Monday, December 31, 2012
Student exhibitions...
Student involvement in exhibition preparation can include the development of exhibition advertising or associated promotional activities, exhibition catalogues and exhibition signage. Writing and evaluation activities could be undertaken by students on an individual basis, or within student study groups, thereby permitting negotiation and team planning activities.
Student exhibitions...
Students can learn to evaluate art exhibitions by participating in the development of exhibitions of their own work. They will have to consider the reasons for the development of a display, such as a special occasion or the presentation of work that examines a special topic or theme. They will also need to consider the importance of the exhibition venue and target audience for the exhibition.
Friday, November 30, 2012
Exhibition catalogues…
Student groups can also evaluate a group of different exhibition catalogues, comparing the use of page layouts, fonts, image reproductions and bindings.
Exhibition catalogues…
Student groups can analyse an exhibition catalogue during or after they visit an exhibition. They can evaluate the text, images in the exhibition catalogue in connection with the presentation of exhibits. They can also evaluate the design of the exhibition catalogue.
Wednesday, October 31, 2012
Galleries, museums and print media advertising...
Student analysis of print media materials related to galleries, museums and exhibitions could focus attention on the language in advertising used to promote the existence of a gallery or museum, or the advent of a specific exhibition or display. In addition to the actual language used, students could also examine the ways in which text is presented in advertisements. Reference could be made to the use of different fonts and font sizes, as well as font colours, italic print and bold print. Of course, students should also describe and analyse the relationships between the placement of print and imagery within advertisements.
Galleries, museums and print media...
Internet access to information related to galleries, museums and exhibitions is important, but print media can still provide valuable information for teachers and students. Teachers and students could collect and discuss advertisements and articles associated with specific galleries, museums and exhibitions, then use these collections as a basis for discussion groups and written analysis.
Sunday, September 30, 2012
Recording visits to a gallery or museums...
Students can record their responses to galleries, museums and exhibits by writing notes, producing sketches or, if permitted, taking photographs or recording sound or moving images.
Recording gallery or museum visits...
Students and teachers can record information and impressions of gallery or museum visits in a wide variety of ways. Caution should be exercised. Copyright restrictions should be considered, and students and teachers should not make comments that are defamatory.
Friday, August 31, 2012
Visiting crafts studios...
Visits to crafts studios are very valuable because they can
provide students with insights into the ways in which craft equipment has been set
up for use, and the ways in which crafts practitioners have organised the storage of
media or materials and tools, as well as records of works and exhibition
activities.
Visiting open artists' home displays...
The SALA (South Australian Living Artists) season provides students with opportunities to visit the homes of artists and view displays of their work. These opportunities provide insights into the links between artists' living environments and their ideas and techniques. A region, district or suburb, a streetscape, a garden and architectural forms may provide an artist with important element in their working life or ideas in art works. Visits to artists' home can provide information that is unavailable during visits to public or commercial galleries.
Tuesday, July 31, 2012
Gallery guides and internet access...
Gallery or museum visits and internet materials…
Students may wish to write about or discuss their reactions
to gallery or museum internet sites by comparing the material presented on
these sites to the experience of visiting the actual gallery or museum site.
Comparisons could be made between the two experiences and students could
evaluate their reactions to viewing a reproduction of an work or art, design or
craft and viewing the actual work or art, design and craft.
Gallery guides and internet access...
Gallery guides and internet sites…
Given the importance of internet site development within
private and public galleries, it is important that teachers, parents and
students develop strategies that will provide the most positive results for any
access to internet materials related to specific exhibitions or continuing
gallery programs. Teachers, parents and students should be aware that internet
access to galleries or museums can provide a very different set of responses to
an actual visit. Gallery or museum internet sites can be initially evaluated
through the use of criteria based on the use of web page design techniques, as
well as the complexity of information provided in each section of a web site.
Saturday, June 30, 2012
Exhibition visits and language or drama studies...
A visit to an art exhibition could be linked to coursework for language or drama studies. An art work could be used to provoke the development of poetry, prose or drama. Visual representations could spur students to develop writing that explores new characters, activities, places and ideas, emotions or moods.
Exhibition visits and history studies...
Visits to art museums and art galleries can be linked to formal courses in subjects other than art, design and craft. An exhibition of two-dimensional work depicting urban landscapes during a particular era could be linked to coursework for a history subject, or an exhibition of historical portraits could be linked to teaching that highlighted the importance of gender studies, biography and autobiography.
Thursday, May 31, 2012
Reviewing performance art represented through the use of digital media or film…
Recorded performance art...
If a performance art event has been presented through the use of digital media or film, describe the venue and lighting used to present the screening of the digital or film footage, as well as the physical relationship between the screening venue and the audience.
Why did the artist record the performance art event using digital media or film?
Has the artist used special digital or film techniques in order to record and screen the representation of the performance art event? If so, describe these techniques. Why have special techniques been used?
Has the use of digital media or film recording techniques been associated with the repeated screening of the performance art event? Has a continuous screening loop been used, or has the digital or film recording been screened at particular intervals?
Has the screening of the digital or film representation of the performance art event been linked to other features, such as written venue signs or labels, a catalogue or even a separate broadcast sound narration that precedes, accompanies or concludes the screening?
If a performance art event has been presented through the use of digital media or film, describe the venue and lighting used to present the screening of the digital or film footage, as well as the physical relationship between the screening venue and the audience.
Why did the artist record the performance art event using digital media or film?
Has the artist used special digital or film techniques in order to record and screen the representation of the performance art event? If so, describe these techniques. Why have special techniques been used?
Has the use of digital media or film recording techniques been associated with the repeated screening of the performance art event? Has a continuous screening loop been used, or has the digital or film recording been screened at particular intervals?
Has the screening of the digital or film representation of the performance art event been linked to other features, such as written venue signs or labels, a catalogue or even a separate broadcast sound narration that precedes, accompanies or concludes the screening?
Reviewing performance art...
The performance art event…
Describe any themes or subjects represented through the use of performance art.
Describe the nature of the performance art event. Describe the performers, their appearance, the use of any props, lighting effects and the performance venue, the length of time taken to present the performance, and the use of any sound effects or any music that precedes, accompanies or concludes the performance art event.
Describe the relationship between the performance art event and the audience. If the performance is a live event, are audience members close to the performer or performers? Is there any interaction between any performer and any audience member? If there is some form of interaction, describe the form of interaction and the length of time taken up by that interaction. Describe any other forms of audience reaction to the performance art event.
Describe any themes or subjects represented through the use of performance art.
Describe the nature of the performance art event. Describe the performers, their appearance, the use of any props, lighting effects and the performance venue, the length of time taken to present the performance, and the use of any sound effects or any music that precedes, accompanies or concludes the performance art event.
Describe the relationship between the performance art event and the audience. If the performance is a live event, are audience members close to the performer or performers? Is there any interaction between any performer and any audience member? If there is some form of interaction, describe the form of interaction and the length of time taken up by that interaction. Describe any other forms of audience reaction to the performance art event.
Monday, April 23, 2012
Reviewing subject representation…animals, birds, fish and insects...
Representing animals, birds, fish and insects…
Has the artist, designer or craftsperson highlighted particular linear elements, shapes and textures associated with the body of the animal, bird, fish or insect? How has the artist, designer or craftsperson depicted these elements or changes to these elements? Why has the artist, designer or craftsperson highlighted these elements or changes to these elements?
Describe the surrounds or the background in a representation of an animal, bird, fish or insects on display. Does the depiction of the animal or bird or fish or insect form dominate, or does the background feature more heavily in the composition?
Does the background consist of a monotone plane, or natural forms, or man-made forms? Describe the relationship between the background and the representation of the animal, bird, fish or insect.
If the artist, designer or craftsperson has intended the representation to convey a specific message or evoke a particular emotional response, describe the elements used to achieve this. If necessary, refer to the use of line, tone, colour, texture, scale and compositional techniques.
Has the animal, bird, fish or insect been depicted as a captive in a cage or a compound, or has the animal, bird, fish or insect been represented as a free creature?
Reviewing subject representation…animals, birds, fish and insects
Representing animals, birds, fish and insects…
Has the artist, designer or craftsperson depicted an animal, bird or fish or insect at rest?
Has the artist, designer, or craftsperson represented a creature capable of flight, or a land-bound creature, or a creature capable of swimming through fresh water or sea water?
Has the exhibitor developed an image of an animal, bird or fish or insect that shows or suggests subject movement? Describe any forms of movement suggested by the representation.
Has the artist, designer or craftsperson used a specific tonal or colour scheme in order to represent an animal, bird or fish or insect? Describe the use of tonal or colour changes.
Has the artist, designer or craftsperson concentrated on the depiction of a particular section if an animal, bird, fish or insect, such as the head, torso, limbs or in the case or birds and insects, the wings?
Has the artist, designer or craftsperson depicted an animal, bird or fish or insect at rest?
Has the artist, designer, or craftsperson represented a creature capable of flight, or a land-bound creature, or a creature capable of swimming through fresh water or sea water?
Has the exhibitor developed an image of an animal, bird or fish or insect that shows or suggests subject movement? Describe any forms of movement suggested by the representation.
Has the artist, designer or craftsperson used a specific tonal or colour scheme in order to represent an animal, bird or fish or insect? Describe the use of tonal or colour changes.
Has the artist, designer or craftsperson concentrated on the depiction of a particular section if an animal, bird, fish or insect, such as the head, torso, limbs or in the case or birds and insects, the wings?
Thursday, March 22, 2012
Reviewing subject representation...representing animals, birds, fish and insects...
Reviewing representations of captive, domesticated or wild creatures...
Has the artist, designer or craftsperson depicted animals or birds or fish or insects as the principal focus of two dimensional or three dimensional representation?
Describe the types of animals, birds or fish or insects represented in the exhibits.
Has the exhibitor produced a realistic representation or a representation that relies in abstraction techniques? Describe the depiction of animals, birds or fish or insects in the representation.
How has the artist, designer or craftsperson depicted an animal, bird or fish or insect skeleton or exoskeleton, as well as skin or fur or feathers or scales?
Has the artist, designer or craftsperson depicted animals or birds or fish or insects as the principal focus of two dimensional or three dimensional representation?
Describe the types of animals, birds or fish or insects represented in the exhibits.
Has the exhibitor produced a realistic representation or a representation that relies in abstraction techniques? Describe the depiction of animals, birds or fish or insects in the representation.
How has the artist, designer or craftsperson depicted an animal, bird or fish or insect skeleton or exoskeleton, as well as skin or fur or feathers or scales?
Reviewing subject representation...natural and man-made environments...
Reviewing representations of natural and man-made environments …
Has the artist, designer or craftsperson included depictions of human figures, land-based or water-based animals or birds or insects in a representation of a natural environment or a man-made environment?
Has the artist, designer or craftsperson highlighted specific plant forms as features of the representation of a natural or man-made environment?
Has the exhibitor highlighted a body of water or a water feature as an important element in the representation of a natural or man-made environment?
Has the exhibitor included man-made materials or objects, such as fabric, containers, implements, or vehicles in a representation of a natural environment or a man-made environment?
Has the exhibitor included man-made structures such as pumps, metal frameworks such as clothes lines or poles and towers, or even boundary fences in a representation of a natural environment or a man-made environment?
Has the artist, designer or craftsperson included depictions of human figures, land-based or water-based animals or birds or insects in a representation of a natural environment or a man-made environment?
Has the artist, designer or craftsperson highlighted specific plant forms as features of the representation of a natural or man-made environment?
Has the exhibitor highlighted a body of water or a water feature as an important element in the representation of a natural or man-made environment?
Has the exhibitor included man-made materials or objects, such as fabric, containers, implements, or vehicles in a representation of a natural environment or a man-made environment?
Has the exhibitor included man-made structures such as pumps, metal frameworks such as clothes lines or poles and towers, or even boundary fences in a representation of a natural environment or a man-made environment?
Thursday, February 9, 2012
Reviewing subject representation...man-made environments...
Representing man-made environments...interior views...
Has the artist, designer or craftsperson depicted the interior view of a built environment?
Describe the pictorial composition. Has the artist, designer or craftsperson highlighted specific linear elements or shapes?
Describe the use of perspective in the depiction of interior views of buildings.
Does the composition rely on special focal points?
Describe the representation of light, reflections or shadows in the interior scene.
Does the depiction of an interior of a built environment suggest a particular emotional tone or mood?
Does the depiction of an interior of a built environment convey a specific idea or message?
Has the artist, designer or craftsperson depicted the interior view of a built environment?
Describe the pictorial composition. Has the artist, designer or craftsperson highlighted specific linear elements or shapes?
Describe the use of perspective in the depiction of interior views of buildings.
Does the composition rely on special focal points?
Describe the representation of light, reflections or shadows in the interior scene.
Does the depiction of an interior of a built environment suggest a particular emotional tone or mood?
Does the depiction of an interior of a built environment convey a specific idea or message?
Reviewing subject representation...natural and man-made environments...
Representing natural environements and man-made environments …
Has the exhibitor represented a natural environment or a man-made environment in a realistic or photo-realistic manner?
Has the exhibitor used a particular form of perspective in order to depict the natural environment or a man-made environment? Has the exhibitor used Western Renaissance one or two point perspective, traditional Asian perspective techniques, or a multi-point perspective technique?
Has the exhibitor used abstraction techniques in order to represent a natural or man-made environment?
Has the artist, designer or craftsperson depicted patterns or optical illusions as a part of a representation of a natural environment or a man-made environment?
Has the exhibitor represented a natural environment or a man-made environment in a realistic or photo-realistic manner?
Has the exhibitor used a particular form of perspective in order to depict the natural environment or a man-made environment? Has the exhibitor used Western Renaissance one or two point perspective, traditional Asian perspective techniques, or a multi-point perspective technique?
Has the exhibitor used abstraction techniques in order to represent a natural or man-made environment?
Has the artist, designer or craftsperson depicted patterns or optical illusions as a part of a representation of a natural environment or a man-made environment?
Thursday, January 26, 2012
Reviewing subject representation...
Reviewing subject representation…Natural and man-made environments …
Has the artist, designer or craftsperson combined the use of media and distinctive application techniques in order to define lines, shapes and textures in the natural environment or a man-made environment?
Has the artist, designer or craftsperson attempted to use representations of natural or man-made environments in order to convey a distinct idea or message?
Has the artist, designer or craftsperson attempted to evoke a particular mood or emotional tone in these representations of natural or man-made environment?
Has the artist, designer or craftsperson emphasised the representation of weather patterns, such as dry or tropical heat, rain, fog, or snow in the exhibits?
Has the artist, designer or craftsperson attempted to depict specific atmospheric effects, such as steam or mist or a heat haze in the exhibits?
Has the artist, designer or craftsperson highlighted the representation of particular types of light, reflections and shadows in the exhibits?
Has the artist, designer or craftsperson combined the use of media and distinctive application techniques in order to define lines, shapes and textures in the natural environment or a man-made environment?
Has the artist, designer or craftsperson attempted to use representations of natural or man-made environments in order to convey a distinct idea or message?
Has the artist, designer or craftsperson attempted to evoke a particular mood or emotional tone in these representations of natural or man-made environment?
Has the artist, designer or craftsperson emphasised the representation of weather patterns, such as dry or tropical heat, rain, fog, or snow in the exhibits?
Has the artist, designer or craftsperson attempted to depict specific atmospheric effects, such as steam or mist or a heat haze in the exhibits?
Has the artist, designer or craftsperson highlighted the representation of particular types of light, reflections and shadows in the exhibits?
Reviewing subject representation...
Reviewing subject representation…Natural and man-made environments …
A visit to an exhibition may be motivated by an interest in visual representations of natural landscapes, seascapes, skies and man-made or built environments…
Does the exhibition feature representations of natural landscapes? Do these representations of natural landscapes also include man-made structures as details?
Does the exhibition feature representations of seascapes? Do these representations of seascapes include man-made structures as details?
Does the exhibition feature representations of man-made environments, such as cityscapes or industrial sites or port facilities? Do these representations feature natural forms such as plants or rocks or water as details?
Has the artist, designer or craftsperson concentrated attention on a particular angle or facet of the scene?
Has the artist, designer or craftsperson used naturalistic colour, or has the artist, designer or craftsperson used another clearly defined tonal or colour scheme, such as warm tones or colours, or cool tones or colours, or a monochromatic scheme? Has the artist, designer or craftsperson emphasised colour harmonies or contrasting colours?
A visit to an exhibition may be motivated by an interest in visual representations of natural landscapes, seascapes, skies and man-made or built environments…
Does the exhibition feature representations of natural landscapes? Do these representations of natural landscapes also include man-made structures as details?
Does the exhibition feature representations of seascapes? Do these representations of seascapes include man-made structures as details?
Does the exhibition feature representations of man-made environments, such as cityscapes or industrial sites or port facilities? Do these representations feature natural forms such as plants or rocks or water as details?
Has the artist, designer or craftsperson concentrated attention on a particular angle or facet of the scene?
Has the artist, designer or craftsperson used naturalistic colour, or has the artist, designer or craftsperson used another clearly defined tonal or colour scheme, such as warm tones or colours, or cool tones or colours, or a monochromatic scheme? Has the artist, designer or craftsperson emphasised colour harmonies or contrasting colours?
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