

5 2014STUDIOARTSEXAM

END OF SECTION ATURN OVER

Question 4 (7marks)Selectoneartworkfromthedetachableinsert.

Artworknumber

Discusshowtheartisthasusedartelementstodevelopparticularaestheticqualitiesintheartwork.

2014STUDIOARTSEXAM 6

SECTION B–continued

Question 5 (6marks)Comparetherolesoftwo ofthefollowingartexhibitionspaces:• acommercialgallery• acommunityenvironment• avirtualexhibitionspace• anartist-runspace• analternativeartspace

SECTION B

Instructions for Section BAnswerallquestionsinthespacesprovided.

7 2014STUDIOARTSEXAM

SECTION B–continuedTURN OVER

Question 6 (10marks)Refertoartwork11inthedetachableinsert.Inthiscollaborativeartwork,MartinSharpandTimLewishaveappropriatedsubjectmatterfromAndyWarholandVincentVanGogh.

ExplaintheissuesrelatedtolegalobligationsandethicalconsiderationsassociatedwiththeuseofartworksbyWarholandVanGogh.

2014STUDIOARTSEXAM 8

END OF SECTION B

Question 7 (8marks)Discussthewaysinwhichoneartistyouhavestudiedthisyearhasexploredideasandcommunicatedmeaningsinoneartwork.

9 2014STUDIOARTSEXAM

SECTION C – Question 8–continuedTURN OVER

Question 8 (12marks)Discussthedifferentapproachestothepreparationandpresentationofartworksintwodifferentexhibitionspacesyouhavevisitedthisyear.

Exhibitionspace1

Exhibitionspace2

SECTION C

Instructions for Section CAnswerallquestionsinthespacesprovided.

2014STUDIOARTSEXAM 10

SECTION C–continued

11 2014STUDIOARTSEXAM

SECTION C – Question 9–continuedTURN OVER

Question 9 (14marks)Selecttwoartworksbydifferentartists.Analysehoweachartworkreflectsparticularinfluencesandculturalcontexts.

Artist1

Titleofartwork

Artist2

Titleofartwork

2014STUDIOARTSEXAM 12

END OF QUESTION AND ANSWER BOOK

1 2014 STUDIOARTS INSERT

INSERT FOR QUESTIONS 1–4 AND 6

TURN OVER

183 × 198 cm2. Juan Ford (Australian), Painting, phrenology

(abstraction), oil on canvas, 2004

71 × 40 × 95 cm3. Koji Ryui (Japanese), Self portrait looking at the work

of art, galvanised steel bin, wood, mirror, resin, stickers, installation view, Sarah Cottier Gallery, Sydney, 2008

213 cm wide1. Claes Oldenburg (American), Floor-burger (Soft Hamburger),

sailcloth and foam rubber, 1962

Due to copyright restrictions, this material is not supplied.

2014 STUDIOARTS INSERT 2

4. Film still from The Man from Laramie (1955), directed by Anthony Mann, written by Philip Yordan and Frank Burt, produced by William Goetz

6. Bamen Tomotsugu (Japanese), Armor of Gusoku type, lacquered iron and leather, shakudo, silver, silk, horse hair and ivory, Edo period (1615–1868)

51 cm high5. Stephen Bowers (Australian), Kangaroo hunt, North

Adelaide, hand-built, earthenware, underglaze colour, clear glaze, 2012; in Damon Moon and John Neylon, Stephen Bowers, Wakefield Press, 2013; private collection, Adelaide

Phot

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/Film

Stil

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ve

Phot

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rant

Han

cock

Due to copyright restrictions, this material is not supplied.

3 2014 STUDIOARTS INSERT

TURN OVER

20.5 × 15.5 cm9. Olive Cotton (Australian), Cardboard Design, gelatin

silver photograph, c. 1935

7. Tania Joyce (British), In the Beginning (part of a series called ʻThe Enchanted Journeyʼ), digital image

127 × 94 cm8. Lisa Roet (Australian), Chimpanzee Fist No. 2

(Ham), charcoal on silk paper, 2004

2014 STUDIOARTS INSERT 4

END OF INSERT FOR QUESTIONS 1–4 AND 6

21.5 × 51.5 cm10. Noel Counihan (Australian), City, linocut (printed by Neil Leveson), artistʼs proof,

edition 11/14, 1978; collection: Geelong Gallery, Sybil Craig Bequest Fund, 193; image by permission of Counihan Artworks Pty Ltd

117 × 91.5 cm11. Martin Sharp (Australian) and Tim Lewis (Australian),

Still life: (Marilyn), synthetic polymer paint on canvas, 1973; © Martin Ritchie Sharp/licensed by Viscopy, 2015