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Stage 5 Visual Arts Practice
Transcript of Stage 5 Visual Arts Practice
Students are combining the subjective aspects of relating to the world and engaging an audience. working in a subjective classroom Year 10 Art Practice Focus on experiencing the art world, reflecting and responding critically to art practice. The experience begins with a viewing of Sculpture by the Sea exhibition Students begin collecting and constructing sculptural works with the intention to exhibit in the school Art Gallery. In structuring the study of practice, we have refered to Dr Karen Maras' (ACU) research Practice as a personal pursuit, idiosyncratic intentions & interests, beliefs about ideal and expressive forms of art.
Artist develops intersubjective relationships with audiences through art that represents personal, intimate, imaginative, expressive meanings. Teaching becomes:
Intuitive and intersubjective ideas
About experience that is personal
Relationship based Subjective representation of Dadang's practice Relationship to materials Concepts about social injustice Personal response to victims of oppression Statement about inhumanity and a monument to collective grief and suffering A personal response to being witness to tragedies in Indonesia during the 1965-66 massacres. Processes of Practice Artmaking Assessment Task see handout students are creating a colllaborative work - 2 classes involved; teachers demonstrate techniques, but are incloved in deciding how to work together on establishing strategies and procedures during their artmaking. They reflect and make judgements, deciding as a class how to address the theme - bringing gifts relates to their own connection with the work of Dadang Christanto, as well as their compassion towards others ‘You are the salt of the earth…you are the light of the world’ Matt 5:13-14
Celebrating Who I Am Work Environments studio space that students occupy, in consideration with the exhibition that will take place not only in our Art Atrium, but also at ACU Body of Work is therefore a collaborative piece - each student has created a sculpture that carries a gift. The contents of the gift pouch are only known to the artist. working in a cultural classroom Practice dealing with ideological beliefs & intentions, ritualistic acts, routines & conventions that rest in tradition and history.
Audiences consume works representing socially significant ideas and theories that are shared and reproduced by the artist. Cultural interpretation of Dadang's practice Collaborations in making art: how did the artist create his work? What are the links with other artists? How is his work installed in a gallery? working in a postmodern classroom In structuring the study of practice, we have refered to Dr Karen Maras' (ACU) research ..it continues with a visit to the Bienalle of Sydney Teaching is about:
Negotiation of beliefs that are shared & debated
Social interests and relationships
Ideologies and social comment
In structuring the study of practice, we have refered to Dr Karen Maras' (ACU) research Ritualistic habit of installation and audience engagement Global shared ideas about oppression, violence and war Practice concerns subversion of dominant discourses by the recontextualisation of old ideas in new situations.
The artist as provocateur disrupts audiences’ assumptions about what art is or what is truth in meaning through satire, parody and wit. Teaching is about:
Engendering ‘disruption’ & exposing inconsistent ideas
Provocative critical thinking postmodern interpretation of Fiona Hall's artist practice Transformation of everyday materials Transforming our views of those everyday objects Commenting on contemporary issues: our devotion and dependance on consumer culture
Questioning the moral codes of the Western world 'We invent collections'' Drawing on past crtical and historical studies:
ESL student creating a chair for Bia de Medici, whose portrait we studied a couple of years ago