For all Queensland schools

2017 Senior External Examination

Visual Art Thursday 19 October 2017Paper Two — Question book 2:15 pm to 4:25 pm

Time allowed• Perusal time: 10 minutes• Working time: 2 hours

Examination materials provided• Paper Two — Question book• Paper Two — Response book

Equipment allowed• QCAA-approved equipment

DirectionsYou may write in this book during perusal time.Paper Two has two parts:

• Part A — Short response (attempt all of Question 1)• Part B — Extended response (attempt one question only of Questions 2, 3 or 4)

Part A and Part B are of equal value.

Suggested time allocation• Part A: 45 minutes• Part B: 1 hour 15 minutes

AssessmentPaper Two assesses the following criterion:

• AppraisingAssessment standards are at the end of this book.

After the examination sessionTake this book when you leave.

Planning space

ConceptThe concept for 2017 is Mapping.

The stimulus artworks on the following pages explore the concept of mapping literally or symbolically through the suggested focuses:

• Focus 1 — Journeys • Focus 2 — Landscapes • Focus 3 — Generations.

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Part A — Short responseRespond to Question 1 in 200–300 words. Write your response in the response book.

Question 1 ‘Yasumasa Morimura’s Blinded by the Light is a clear appropriation of Pieter Breugel’s Parable of the Blind. In close reference to the materials, techniques and art elements employed by both artists, we are able to understand how they communicate their ideas, feelings and effects in their artworks.’ (www.kibin.com)

Both artists map a story that expresses their ideas and experiences of a symbolic journey. Although these works have been created centuries apart, Morimura and Breugel explore similar ideas through the subject matter and compositional arrangement.

Your task:

• Identify the similarities and differences between these two artworks.• Describe, analyse and evaluate Morimura’s conceptual approach and how he has explored the

symbolic journey in a contemporary context.

3

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51parable: a short story, designed to convey some truth or moral lesson

Part B — Extended responseSelect one of the following three questions (either Question 2, 3 or 4) and write a response of 400–600 words. Write your response in the response book.

Either

Question 2 Artworks may visually represent real or imagined environments from the artist’s perspective. Contemporary artists Candy Jernigan, Susan Stockwell and Debbie Adele Cooper have all explored the concept of mapping through their interpretation of journeys. The interpretation of personal travel stories has been communicated through each artist’s use of media and techniques.

• Candy Jernigan’s journey was a personal interpretation of her daily travels around the streets of her home town in New York City. ‘Jernigan created haunting records of places and the things that used to exist there. Jernigan’s drawings, collages, paintings, and sculptures charted her daily life and movements, elevating everyday objects of catalogued beauty. Homing in on what is otherwise overlooked.’ (www.contemporaryartdaily.com)

• Susan Stockwell maps a global perspective of life’s journey. ‘Stockwell’s work is concerned primarily with transformation and with issues of ecology, geo-politics, mapping, trade and history. The materials used are the everyday, domestic and industrial disposable products that pervade our lives. Meticulously hand crafted, the benign sublime beauty in the work belies the devastating effects of our culture and our role in shaping it. Look more closely, and one is confronted by a cultural urgency of global proportions. Political and cultural colonisation, globalised waste and consumption are reconfigured by Stockwell’s work into a new, festering ecosystem of meaning that slowly seeps like the rising ocean level.’ (www.vam.ac.uk)

• Debbie Adele Cooper invites participants to combine their journeys to tell a story. ‘In an empty shop-turned-gallery a public photography exhibition grew day by day, as participants dropped in with their cameras and mobile phones to share their photographs with the city. What made the project engaging and unique was the room-sized Derby map which filled 3 walls of the exhibition space. Using instant photo printers, participants came into the space, printed their photo, attached it to a luggage tag, added text and location to the reverse and then physically nailed it to the wall. Participants loved the low-tech-meets-high-tech affair.’(www.debbieadelecooper.com)

Your task:

Analyse and interpret each artwork using the focus journeys and discuss how each artist has communicated their interpretation of mapping. Compare and evaluate the media, techniques and processes used to create each artwork.

6

Image 2A (above)Candy JerniganRoman Artifacts1991DrawingSize unknown

Image 2B (below)Susan StockwellPattern of the World2000Tea and coffee stains on dressmaking paper patterns180 cm x 120 cm x 2 cm

7

Image 2CDebbie Adele CooperMass Participation,Mapping Derby2015Size unknown

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or

Question 3 — LandscapesContemporary artists Jeremy Wood, Corriette Schoenaerts and Qin Ga utilises contemporary media and approaches to explore landscapes. Each artist’s approach to mapping the landscape is a unique and imaginative interpretation of the environment.

• Jeremy Wood’s art practice incorporates technology and his physical path through spaces to represent the landscape. ‘Jeremy Wood pioneered drawing with GPS to explore the expressive qualities of using his body as a geodesic1 pencil. His work responds to the ways in which maps can both inform and mislead us through their ability to state ideas that cannot be articulated by words alone.’(www.jeremywood.net)

• Corriette Schoenaerts uses clothing as contemporary media in photographic installations that create relationships between world maps and the landscapes of the home. The Amsterdam-based designer has developed an aesthetic built around colour. ‘I made this fashion installation for the traveling issue of Magazine magazine. Rather than showing the clothes on a body, I decided to be inspired by maps and other landscape elements.’(www.corrietteschoenaerts.com/all-projects/work/maps/4)

• Qin Ga uses his body as a canvas to map the landscape. ‘In 2002, China’s Long March Project embarked upon a walking visual display along the route of the 1934–36 historic 6000-mile Long March. Beijing-based artist Qin Ga tracked the group’s route in a tattooed map on his back. Three years later, the artist continued the trek where the original marchers had left off, accompanied by a camera crew and a tattoo artist, who continually updated the map on Qin’s back.’(www.artlink.com.au/articles/2013/qin-ga-miniature-long-march/)

Your task:

Analyse and interpret each artwork using the focus landscapes and discuss how each artist has communicated their interpretation of mapping. Compare and evaluate the visual language and expression used to create each artwork.

Image 3AJeremy WoodTransverse Me2007The University of Warwick campusdrawn on foot with 238 miles ofGPS tracks over 17 days 1:5000 scale,editions of 5 and 100Screen print on Somerset Satin White300 gsm paper51 cm x 76 cm

101geodesic: relating to the geometry of curved surfaces, in which geodesic lines take the place of the straight lines of plain geometry

Image 3A (close ups of drawing)Jeremy WoodTransverse Me2007The University of Warwick campus drawn on foot with 238 miles of GPS tracks over 17 days1:5000 scale, editions of 5 and 100Screen print on Somerset Satin White 300 gsm paper51 cm x 76 cm

(close up of drawing)

11

Image 3B Corriette SchoenaertsSouth America2005PhotographSize unknown

Image 3CQin GaSite 22 Mao Zedong Temple2005Tattoo on artist’s backLifesize

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Question 4 — GenerationsAnalyse and interpret each artwork using the focus generations. Discuss how each artist has communicated their interpretation of mapping. Compare and evaluate the use of symbolism in each artwork. Contemporary artists Céline Boyer and Hong Chun Zhang have mapped generations through the use of symbolism.

• ‘Céline Boyer was inspired by her own origins and mapping her family history. This evolved into an investigation of the family histories and origins of others. She invited people of different nationalities and backgrounds to share their memories and feelings. The results bear witness to their ancestors, roots and culture.’(www.celineboyer.com)

• ‘Hong Chun Zhang’s relocation from China to the US inspires works that map cultural difference across generations. The once ‘politically incorrect’ subjects, such as the non-authorised use of leaders’ images, became her first areas of concern. As a Chinese artist living in America, she felt it was necessary to use this challenging subject to release her feelings of being bound under the artistic restrictions of the Chinese Communist Party. The series Three Generations reflects the suffering and joy felt by both traditional and contemporary Chinese women (her grandmother, her mother and her). Her work symbolises how our physical as well as mental condition has dramatically changed through the generations.’ (www.hongchunzhang.com)

Your task:

Compare and contrast each of the artworks and discuss how the artist has used mapping generations to construct meaning for an audience. Justify your response through an analysis and evaluation of each work.

14

Image 4BCéline BoyerEmpreintes1

2011PhotographSize unknown

Image 4A omitted

151Empreintes: English translation is fingerprint

End of Paper Two

Image 4CHong Chun ZhangThree Generations: My Parent’s Shoes1998Ink and watercolour on rice paper51cm x 61cm

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Acknowledgments

Image 1A

Yasumasa Morimura (images obtained from http://blog.qagoma.qld.gov.au/we-can-make-another-future)

Image 1B

Pieter Breugel (images obtained from https://mydailyartdisplay.wordpress.com/2011/07/11/the-parable-of-the-blind-by-pieter-bruegel-the-elder)

Image 2A

Candy Jernigan (images obtained from www.contemporaryartdaily.com/2014/03/candy-jernigan-at-greene-naftali/cj014)

Image 2B

Susan Stockwell (images obtained from www.vam.ac.uk/content/articles/m/mapping-the-imagination)

Image 2C

Debbie Adele Cooper (images obtained from https://debbieadelecooper.com/2015/03/25/mass-participation-mapping-derby)

Image 3A

Jeremy Wood (images obtained from www.jeremywood.net/artworks/traverse_me.html)

Image 3B

Corriette Schoenaerts (images obtained from www.themorningnews.org)

Image 3C

Qin Ga (images obtained from https://sandnotations.files.wordpress.com/2013/10/4-qin-ga.jpg)

Image 4A

Omitted

Image 4B

Céline Boyer (images obtained from http://celineboyer.com)

Image 4C

Hong Chun Zhang (images obtained from www.hongchunzhang.com/three-generations-two-cultures)

All websites accessed March 2017.Every reasonable effort has been made to contact owners of copyright material. We would be pleased to hear from any copyright owner who has been omitted or incorrectly acknowledged.

© The S

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