Planning

Accreditation period Units 1-4: 2023

A course outlines the nature and sequence of teaching and learning necessary for students to demonstrate achievement of the set of outcomes for a unit. The areas of study describe the learning context and the knowledge and skills required for the demonstration of each outcome.

Teachers must develop courses that include appropriate learning activities to enable students to develop the knowledge and skills identified in the outcomes in each unit.

Inspiration

A core focus of VCE Art Creative Practice is the place of the student artist in the world continuum of art making. The connection of the student to historical and contemporary art is crucial and students must be supported to regularly refer to the work of other artists and sources of inspiration. The term ‘visual response’ implies that the student has been exposed to a stimulus and is replying to that stimulus. The response may be quick, intuitive, thoughtful, planned or organised, but it is not necessarily intended that the response be evaluated as an artwork; rather, it forms part of the Body of Work. Students can collate responses into the Body of Work, which can then inform the direction of their research.

Selecting artworks for study

Students should be encouraged to view artworks from a broad range of periods and cultures and experiment with a wide range of materials, techniques and processes. The study encourages teachers to take their students out of the classroom environment to inform their art making through visits to galleries and studios, and through experience working with practising artists, curators, critics and art historians. When selecting artists to study it is important to choose artists for whom there is sufficient background information, so the inquiry can be deep and broad. Students should investigate the origins of the artist’s practice more broadly and research the ideas and issues they represent in their work. They should investigate the intention of the artist for the presentation of the work and for whom it is intended and why. Artists for whom social media is the primary source of information should be used with great caution. Sources should be many, varied, reliable and verifiable.

Art forms

VCE Art Creative Practice introduces students to a range of artists’ practices and artworks. Therefore it is important that students engage with a range of art forms across Units 1 to 4. A list of art forms can be found on page 17 of the VCE Art Creative Practice Study Design, along with a definition of materials, techniques and processes. Students must understand the specific use of materials, techniques and processes associated with the art form that is selected. The selection of art forms will vary according to the resources available to the school and teacher’s experience in specific art forms. However, when planning, teachers should aim to expose students to a diverse range of art forms that demonstrate how visual language is created by artists working in specific art forms.

In Unit 1 Area of Study 2, students are required to explore three art forms. The exploration may link to Area of Study 1 focusing on the practices of three artists from different periods of time and cultures. Artists may work in multiple art forms in their practice; therefore students could investigate artists that have a multi-disciplinary approach to their practice. A similar approach could be undertaken when artists are investigated in Units 3 and 4 Areas of Study 1 and 2.

In Unit 2 Area of Study 1 students select three artists to research from different periods of time and cultures including contemporary artists and Aboriginal and Torres Strait Islander artists. The selection of these artists for study could inform the art forms that students explore in collaborative practice in Unit 2 Area of Study 2.

In Unit 2 Area of Study 2 students study approaches to collaborative practice. Therefore it is advisable that students work in an art form that encourages collaboration, such as contemporary art practice. Contemporary art practice is often conceptual so students may research art forms that are multidisciplinary. Further suggestions for artists who work collaboratively can be found in the information on Collaboration and in the Teaching and learning activities.

Visual diary

A visual diary is used to record and document making and responding in VCE Art Creative Practice. The diary can be created using different forms of presentation. Students should be encouraged to use formats that suit their working method and the Body of Work that they are producing. Any of the following – individually or in combination – could be used: document boxes, sketchbooks, bound or clipped together sheets, or portfolios. Students can also consider using digital formats for their visual diary by creating an online repository of their art practice.

Some approaches to presenting information and evidence of students’ creative practice in the visual arts diary include:

  • annotations
  • visual material
  • audio recordings
  • documentation that is numbered and dated.

As students investigate the practices of artists, they should research how artists have documented their own artistic practice. Students can ask the following questions when planning and structuring their own visual diary:

  • What format will best suit my artistic practice?
  • In what ways do artists collect and organise their ideas?
  • What strategies can effectively maintain the documentation of art practice?
  • What strategies can be used to organise a visual arts diary? For example, using headings, image citation, legibility of handwriting, clarity of presentation while maintaining the characteristics of art practice.

In their visual diary, students should demonstrate their processes and how they have thoughtfully repeated and adapted earlier work using the components of their creative practice, leading to versions of works that they then evaluate and refine using the Interpretive Lenses. It is important that students record their thinking in real time.

The visual diary encompasses key components of exploration, experimentation, development, refinement and resolution of the ideas, concepts, directions, use of art elements and principles, application of skills, materials and techniques and the emergence of a personal style of working. Therefore, it is important that teachers create courses that provide opportunities for students to sequentially work through these aspects of the creative practice. It is important that students use the prompts of the components of the Creative Practice to structure the work in their visual diary.

Documentation of the Creative Practice

In VCE Art Creative Practice the documentation of the student’s Creative Practice includes annotated visual responses that can be presented in a form appropriate to their practice. Students document their learning experiences in both Making and Responding. The visual diary plays an important part in documenting the student’s use of the Creative Practice. Documenting is a way of organising the student’s Creative Practice and assists in the formulation and communication of their ideas and intentions. Documenting and recording helps students to work through multiple ideas and changes, while also showing evidence of the generation and development of new knowledge and skills, and the expressive and technical considerations of their art practice.

Art terminology

Teaching approaches and practices need to encompass art terminology that supports practical and theoretical outcomes. Teachers should focus on building knowledge of the terms outlined on pages 17 and 18 of the VCE Art Creative Practice Study Design:

  • Art elements
  • Art principles
  • Art forms
  • Body of Work
  • Contemporary artworks and artists
  • Context
  • Critique
  • Influences and inspiration
  • Visual language

These terms are used specifically in each area of study across Units 1 to 4 and the key knowledge and skills of each outcome refer to these terms.

Students are also required to use the language and terminology of the components of the Creative Practice and the Interpretive Lenses when documenting, reflecting and evaluating their artwork in their visual diary and in the critique as well as in their written analysis and interpretation of artists, artworks and practice.

Concurrent areas of study

In each unit at least two areas of study are concurrent. Where students are engaged in building a Body of Work using the Creative Practice, they will also be documenting, reflecting upon, critiquing and evaluating their practice. The two areas of study support each other and can be taught concurrently. More information is provided in the Scope and Sequence overview.

Unit 3 timing

The timing of the outcomes in Unit 3 is important. Area of Study 1 uses project-based learning to introduce students to the idea of making visual responses to an existing artist, and incorporates the resolution of one finished work and a critique. This establishes an approach to Creative Practice for Area of Study 2 and as such, should be completed early in Unit 3.

Unit 4 timing

Students begin Unit 4 by presenting a critique on Area of Study 2 from Unit 3. This sets the course for the final Body of Work and should be scheduled early in Unit 4.

Timing of critiques

The presentation of critiques connects students to their art making context. It offers them perspective and the opportunity to grow through feedback. The timing of critiques in each unit is important. Teachers must ensure that there is sufficient time to build a Body of Work to present in a critique, as well as time to respond to the feedback and refine and resolve ideas. As the critique will be a new concept to many students, the teacher must scaffold the process to support students to participate in a mature and reciprocal fashion.

Teachers must develop learning activities that allow for the learning approach specified for each area of study. For experiential activities, the teacher sets the direction and content of the Making and Responding tasks and may deliver instruction. As outlined in the section on Developing a program, where inquiry and experiential learning is recommended, students must have the freedom to investigate, experiment, analyse and respond in an open-ended fashion. In project-based learning students respond to a prompt, question or problem to engage in problem-solving, decision-making and reflection using their art practice.

VCE Art Creative Practice is focused on the practice of artists; that is, how artists think and work. The learning activities that students undertake in each unit are reflective of art practice. Therefore the research of artists is the key link to structuring the study. The map on page 11 of the study design links the three learning areas of Experiential learning, Inquiry learning and Project-based learning. The Creative Practice model also promotes the different learning that students will undertake in each unit.

Experiential learning guides the students through a series of experiences in Making and Responding to art. Students reflect on their experiences and conceptualise the ideas evoked by their experiences. They experiment with and expand upon these ideas in their art practice.

Inquiry learning is an active process of exploration and experimentation where the end result is not fixed or known. Through Making and Responding, students acquire experimental and analytical skills to develop their art practice.

Project-based learning focuses on specific projects that often begin with a challenging question or problem that engages the students in problem-solving, decision-making and reflection using their art practice.

Experiential learning, inquiry learning and project-based learning

Unit 1 Area of Study 1: Artists, artworks and audiences – Inquiry learning

Guiding questions

  • How do artists conceptualise artworks?
  • How do artists communicate ideas and meaning?
  • How are personal ideas and viewpoints communicated in artworks?
  • How do audiences interpret artworks? What is the relationship of the artist’s intention to the presentation of the artwork in different contexts?
  • What components of the Creative Practice do I use to explore artists and artworks?
  • How do I use visual language to express ideas?
  • What questions do I use when applying the Structural Lens to the analysis and interpretation of an artwork?

Inquiry learning activities

  • The research of artists and artworks can start with a designed question or prompt based on a common theme or personal point of view about a series of artworks that the student has selected. The question is designed so that the research is open-ended, and student-directed
  • The unit is based on contexts and the relationship of artists, artworks and audiences. A definition of contexts is provided in the Terms used in the study on pages 17–18 of the study design. A context could be selected as a starting point.
  • Learning activities can be structured around inquiry-based questions about the visual language used by artists.
  • Explore the components of the Creative Practice using Inquiry learning. Look at the key words in each component and how they would lend themselves to inquiry learning.
  • Students use critical and creative thinking techniques to structure their inquiry learning. They develop questions based on their interests and approaches to their research

Unit 1 Area of Study 2: The Creative Practice – Experiential learning

Guiding questions

  • How do artists explore and experiment with materials, techniques and processes in their practice?
  • How do artists explore ideas in their practice?
  • How do I respond to artworks? What are the practices I use?
  • How do I explore visual language in artworks?
  • What components of the Creative Practice do I use to respond to artworks?
  • How does the relationship between the artist, artwork and audience communicate meaning? How do I communicate my ideas in my artworks?
  • What aspects of the Structural and Personal lenses will I use to interpret meanings in artworks and develop personal responses?

Experiential learning activities

  • In Area of Study 2, students explore and experiment with materials, techniques and processes. They could base their experimentation on a personal exploration and choose to experiment with new materials.
  • Students are required to experiment with three art forms. The art forms selected by the student could be their personal choice based on their research of artists in Area of Study 1. They could explore a similar practice to the artist and extend on their ideas through the experimentation of materials and techniques.
  • Through experiential learning, students investigate the relationships between the artwork, audience and artists in a range of contexts. They can explore these relationships based on personal feelings, opinions and viewpoints, and how meaning is intended by artists and interpreted by viewers.

Unit 1 Area of Study 3: Documenting and reflecting on the Creative Practice – Experiential learning

Guiding questions

  • What strategies do artists use to reflect upon and evaluate their artistic practice?
  • What components of the Creative Practice will I use to document and reflect upon my artistic practice?
  • In what format will I document my art practice? How will I structure my documentation?
  • How is visual language documented?
  • What strategies will I use to critically analyse and evaluate personal explorations and visual responses?
  • What aspects of the Structural and Personal Lens will I use to analyse and reflect upon visual responses?

Experiential learning activities

  • In Area of Study 3, students evaluate, reflect upon and document their experiences in Area of Study 2.
  • Their experiences will govern the structure of their reflection and their creative and critical thinking.
  • Documentation of students’ experimentation and exploration is both written and visual and can be based on personal experience. The documentation can be a highly personal reflection of a student’s experiences and experimentation with the three selected art forms.

Unit 2 Area of Study 1: The artist, society and culture – Inquiry learning

Guiding questions

  • What is the role and purpose of art in societies?
  • How do artworks reflect cultural and personal values and beliefs?
  • What is collaborative artistic practice?
  • How do contemporary artists represent ideas in their work?
  • What are the differences between contemporary and historical art practice?
  • What components of the Creative Practice do I use in my investigation?
  • What aspects of the Cultural Lens will I use to analyse and interpret artworks?
  • What artists will I investigate? (Refer to the list of artists that can be chosen, on page 23 of the VCE Art Creative Practice Study Design).

Inquiry learning activities

  • In Unit 2 Area of Study 1 students investigate the context of artworks and how values, beliefs and traditions of societies are reflected in artworks. This relationship can govern how students conduct and structure their research.
  • The inquiry can also be structured on a question that links the artists that are selected from the list on page 23 of the study design. The focus is on the artists’ use of materials, techniques and processes.
  • The focus in this area of study is on how artists collaborate with each other. Students could use the concept of collaboration as the focus for their inquiry. They could use critical and creative thinking to investigate the relationships the artists have in their practice and how viewpoints and ideas, which are often disparate, are combined to make artworks.
  • Different inquiry strategies can be used to specifically analyse, interpret and evaluate artworks.
  • Students are also required to investigate the making and presentation of artworks so they can conduct an open-ended inquiry using the artwork as a starting point. They can investigate the relationships between the context of the work (where it was made and produced) and where it is viewed. The context may have an influence on how the work is interpreted and the direction of the inquiry the student will undertake.

Unit 2 Area of Study 2: The collaborative Creative Practice – Inquiry learning

Guiding questions

  • How are collaborative artworks developed?
  • What are the processes used to make collaborative artworks?
  • How do artists develop visual language in collaborative practice?
  • How has collaborative practice changed over time? What are the differences in collaborative practice from different periods of time?
  • Is collaborative practice different in other cultures? What are the characteristics that reflect the culture?
  • How will I use collaborative practice to develop artworks? What is my role in the collaborative process?
  • How will I use different traditional and contemporary materials, techniques and processes to communicate ideas and meaning in my collaborative artworks?
  • What components of the Creative Practice will I use to explore social and cultural ideas or issues in artworks?
  • What aspects of the Cultural lens and other Interpretive Lenses will I use in my Creative Practice?

Inquiry learning activities

  • The focus of Area of Study 2 is on collaborative practice. The questions above will help students to understand the characteristics of creative practice and investigate the practices of artists who work collaboratively. There is also a list of case studies in this support material that can be used as starting points.
  • Students could select an idea or issue to explore using the Creative Practice and collaboration. A leading question could be the focus for the exploration. The question could come from the investigation that students conduct into collaborative practice. Artists researched in Area of Study 1 could also form the basis of the inquiry.
  • If students conduct their inquiry using materials, techniques and processes, the collaborative practice could be carried out as a series of experimental artworks that are documented. The students could then link these experiments together based on a selected topic.

Unit 2 Area of Study 3: Documentation of collaboration using the Creative Practice – Inquiry learning

Guiding questions

  • How do artists reflect upon and critique their collaborative practice?
  • How do artists communicate cultural and social meaning in artworks?
  • How do I develop visual responses to communicate personal ideas relating to social and cultural context in collaborative practice?
  • What are the relationships between the artist, artwork and viewer that are established by the presentation of artworks in a particular context? How does the context where the artwork is presented differ from the context in which it was created?
  • What components of the Creative Practice do I use to develop visual responses to artworks that I view and respond to?
  • What aspects of the Cultural and other Interpretive Lenses will I use to annotate my use of the Creative Practice in personal visual responses?
  • What aspects of the Cultural and other Interpretive Lenses will I use to annotate my collaborative practice with others?

Inquiry learning activities

  • The inquiry for Area of Study 3 should expand from the research that students conduct in Area of Study 2. Students link the documentation of their practice to their research of artists, focusing on how artists document, evaluate, reflect upon and critique their practice. The guided questions for the inquiry encourage students to think about collaborative practice.
  • They could consider the similarities between their own practice and the artists and artworks that they have used for inspiration. Students could use the relationship of the artist, artwork, viewer and context as a starting point for their documentation. They could document these relationships and link it to their use of the collaborative practice.
  • Students can unpack the components of the Creative Practice and reflect upon and evaluate how they used these processes in their practice. They should consider how the Creative Practice was used in collaborative art making.
  • Students can read through the questions of the Cultural, Structural and Personal lenses to determine their process of annotation. They unpack how to annotate their art practice in contrast to documentation. They consider examples of annotation by other artists to develop their own methodology.

Units 3 and 4: Project-based learning

  • Units 3 and 4, Areas of Study 1 and 2 should be considered as an overall project or case study. The outcome of the four units is the production of a Body of Work. Students should begin Unit 3 by forming an overarching question or problem that becomes the focus of their Body of Work.
  • The Creative Practice should be unpacked with the students as it is the framework for the investigation and the Body of Work. The points under each component could be posed as inquiry questions for students.
  • The Interpretive Lens questions can also assist in developing a structure for researching artists, artworks and practices. The questions can also assist with developing students’ evaluation and interpretation questions.
  • The relationships between the artist, artwork, audiences and contexts can form the structure for an inquiry for the Body of Work. A series of questions could be developed to unpack those relationships.
  • Units 1 and 2 have a range of activities and questions that scaffold an inquiry for students. Similar activities can structure the inquiry in Units 3 and 4. Therefore, teachers should plan the teaching and learning for these areas of study in Units 3 and 4 at the commencement of Unit 3.

The following guiding questions and learning activities can scaffold project based learning:

Unit 3 Area of Study 1: Investigation and presentation – Project-based learning

Guiding questions

  • What are some of the current issues that artists explore in their practice?
  • What are some of the artworks and artists I will investigate to develop a personal response to the artist and their artworks?
  • What components of the Creative Practice will I use to explore issues and develop a personal response to the artist?
  • How do artists use materials, techniques and processes to develop visual language?
  • What are the processes I will use to document and reflect upon my Creative Practice?
  • How do I present a critique of the Creative Practice used to develop and refine a finished artwork? What aspects of the Creative Practice will I evaluate and present?

Learning activities for project-based learning

  • Area of Study 1 is the starting point for Units 3 and 4 for the school-assessed Task. Students may want to select a theme or topic for their Body of Work. They can develop a broad theme by using a mind-mapping activity.
  • The Creative Practice should be unpacked and the points listed in each component can structure the School-assessed Task and provide the scaffold for Project-based learning. The points in each component could be framed as a series of questions.
  • Students can select a group of artists that have a similar practice or artists that explore similar ideas and issues in their work. Students can develop their own theme or ideas based on this research.
  • The questions from the Interpretive Lenses can be unpacked and used as markers for an investigation.
  • Students can refine their work by evaluating it using a series of open-ended questions. These could then be used to scaffold the critique.
  • Before the critique is presented, students may develop a series of questions that will provide them with feedback so they can expand on their ideas for Area of Study 2. The questions could also provide students with ideas for the change in direction of their work in Area of Study 2. The questions should relate to the use of materials, techniques and processes, ideas and issues, and the student’s use of visual language.
  • The relationships between an artist’s intentions, artwork, audience and context could be explored throughout Area of Study 1 to frame the investigation. This could also provide a framework for the critique.

Unit 3 Area of Study 2: Personal investigation using the Creative Practice – Project-based learning

Guiding questions

  • How does my Body of Work expand on the topics and ideas I explored in Area of Study 1?
  • What components of the Creative Practice will I use to explore and develop my Body of Work?
  • What are the characteristics of my visual language and how do they communicate my personal ideas and interests?
  • What art forms, materials, techniques and processes will I focus on in my exploration? How do these relate to the artists and artworks I have investigated?
  • What aspects of the Interpretive Lenses will I use to inform my practice and create my Body of Work?
  • How will I document and evaluate my practice? How will I gather feedback to further resolve and refine my Body of Work?

Learning activities for project-based learning

  • The evaluation and feedback from the critique in Area of Study 1 can provide the direction for further exploration, development and refinement of the Body of Work. A series of questions can be used to direct students’ exploration. Students should consider the ideas and issues and art forms they explored in Area of Study 1 and consider whether they are going to expand on these or change direction.
  • The Creative Practice should be revisited and revaluated. Students should revisit the components and focus on specific aspects of the Creative Practice that will inform their inquiry. The points in each component could be framed as a series of questions to structure their inquiry.
  • Students consider the relationships that were established between the intentions of their practice, the artworks they produced, the ideas represented, and how the artworks were viewed and interpreted by an audience. They consider the presentation of the artwork for Area of Study 1. These ideas can be used to further develop the work in Area of Study 2.
  • In this area of study students develop their personal visual language. As a starting point they may establish the characteristics of their visual language, and this can lead the inquiry. They can evaluate how they intend to communicate meaning and the art elements and principles they will use.
  • Students should consider how they will document and evaluate their use of the Creative Practice and their use of visual language to communicate ideas. They could use the questions of the Interpretive Lenses and the points under each component of the Creative Practice to develop a series of questions to help them annotate and evaluate their practice and artworks.

Unit 4 Area of Study 1: Documentation and critique of the Creative Practice – Project-based learning

Guiding questions

  • How will I evaluate and document the refinement and resolution of my Body of Work? What components of the Creative Practice will I use?
  • How will the research of artists and their practice inform and extend my practice and Body of Work? How will I document and demonstrate the influences of these artists and artworks on my practice?
  • What aspects of the Interpretive Lenses will I use to document and evaluate my practice and the refinement and resolution of my Body of Work?
  • What aspects of my practice will be presented in the critique? What questions will I ask to get feedback to expand on my ideas and to help refine and resolve my Body of Work?

Learning activities for project-based learning

  • Unit 4 Area of Study 1 and 2 are linked and students should consider the direction, resolution and refinement of their Body of Work using components of the Creative Practice to scaffold their inquiry.
  • The Interpretive Lenses can be used to direct their inquiry and to research additional artists and artworks that will inform their practice. Students must consider the inclusion of additional artworks and artists, and how these will expand their ideas, their practice, and refine and resolve their Body of Work. Students may use the questions from the Interpretive Lenses to evaluate their progress. The Interpretive Lenses can also structure the critique.
  • Students can use additional ideas as a focal point or overall theme to select the artists that will inform their practice. They could look at artists from different periods of time and cultures that use similar processes or ideas. These artists and artworks should be linked to the student’s own work. Theme, ideas, topics, art forms, materials, techniques and processes are all areas that students can consider.
  • Area of Study 1 provides the opportunity for students to revisit their documentation and evaluation of their practice and how they are communicating ideas using visual language. They can consider how they will structure the documentation and evaluation leading up to the presentation of their Body of Work. A series of questions based on the Interpretive Lenses and components of the Creative Practice will assist them to document their practice
  • The critique is an integral component of Area of Study 1. Students need to prepare their critique so that they have the opportunity to further refine and resolve their Body of Work. Previous questions or methods can be revisited and tested for their suitability to assist the student in further refining and resolving their Body of Work.
  • As part of the process of refinement and resolution, students need to consider how they will respond to the feedback they receive from their critique, and how it will assist in communicating their ideas leading up to the presentation of their Body of Work. Students should consider how they will demonstrate their responses to the feedback from the critique and the further refinements they need to make to their Body of Work.
  • Throughout Unit 4 students must demonstrate critical and reflective annotations in their work. Components of the Creative Practice and the questions from the Interpretive Lenses can be used to structure questions that will assist the students to critically analyse their practice and artworks as well as the practices and artworks of others.

Unit 4 Area of Study 2: Resolution and presentation of a Body of Work – Project-based learning

Guiding questions

  • What are the characteristics of my Body of Work?
  • How will I further refine and resolve my ideas in a Body of Work? What components of the Creative Practice will I use?
  • What aspects of the Interpretive Lenses will I use to refine and resolve my Body of Work?
  • How will I use the feedback from the critique to refine and resolve my Body of Work?
  • How will I refine and resolve my use of visual language to communicate personal ideas in my Body of Work?
  • How will I present my Body of Work to an audience? How do I effectively communicate my ideas and meaning to the audience? What context will I present the Body of Work in to effectively communicate my ideas and meaning?

Learning activities for project-based learning

  • In Unit 4 Area of Study 2, students further refine and resolve their Body of Work using feedback from the critique conducted at the start of Unit 4. The structure of the critique will assist students to further refine their ideas, practice and Body of Work. The critique will provide students with feedback to expand their practice and Body of Work. Therefore, the structure of the critique can inform the refinement and resolution of the Body of Work.
  • The relationship between the artworks, artist, audience and context is important in Unit 4 Area of Study 2. Students could revisit these relationships to evaluate their Body of Work and the effective communication of their ideas and meaning to an audience. The connections between their intentions and the interpretation of the audience are aspects that they can critically evaluate.
  • Components of the Creative Practice and the Interpretive Lenses can structure the critique (providing further refinement and resolution), the presentation of the Body of Work and the selection of the context of the presentation. The questions of the Interpretive Lenses and the points under each component of the Creative Practice will assist students.

Unit 4 Area of Study 3: Comparison of artists, their practice and artworks – Inquiry learning

Guiding questions

  • What are the different practices of contemporary and historical artists?
  • How do artists communicate meanings and messages in their artworks?
  • What questions will I use to apply the Interpretive Lenses in the interpretation of artworks from historical and contemporary artists?
  • How do the different contexts influence the practices of artists and the representation of their ideas?
  • What are the resources I can use to support my analysis and interpretation of artworks and artists?

Learning activities for project-based learning

  • The research of artists and artworks can start with a designed question or prompt based on a common theme or personal point of view about a series of artworks that the student has selected. The question is designed so that the research is open-ended and student-directed.
  • The unit is based on contexts and the relationship of artists, artworks and audiences. A definition of contexts is provided in Terms used in this study on pages 17–18 of the study design. A context could be selected as a starting point.
  • Learning activities can be structured around inquiry-based questions about the visual language used by artists.
  • Explore the components of the Creative Practice using Inquiry learning. Look at the key words in each component and how they would lend themselves to inquiry learning.
  • Use the Interpretive Lenses to structure an inquiry. Students could select the questions in the Lenses as a basis for their research.
  • Students use critical and creative thinking techniques to structure their inquiry learning. They develop questions based on their interests and approaches to their research

Creative and Critical Thinking are interrelated processes that underpin Making and Responding, the Creative Practice and the use of the Interpretive Lenses. Creative and Critical Thinking processes can be structured through learning approaches governed by three strands: Questions and possibilities, Reasoning and Meta-Cognition. These strands are linked to the Victorian Curriculum Critical and Creative Thinking capability. Critical and Creative Thinking - Structure - Victorian Curriculum.

Questions and possibilities

Questions and questioning play a role in enabling learning and learning dispositions in inquiry learning. Questions and possibilities develop imaginative as well as intuitive capacity, as well as formulating a curious and speculative disposition. Using questioning students respond to artworks, propose new ideas and develop artworks. Questions can prompt, redirect, reinforce and challenge existing knowledge, interpretations, opinions and values. Questions enable students to elaborate and extend on ideas and challenge existing ideas based on reasoning.

Reasoning

Using reasoning, students construct and evaluate ideas, viewpoints and opinions that are new and unfamiliar. Reasoning underpins how students gather, consider and evaluate data, evidence and propositions to form conclusions.

Meta-Cognition

Students identify, describe, understand, practise, develop and manage their own learning processes.

The interrelationship of Creative Thinking and Critical Thinking determines how aspects of one can be used with the other. For example, Critical Thinking is used to establish and apply criteria to critically evaluate artistic practice or art making that is generated in Creative Thinking. Creative Thinking is applied to generate new criteria to evaluate propositions in Critical Thinking in innovative and productive ways.

In Making and Responding, creative and critical thinking can be used to structure the ways in which students engage with artists and artworks. Thinking processes assist students to formulate responses in art making and responding to artworks. Students can connect information when thinking about artists and artworks and how artworks communicate meanings and messages. Creative and Critical Thinking can be used in art practice when students formulate, select and apply ideas to develop visual language and communicate meaning in artworks.

Creative and Critical Thinking involves drawing on knowledge and beliefs to reflect and evaluate practical actions, decisions and judgments. Students can use creative and critical thinking when making valued judgments in their artistic practice by deciding what to do and how to represent ideas, issues and opinions. Students engage in creative and critical thinking when they reflect on ideas, concepts and visual language to communicate meaning in artworks.

Creative and Critical Thinking processes can be scaffolded into learning activities using the following characteristics. These characteristics are defined in the Australian Curriculum Critical and Creative Thinking capability. Critical and Creative Thinking (Version 8.4) | The Australian Curriculum.

Inquiring – identifying, exploring and organising information and ideas

Students pose questions and identify and clarify information and ideas. They organise and process information. They use questioning to investigate and analyse ideas and issues, and collect, compare and evaluate information from a range of sources.

Generating – ideas, possibilities and actions

Students create ideas and actions, considering and expanding on known actions and ideas. They imagine possibilities and connect ideas through considering alternatives, seeking solutions and putting ideas into action. They explore situations and generate alternatives to guide actions. They experiment with and assess options and actions when seeking solutions.

Analysing, synthesising and evaluating – reasoning and procedures

Students identify, consider and assess the logic and reasoning behind their choices. They differentiate the components of decisions made and actions taken and assess ideas, methods and outcomes against criteria that they or others develop.

Reflecting – thinking and processes

Students think about thinking (meta-cognition), and reflect on actions and process. They transfer knowledge into new contexts to create alternatives and open up possibilities. They apply knowledge gained in one context to clarify another.

Creative and Critical Thinking in VCE Art Creative Practice

Learning approaches using Creative and Critical Thinking can be applied across Units 1 to 4 in each area of study. Under the heading ‘Research-based art practice’ there is a table that recommends learning approaches associated with each form of research-based art practice (experiential, inquiry and project-based learning). These learning activities and guiding questions apply Creative and Critical Thinking processes. The table below also aligns approaches to Creative and Critical Thinking with the components of the Creative Practice.

The Creative Practice

Research and exploration

Creative and Critical Thinking

  • Inquiring
    • Pose questions to inform the research and investigation
    • Identify and clarify information and ideas
    • Organise and process information to explore and research artistic practices
  • Generating
    • Imagine possibilities and connect ideas through the research of artists and their practice
    • Consider alternatives by investigating the practices of artists
  • Analysing, synthesising and evaluating
    • Apply logic and reasoning in analysis by using the Interpretive Lenses
    • Evaluate practices used by artists

The Creative Practice

Experimentation and development

Creative and Critical Thinking

  • Inquiring
    • Pose questions about what the student will explore and experiment with
    • Identify and clarify information and ideas based on personal experiences and investigation
    • Organise and process information to develop artworks
  • Generating
    • Imagine possibilities and connect ideas through experimentation in artistic practice
    • Consider alternatives in artistic practices
    • Seek solutions and put ideas into action through experimenting and developing artworks
  • Analysing, synthesising and evaluating
    • Apply logic and reasoning throughout the experimentation
    • Draw conclusions from the experimentation and structure the use of the Creative Practice to develop artworks
    • Evaluate the use of Creative Practice in experimentation and development of artworks
  • Reflecting on thinking and processes
    • Transfer knowledge into new contexts by applying the knowledge of artistic practice into the student’s own artistic practice
    • Decide on the use of visual language to represent ideas and communicate meaning

The Creative Practice

Reflection and evaluation

Creative and Critical Thinking

  • Inquiring
    • Pose questions that guide the student’s reflection of their artistic practice
    • Identify and clarify information and ideas throughout the reflection and evaluation
    • Organise and process information to further develop and refine artistic practice
  • Generating
    • Imagine possibilities and connect ideas to further explore and develop ideas
    • Consider alternative approaches to the student’s investigation and use of the Creative Practice
    • Seek solutions through experimentation and development of artworks to further expand, refine and resolve the Body of Work
  • Analysing, synthesising and evaluating
    • Apply logic and reasoning by structuring the reflection and evaluation based on personal interests and experience
    • Draw conclusions throughout the use of Creative Practice to develop and refine a Body of Work
    • Evaluate the use of Creative Practice to develop a Body of Work
  • Reflecting on thinking and processes
    • Reflect on the strategies used to evaluate the use of the Creative Practice and in the analysis and interpretation of the meanings and messages of artworks
    • Reflect on the processes used in responding to and making artworks
    • Transfer knowledge into new contexts by applying knowledge and skills to expand ideas and the Body of Work

The Creative Practice

Refinement and resolution

Creative and Critical Thinking

  • Inquiring
    • Pose questions that guide the student to resolve their ideas in a Body of Work and to guide their interpretation, opinions and judgment on the practices of artists
    • Identify and clarify information and ideas in the refinement and resolution of artworks and responses throughout the Creative Practice
    • Organise and process information in the resolution and refinement of a Body of Work
  • Generating
    • Imagine possibilities and connect ideas in resolution and refinement
    • Consider alternative approaches to the student’s investigation and use of the Creative Practice
    • Seek solutions through experimentation and development of artworks to further expand, refine and resolve the Body of Work
  • Analysing, synthesising and evaluating
    • Apply logic and reasoning to refine and resolve a Body of Work
    • Draw conclusions in the resolution and refinement of a Body of Work
    • Evaluate the use of the Creative Practice to refine and resolve a Body of Work
  • Reflecting on thinking and processes
    • Reflect on the processes used to effectively refine and resolve a Body of Work
    • Reflect upon and present the processes used to create a Body of Work in a critique

Learning approaches using Creative and Critical Thinking

Strategies to develop Creative and Critical Thinking in learning can be applied to each area of study in Units 1–4. The following recommendations focus on specific activities in visual arts learning:

  • Select a focus area for the inquiry, such as an artist and their practice, themes or topics that link artworks, the use of materials, techniques and processes, an artist’s response to an issue in society or the role of art in society and culture.
  • Identify aims or questions derived from the focus area. These questions can be used to identify the big ideas that frame the inquiry.
  • Develop provocations that could encourage students to engage with ideas and artworks in new ways. A provocation can be created by using the ideas represented in artworks or responses to artworks.
  • Use the components of Creative Practice and the Interpretive Lenses to critically investigate the way artists have interpreted a range of ideas and themes about the world.
  • Investigate and interpret how artists construct artworks to represent ideas and issues and communicate meaning through the use of visual language.
  • Students can create artworks that represent their understanding of visual arts concepts and styles.
  • Use an artwork to provoke a whole-class discussion or to develop questions that pose factual or descriptive responses through to analytical and interpretive responses. This can engage the students in rethinking, reinterpreting and justifying their opinions and claims about an artwork.
    Sample questions
    • What do you see? What are the materials and techniques that the artist has used?
    • What is your response to the artwork? What does the artwork remind you of? Can you give an example of what is similar to what you see?
    • What ideas do you think the artist is considering? What makes you think that?
    • What other artworks or ideas is the artist referencing?
    • What ideas about the contemporary world does the artist represent in their artworks? How do they represent these ideas? Why do you think they have represented them in this way?
    • Why has the artist used a particular style to represent their ideas in their artworks? How has this had an impact on the audience and their engagement and interpretation of the artwork?
    • Where and how has the artist chosen to present their work? What impact does this have on the audience and their engagement and interpretation of the artwork?
  • Following a class discussion, students can write down three more things they want to know about the topic. They can then use these points as starting points for their inquiry.
  • Students can research the practice and artworks of an artist. They can create a word bank that reflects their understanding of what they have researched. They can highlight words that reflect their understanding of the Creative Practice and the Interpretive Lenses. They can then use these words to write a response to a question developed by the class or by the teacher. An example of a question is: ‘How does the artist challenge the way ideas about sustainability are represented in artworks? How are these ideas interpreted by audiences?’
  • Students consider how artists have represented the changes in the world and society over time. As a response, students create an artwork.
  • Using an artwork as a starting point, students create a citation and artist’s statement about the artwork. They compare their statements to other opinions and points of view about the artwork.
  • The Interpretive Lenses can be used to pose questions about artworks that the students research. The questions can be linked to an investigation of the practice of an artist.
  • Students use ‘what if’ questions as a starting point for a response to an artist’s practice and artworks. For example, students research the artworks of Australian artist Ben Quilty including an investigation of the materials, techniques and processes he uses in his work. They pose questions such as ‘What would Ben Quilty’s work look like 30 years from now?’
  • Students could consider contemporary techniques such as appropriation, juxtaposition and reinterpretation as art practice. They could use a combination of these techniques in their own art making.

The Body of Work is a term with which students must become familiar. A definition is provided on page 17 of the study design. The Body of Work encompasses the student’s use of the four components of the Creative Practice. The Creative Practice and the Interpretive Lenses will scaffold the development of the Body of Work. The Body of Work can include samples, investigations, reflections, unfinished works and finished works. The visual diary can provide the support for the Body of Work and documents the student’s artistic practice, reflections and evaluations.

In Unit 1 the Body of Work is experimental: there are no finished works. Teachers should read through the requirements for the assessment tasks for Unit 1 Outcomes 2 and 3 to provide the parameters for the Body of Work. Unit 2 flows on from Unit 1 in developing a Body of Work. For the assessment of Unit 2 Outcomes 2 and 3, teachers should determine how the collaborative practice will be demonstrated in the Body of Work and what constitutes a finished artwork. The inquiry and experiential learning questions and activities can help scaffold teaching and learning along with the understanding of Creative Practice and the Interpretive Lenses.

As Unit 3 and 4 Areas of Study 1 and 2 constitute the exploration, development and refinement of the Body of Work, it is important that the learning approaches are clearly structured and scaffolded for the student. The students can begin the Body of Work in Unit 3 Area of Study 1 by clearly defining their inquiry using discussion and investigation of an artists practice and artwork to inform their investigation. Specific goals should be set throughout Units 3 and 4 to allow students to reflect on and evaluate their practice. The critique forms part of the exploration, development and refinement of the Body of Work.

Presentation of the Body of Work

As Creative Practice considers engagement with an audience as a critical part of the process, presentation of the Body of Work occurs in Unit 2 Area of Study 3, Unit 3 Area of Study 1 and Unit 4 Area of Study 1. Teachers must make sure that students are supported to consider the presentation of their Body of Work with sufficient time and resources. Further information on the presentation of the Body of Work in a critique is provided in the Teaching and learning activities for the above units and in the section on the critique.

Students can develop questions based on the components of the Creative Practice and the questions used in the Interpretive Lenses to structure the critique and presentation of their Body of Work.

The following resources will assist teachers to discuss the Body of Work with students.

The practice of collaboration will be new to some students and activities need to be scaffolded to support meaningful outcomes. Collaboration is broad and should not be seen as simply working with another student to make a combined artwork. Teachers are advised to familiarise themselves with this aspect of the VCE Art Creative Practice Study Design to ensure they embrace the range of possibilities offered through collaboration. Further information about teaching and learning activities is covered in the teaching and learning activities for Unit 2 Areas of Study 2 and 3. Students can also study the collaborative practice of an artist from the list of artists for study in Unit 2 Area of Study 1. This research, in the Creative Practice, can inform the students’ own art making or provide the provocation for personal responses using collaborative practices. Approaches to teaching collaborative practice could include:

  • Investigating the contexts for the production of collaborative artworks. Where are collaborative artworks found? How are they presented?
  • Investigating the purposes of collaborative artworks and practices. Why do artists produce collaborative work? How does collaboration build on their practice? What impact does a collaborative work have over an artwork by a single artist?
  • Investigating the relationship of the audience to the artwork. Is the audience involved in the collaborative work or are they are objective viewers? What impact does a collaborative work have on an audience?
  • Cultural and historical influences on collaborative artworks. What are the influences on collaborative practices from different periods of time and cultures? What are the different approaches for creating collaborative works that reflect cultural and historical contexts?
  • Investigating the four components of the Creative Practice through collaboration. How do artists research and explore ideas in collaborative practice? How do artists explore and experiment with ideas, materials, techniques, processes and visual language in collaborative practice? How do artists analyse, evaluate and reflect on their collaborative practice? How do artists realise and refine artworks in collaborative practice? How do they present and critique their artworks in collaborative practice?

Creative and Critical thinking in collaboration

Creative and critical thinking can be used in collaborative exchanges, particularly through questioning and reasoning. Collaborative exchanges are reasoned exchanges of opinions and points of view. Collaborative exchanges encourage higher order interpretation of the meanings and messages of artworks and enable students to formulate evaluations and judgments on the practices of artists, including their own artistic practice. Collaborative exchanges support students to:

  • critically analyse and discuss the points of view of others about artistic practices and artworks
  • discuss, reflect and critically review understandings about artists, practices, artworks and the relationships between artworks and audiences
  • consolidate new knowledge through application, reflection, elaboration, and individual and collective reasoning
  • develop new points of view when creating artworks that represent new ideas
  • create new theoretical and practical understandings of artists, artistic practice and artworks.

Using Creative and Critical thinking students can create works based on a theme. They explore a topic together and extend and prioritise the direction of their work.

Collaboration case studies

Collaboration – Brisbane Art Guide (bneart.com)
Jordan Azcune & Kirralee Robinson: Material Directives – Brisbane Art Guide (bneart.com)
A Carved Landscape: Stories of Connection & Culture – Brisbane Art Guide (bneart.com)
Alfredo and Isabel Aquilizan: See/Through – Brisbane Art Guide (bneart.com)
Arts and Culture 4 Development: Home – (ac4dafrica.org)
collaboration (artnews.com) Feminist Collaboration in the Art Academy: viewcontent.cgi (vcu.edu)
Artists in the Black Collaboration Toolkit - resources for use in Indigenous art projects - Arts Law Centre of Australia
Making Art with Communities: A Work Guide Community_Partnerships_Workguide_lores_2014edit.pdf (creative.vic.gov.au)
NAVA: Communities of Practice Collaborative Mentorship Initiative Collaborative Mentorship Initiative: NAVA (visualarts.net.au)

As students engage in Making and Responding, they employ different lenses to understand and appreciate how artists incorporate a range of influences and layers of meaning into their practice, and the relationship the artist and artwork has with an audience, the world and society in general. Throughout the course of the study, students develop their understanding of each of the three lenses, both individually and in combination, and how they provide alternative ways of analysing, interpreting and evaluating their own artworks and the artworks of others.

Structural Lens

Students consider the following questions when applying the Structural Lens:

  • How has the artist applied the art elements of colour, line, shape, form, texture, tone, light, sound and time, and the art principles of emphasis (focal point), movement, rhythm, unity, variety, repetition (including pattern), balance, contrast, proportion, space and scale? What effect has the use of art elements and principles had on the artwork?
  • How do the art elements and art principles contribute to the meanings and messages of the artwork for different audiences in different contexts?
  • What materials, techniques and processes have been used? How is the interpretation of the artwork shaped by the materials and the techniques or processes used by the artist? Is the interpretation informed by the inherent qualities of the materials or by their selection and application by the artist?
  • Are 21st-century media and technologies or approaches to making and presenting works of art evident in the artwork? How is the interpretation of the artwork shaped by the artist’s use of these?
  • What is the distinctive style of the artwork and how does it contribute to the meaning of the artwork? How does the artwork relate to other artworks in a similar style or from the same philosophical, ideological, social, historical or cultural context?
  • What physical aspects of the artwork, such as the context of where the artwork is presented, its presentation with other artworks and characteristics such as framing, display on plinths or printing of artworks, contain or suggest symbolic meaning?
  • How might the artwork be interpreted in different contexts by different audiences?
  • Does the placement or location of the artwork in a setting other than the intended setting impact on its aesthetic, cultural or economic value? Does the placement or location of the artwork impact on the communication of meaning? How does the context of where the artwork is presented communicate the beliefs of the artist, audience, culture, time or place in which was made and viewed?

Personal Lens

Students consider the following questions when applying the Personal Lens:

  • What relationship does the artwork have to the artist’s life and experiences? What visual evidence in the artwork supports this reading?
  • Has the artist used a specific practice in creating the artwork that may reflect their personal ideas, beliefs, values and experiences?
  • What is the artist’s world view? How might the artwork be linked to people, places and experiences of personal significance to the artist, such as the artist’s personal feelings, thinking, aspirations, beliefs, desires or preoccupations; or to memories, dreams or a personal world of fantasy? How are these represented in artworks?
  • What ethical ideas and issues are important to the artist? How have they considered or referenced these in the artwork? How are these ideas and issues represented?
  • What 21st-century art ideas and issues are important to the artist? How have they considered or referenced these in the artwork? How are these ideas and issues represented?
  • Has the artist collaborated with others in the creation or presentation of the artwork? Does this affect your interpretation of the artwork?
  • What personal symbols or metaphors are explored or represented in the artwork that contribute to the meanings and messages?
  • How does the life experience and background of the audience affect the interpretation of the artwork?
  • What current art ideas and issues important to you as the audience are evident in the artwork? How do these influence your interpretation of the meaning and messages of the artwork?
  • Is collaboration or participation of the audience encouraged and if so, how does this affect their interpretation of the artwork?

Cultural Lens

Students consider the following questions when applying the Cultural Lens:

  • How do the social, historical, political, philosophical, cultural, economic, artistic and / or religious contexts of the artwork contribute to the meaning and messages of it?
  • How have historical or contemporary events shaped the intention of the artist or our understanding of the meaning and messages of the artwork?
  • How are social values, beliefs and attitudes existing at the time the artwork was produced reflected in the work? How do these values, beliefs and attitudes compare to the values of today?
  • How does the cultural background of the audience influence the interpretation of an artwork?
  • How does the context of where the artwork was made and exhibited affect the interpretation of it?
  • What cultural symbols or metaphors explored or utilised in the artwork contribute to the meanings and messages?
  • How was the artwork reviewed or critiqued during the time in which it was made or since the work was made? Was the work considered challenging or innovative?
  • Is the artwork presented in a different location to where the artist intended the artwork to be exhibited and, if so, how does this influence the interpretation of the artwork for the audience?

Applying the Interpretive Lenses

When selecting artworks for study it is recognised that the Interpretive Lenses can be applied to all artworks in varying degrees. In the study of specific artworks, some aspects of the Interpretive Lenses may overlap with others. In some cases, some aspects of the Interpretive Lenses may not be applicable to the artwork and the practice of the artist under study.

Through an investigation of the Interpretive Lenses, students develop an appreciation of a range of practices of artists and the place of artworks within cultural, contemporary and historical contexts. Visits to public artworks, art galleries and museums, either online or onsite, to see and experience artworks in context, are recommended to support students’ experience of artworks and the application of Interpretive Lenses.

The critique is integral to the inquiry learning that underpins the Creative Practice. This is an opportunity for the student to reflect upon and communicate to others their Creative Practice through a reciprocal conversation or discussion about their Body of Work and their practice. The critique can be delivered using different methods at different stages of the Creative Practice when students are actively engaged in exploring, experimenting, developing, refining, resolving or presenting artworks. The critique focuses on aspects of students’ Creative Practice at the point where it takes place. The critique allows students to reflect upon and evaluate the evolution of their Body of Work, collect and respond to feedback from both the teacher and other students. In addition, the critique provides students with an opportunity to use art terminology and apply the Interpretive Lenses to the discussion of their Creative Practice.

A critique should be carried out in relation to the artist’s Body of Work. The work in the critique should be compared to other works in the student’s practice and it should set the standard that the student can build their practice upon. Critiques are part of the communal process of art making and students should collaborate in critiques to improve their own practice. Students gain ideas and benefit from the critiques of other class members. Often the art making is paused for a critique, so that students and teachers can reflect on the work and the Creative Practice. Students focus on both their own work and the work of others in their group. This allows students to observe the ways in which others in their class approach their art practice and to consider possibilities outside their usual habits.

The critique also helps students to understand the world of art if their artwork is explained in relation to other artworks from different periods of time and cultures, as well as the artworks of their peers. The critique can model for a student the process of thinking about a work rather than a single interpretation of it. Students think about the meanings and messages communicated by artworks and consider what is successful, what can be improved, and how feedback can be put into practice. The discussion that takes place during the critique aims to guide and support the students to move forward, and aims to help them to think about new possibilities. It guides students in building on the learning that has taken place to this point.

There are four ingredients to a critique:

  • Focus on artworks – artworks made by the student and artworks by others.
  • Reflective – students think about the meaning and expression of artworks. What is successful, what is not and why?
  • Verbal – students put their reflections into words as they are asked to describe their working processes and artworks. They explain and evaluate their artworks.
  • Forward-looking – critiques can guide students to future work and help them to envisage new possibilities.

Role of the critique

A key aim of the critique is to make explicit and evaluate the decisions that went into making an artwork or are being made during the process. The critique allows both the student and teacher to understand the processes in making artworks. The critique enables the student and teacher to identify and discuss the effects of decisions, evaluate the choice of materials and their application of techniques and processes.

  • Critiques help students to connect their working processes to the final product – they make explicit and analyse decisions that go into making a final artwork. Students consider how the artwork was made, why it was made that way and what it could look like if it was made differently.
  • Students reflect on the decisions made behind the work. They learn to observe, interpret, explain and evaluate artworks. They understand how different parts of a work, both tangible and intangible, contribute to the effect of the work.
  • Students understand how and why an artwork can communicate meaning and messages. They learn how to verbalise what they see and how to evaluate the effectiveness of artworks. They point out the details or features they notice; they describe what the work reminds them of or the feelings it evokes or what a work would look like if a part was changed. What part of the work is the most extraneous? What could be taken away while the central idea of the work remains the same?
  • The teaching leading up to the critique should also focus on these assessment criteria concepts so that students are familiar with them. The teacher should point them out so that students can develop the knowledge and skills associated with those concepts.
  • The critique guides future work in an implicit or explicit way. From a critique students can identify the characteristics of their work and build upon their strengths. Teachers can also learn about the way students work by listening to what they have to say.
  • In the discussion, the student should reflect on how the artwork could have been made differently, and on the outcome of the artwork if it had been made using different materials, techniques and processes.

Before the critique

  • Consider the personal involvement the student has in the work. Is there a narrative intent? Is the work representational? Do the formal elements come together to inform the narrative? What were the ideas that led the student to make the work?
  • The critique should contain a statement of intent, history of process, and an interview or other format related to the work. The student should be able to articulate what they did in relation to their intention and state what skills they employed. The student should also have an ideological perspective or view with their work. The class can think about the work in relation to the artist’s intent.

During the critique

  • Students should introduce the work and discuss what was critical in the making of it that contributes to the meaning of the work. They should be able to differentiate between the representation of ideas and communication of meaning in the work.
  • Student should focus on asking questions of the audience, not just on explanations.
  • The group can write some notes about the work before the verbal exchange occurs. Participants could be provided with questions to ask or to answer. These could be collated and given to the student.

Questions that could be asked during the critique:

  • I have used x materials but thought of using y materials. What do you think? What would make the work interesting?
  • Does the location of the work suit it?
  • My work is related to x artist, I like their work because…Do you think I have reflected this in my work?
  • What is your immediate response to the work? What do you notice first? What stands out? How does it affect you?
  • Describe the artwork to someone who cannot see it.
  • Does the work tell a story? What is it? Name the work with one word followed by a phrase.
  • Write a letter about the artwork, including a description of the techniques, story and emotions expressed. The letter could be written to someone who has to make the work, using a series of steps.
  • Does the work show progress? What are the essential elements of the art form? Has the student pushed the art form?
  • Where the work is shown is central to its reading. Consider the size and shape of the artwork. How is it presented on the wall? What is its relationship to other artworks? What is the relationship to the context where the work is presented? Does the narrative create or refute the identify, history and cultural references in its parts?
  • What techniques have been used? How have the materials been applied to the surface of the work? How does the use of techniques contribute to the use of art elements and principles? critiques can focus on the use of techniques. Therefore, students can focus on their use of materials and processes that are removed from ideas. However, the technique can also create the meaning for the work or how much it is valued by viewers or audiences.

Feedback from the critique

Student should take advice from the critique in an active way, not a reactive way. Through active critique, students can justify the alternatives available to them.

Feedback from the critique must be supported with evidence. Students can take their own notes or receive notes from the teacher or their peers. Then they can reflect on the feedback to confirm or reject what they might already know. Students can also identify contradictory comments.

  • Do they share a similar idea?
  • Can you articulate what is being questioned? Identify commonalities?
  • What were the suggestions that were made? Are they achievable?
  • If you cannot solve the problem what is the direction you could consider?
  • How can you contextualise the work given the feedback?
  • What would happen if the work was made differently?

Ask the student how they will finish the work and what are the next steps they will take.

Compare the differences between this work and other works the student has made, particularly at different times in the year.

Useful links for analysing or critiquing artworks

How to analyze an artwork: a step-by-step guide for students (studentartguide.com)
Stanford University: Teaching Through critique: An Extra-Disciplinary Approach | Tomorrow's Professor Postings (stanford.edu)
Kennedy Center: Art critiques Made Easy (kennedy-center.org)
Kennedy Center: Teaching Students to critique (kennedy-center.org)
How to critique Art: How to critique Art · Art Prof
Art critique examples: BFA Art School Portfolio critique · Art Prof, BFA Art School Portfolio critique · Art Prof, BFA Art School Portfolio critique · Art Prof

Teachers are encouraged to include Aboriginal and Torres Strait Islander knowledge and perspectives in the design and delivery of teaching and learning programs related to VCE Art Creative Practice. The Study specifications in the study design provide information about Aboriginal and Torres Strait Islander knowledge, cultures and histories (on page 13). Area of Study 1 in both Units 1 and 2 includes content related to Aboriginal and Torres Strait Islander artists and artworks.

Aboriginal and Torres Strait Islander Perspectives in the VCE
On-demand video recordings, presented with the Victorian Aboriginal Education Association Inc. (VAEAI) and the Department of Education (DE) Koorie Outcomes Division, for VCE teachers and leaders as part of the Aboriginal and Torres Strait Islander Perspectives in the VCE webinar program held in 2023.

VAEAI – Victorian Aboriginal Education Association Inc. is the peak Koorie community organisation for education and training in Victoria. VAEAI has produced the Protocols for Koorie Education in Victorian schools to support teachers and students when learning about local, regional, state, national and international Indigenous perspectives. Further resources are published by the Victorian Department of Education and Training and VAEAI also provides Cultural Understanding and Safety Training (CUST) (professional learning and resources for teachers to undertake when considering how they may best include Aboriginal and Torres Strait Islander perspectives in teaching the Arts). The Koorie Heritage Trust Victoria also offers training in Cultural Education for schools and organisations.

Lisa Daly from Cultural Minds also provides advice for teachers when considering how to include Aboriginal and Torres Strait Islander perspectives in VCE Art Creative Practice, in particular noting that:

‘…It is important to understand there is a distinct difference between teaching Aboriginal culture and teaching about Aboriginal culture. It is not appropriate for a non-Aboriginal person to teach Aboriginal culture, that is the traditional or sacred knowledge and systems belonging to Aboriginal people. For these kinds of teaching and learning experiences it is essential to consult and collaborate with members of your local Aboriginal or Torres Strait Islander community. It is appropriate, however, for a non-Aboriginal person to teach about Indigenous Australia, its history and its people in much the same way as a teacher of non-German heritage might teach about Germany, its history and its people … As teachers, the onus is on us to learn about Indigenous Australia, in just the same way we inform ourselves about any other subject we teach…’

A range of suggested activities that incorporate Aboriginal and Torres Strait Islander perspectives have also been provided for Units 1–4 in the Teaching and learning activities.

Other specific resources associated with the Arts that provide additional information and resources on Aboriginal and Torres Strait Islander knowledge, histories and cultures can be found through the following links:

Information and protocols

Victorian Curriculum and Assessment Authority: Koorie Cross-Curricular Protocols for Victorian Government Schools
Arts Council Australia: Protocols for using First Nations Cultural and Intellectual Property in the Arts
Bunjilaka Aboriginal Cultural Centre: Museums Victoria
Culture Victoria  Creative Victoria: First Peoples Action Plan for the Creative Industries
Drama Victoria: Advice for Victorian teachers  
Australian Broadcasting association: Cultural considerations for delivering ‘back to nature resources’ 
VAEAI ‘But can they paint dots?’
Art Gallery of South Australia: Incorporate Aboriginal and Torres Strait Islander Art into your classroom in a culturally appropriate way

Teaching resources

Monash University Museum of Art 
National Gallery of Victoria  
National Gallery of Australia   
Museum of Contemporary Art Australia
National Aboriginal and Torres Strait Islander Art Awards  
Queensland Art Gallery and Museum of Modern Art (QAGOMA)

In VCE Art Creative Practice, students investigate issues that arise from the investigation of artworks and the meanings and messages communicated by them. An issue can be considered to be an important topic or problem for debate or discussion that impacts on the experiences and background of people. Issues can be related to the economic, philosophical, social or cultural context of artworks. Issues can arise through the presentation of artworks, their context, practices of artists and their use of materials, techniques and processes. They can arise from the viewing, interpretation and understanding of artworks and the practices of artists by audiences.

The VCE Art Creative Practice study provides students with the opportunity to engage in a range of learning activities. In addition to demonstrating their understanding and mastery of the content and skills specific to the study, students may also develop employability skills through their learning activities.

The nationally agreed employability skills* are: Communication; Planning and organising; Teamwork; Problem solving; Self-management; Initiative and enterprise; Technology; and Learning.

The table links those facets that may be understood and applied in a school or non-employment-related setting
 to the types of assessment commonly undertaken in the VCE study.
Assessment taskEmployability skills selected facets
Compare, analyse and interpret in an extended written responseCommunication: Reading independently; speaking clearly and directly: writing to the needs of the audience 
Planning and organisation: Managing time and priorities – setting timelines, coordinating tasks for self and with others; establishing clear project goals and deliverables: planning the use of resources including time management; collecting, analysing and organising information 
Learning: Managing own learning
Compare, analyse and interpret in short answer responses supported by visual referencesCommunication: Reading independently; speaking clearly and directly: writing to the needs of the audience 
Planning and organisation: Managing time and priorities – setting timelines, coordinating tasks for self and with others; establishing clear project goals and deliverables: planning the use of resources including time management; collecting, analysing and organising information 
Learning: Managing own learning
Compare, analyse and interpret in an annotated visual reportCommunication: Reading independently; speaking clearly and directly: writing to the needs of the audience 
Planning and organisation: Managing time and priorities – setting timelines, coordinating tasks for self and with others; establishing clear project goals and deliverables: planning the use of resources including time management; collecting, analysing and organising information 
Learning: Managing own learning
Compare, analyse and interpret in a presentation using digital technologies such as an online presentation or interactive websiteCommunication: Reading independently; speaking clearly and directly: writing to the needs of the audience 
Planning and organisation: Managing time and priorities – setting timelines, coordinating tasks for self and with others; establishing clear project goals and deliverables: planning the use of resources including time management; collecting, analysing and organising information 
Learning: Managing own learning
Compare, analyse and interpret in an oral presentation with documented evidence
 		Communication: Reading independently; speaking clearly and directly: writing to the needs of the audience 
Planning and organisation: Managing time and priorities – setting timelines, coordinating tasks for self and with others; establishing clear project goals and deliverables: planning the use of resources including time management; collecting, analysing and organising information 
Learning: Managing own learning
Visual responses to research in the Creative Practice and the presentation of a finished artworkProblem solving: Developing creative, innovative solutions; developing practical solutions; showing independence and initiative in identifying problems and solving them; applying a range of strategies to problem solving 
Learning: Managing own learning; being open to new ideas and techniques; being prepared to invest time and effort in learning new skills 
Initiative and enterprise: Adapting to new situations; developing a strategic, creative, long-term vision; being creative; identifying opportunities not obvious to others; translating ideas into action; generating a range of options; initiating innovative solutions 
Planning and organisation: Managing time and priorities – setting timelines, coordinating tasks for self and with others; being resourceful; taking initiative and making decisions; planning the use of resources including time management 
Self-management: Having a personal vision and goals; evaluating and monitoring own performance; having knowledge and confidence in own ideas and visions; articulating own ideas and visions; taking responsibility
Documentation of Creative Practice in response to personal ideas with critical annotationsLearning: Managing own learning; being open to new ideas and techniques; being prepared to invest time and effort in learning new skills 
Initiative and enterprise: Adapting to new situations; developing a strategic, creative, long-term vision; being creative; identifying opportunities not obvious to others; translating ideas into action; generating a range of options; initiating innovative solutions 
Problem solving: Developing creative, innovative solutions; developing practical solutions; showing independence and initiative in identifying problems and solving them; applying a range of strategies to problem solving 
Self-management: Having a personal vision and goals; evaluating and monitoring own performance; having knowledge and confidence in own ideas and visions; articulating own ideas and visions; taking responsibility
Planning and organisation: Managing time and priorities – setting timelines, coordinating tasks for self and with others; being resourceful; taking initiative and making decisions; planning the use of resources including time management
Critique accompanied by written and visual documentationCommunication: Reading independently; speaking clearly and directly: writing to the needs of the audience 
Initiative and enterprise: Adapting to new situations; developing a strategic, creative, long-term vision; being creative; identifying opportunities not obvious to others; translating ideas into action; generating a range of options; initiating innovative solutions 
Self-management: Having a personal vision and goals; evaluating and monitoring own performance; having knowledge and confidence in own ideas and visions; articulating own ideas and visions; taking responsibility
Planning and organisation: Managing time and priorities – setting timelines, coordinating tasks for self and with others; being resourceful; taking initiative and making decisions; planning the use of resources including time management
Evaluation of the Creative Practice and a finished artworkProblem solving: Developing creative, innovative solutions; developing practical solutions; showing independence and initiative in identifying problems and solving them; applying a range of strategies to problem solving 
Learning: Managing own learning; being open to new ideas and techniques; being prepared to invest time and effort in learning new skills 
Self-management: Having a personal vision and goals; evaluating and monitoring own performance; having knowledge and confidence in own ideas and visions; articulating own ideas and visions; taking responsibility
Initiative and enterprise: Adapting to new situations; developing a strategic, creative, long-term vision; being creative; identifying opportunities not obvious to others; translating ideas into action; generating a range of options; initiating innovative solutions 
Planning and organisation: Managing time and priorities – setting timelines, coordinating tasks for self and with others; being resourceful; taking initiative and making decisions; planning the use of resources including time management 
Technology: Having a range of basic IT skills
Comparison, analysis and interpretation of ideasLearning: Managing own learning; being open to new ideas and techniques; being prepared to invest time and effort in learning new skills 
Problem solving: Developing creative, innovative solutions; developing practical solutions; showing independence and initiative in identifying problems and solving them; applying a range of strategies to problem solving 
Planning and organisation: Managing time and priorities – setting timelines, coordinating tasks for self and with others; being resourceful; taking initiative and making decisions; planning the use of resources including time management 
Technology: Having a range of basic IT skills

*The employability skills are derived from the Employability Skills Framework (Employability Skills for the Future, 2002), developed by the Australian Chamber of Commerce and Industry and the Business Council of Australia, and published by the (former) Commonwealth Department of Education, Science and Training.

 

Area of Study 1

Outcome 1

Area of Study 2

Outcome 2

Area of Study 3

Outcome 3

Unit 1: 

Interpreting artworks and exploring the Creative Practice

Artists, artworks and audiences

Use Structural and Personal Interpretive Lenses to research, analyse and interpret meanings and messages

Assessment:

Analysis and interpretation of artists and art practices using the Structural and Personal lenses

The Creative Practice

Use the Creative Practice to experiment, explore and develop a range of personal visual responses in a visual diary or similar

Assessment:

A range of personal visual responses to a selection of set tasks, showing the exploration of ideas, materials and techniques in at least three art forms.

Documenting and reflecting on the Creative Practice. 

Reflect and evaluate the Creative Practice in the visual diary.

Assessment:

Documentation of the Creative Practice, including annotated personal visual responses. 

Unit 2:

Interpreting artworks and developing the Creative Practice

The artist, society and culture

Use Cultural and other Interpretive Lenses as appropriate to analyse and interpret artists and art practices.

Three artists must be studied and include:

  • an Aboriginal or Torres Strait Islander person

  • an artist who collaborates with other artists, technicians or with the viewer or audience as part of their practice

  • an artist from a historical period of time that has used at least one traditional art form and traditional materials and techniques

  • a contemporary artist whose practice is influenced by contemporary ideas, materials, techniques, processes or approaches.

Assessment: 

Analysis and interpretation of artists and art practices using the Cultural and other Interpretative Lenses.

The collaborative Creative Practice

Use Creative Practice and collaborative approaches to develop visual responses and produce at least one finished artwork

Assessment:

  • visual responses that demonstrate the use of the Creative Practice, collaboration and the exploration of personal ideas related to social and cultural contexts

  • presentation of at least one finished artwork that realises the intentions of the student and demonstrates the refinement of materials, techniques and processes

 

Documentation of collaboration using the Creative Practice

Use critical annotations to evaluate Creative Practice in visual diary or similar.

Prepare and present a critique

Assessment

  • documentation of the Creative Practice presenting explorations in selected art forms, and demonstrating the development of the student’s collaborative practice

  • an oral critique with visual and written presentation of the development of personal ideas, directions, explorations, visual language, technical skills, processes and artworks. 

  • evaluation of the Creative Practice and the presentation of finished artworks

  • evaluation of visual responses that effectively communicate social and cultural meaning

Unit 3:

Investigation, ideas, artworks, and Creative Practice

Investigation and presentation

Using the Interpretive Lenses research and examine one artwork/practice of an artist, investigate ideas and issues, as specified in the Study Design.

In response use Creative Practice to develop personal ideas in a Body of Work and produce at least one finished artwork.

Prepare and present a critique based on the Body of Work and finished artwork.

School Assessed Task

  • A presentation of the research conducted by the student.

At least one finished artwork that responds to the ideas explored using the Creative Practice. 

Personal investigation using the Creative Practice

Use Creative Practice to develop a Body of Work building on or in response to Unit 3 AoS1, or in a new direction. Research of historical and contemporary artists is integral to student’s use of the Creative Practice and informs the basis of their investigation.

Progressively document, reflect and evaluate using the Interpretive Lenses in visual diary or similar

School Assessed Task

A documented Body of Work that presents explorations and the development of personal ideas within selected art forms, using the Creative Practice and including reflective annotations.

 

Unit 4: 

Interpreting, resolving and presenting artworks and Creative Practice

Documentation and critique of the Creative Practice

Present a critique on Unit 3 Creative Practice to inform the refinement and resolution of the Body of Work in Unit 4.

Reflect on critique feedback to continue to refine and resolve the Creative Practice. 

Students continue to study the practices of historical and contemporary artists to inform their own practice.

Document, annotate and evaluate the Creative Practice in Visual Diary or similar

School Assessed Task

  • A critique of the development, refinement and resolution of personal concepts, ideas, directions, explorations and the use of visual language in artworks.

  • A documented Body of Work that presents ongoing explorations and development of personal concepts within selected art forms, using the Creative Practice and including reflective annotations.

Resolution and presentation of a Body of Work

Resolve and present personal concepts, ideas and explorations within a Body of Work, including at least one or more finished artworks. 

Presentation, context and communication of ideas to a viewer or audience must be considered.

School Assessed Task

A Body of Work that resolves personal concepts, ideas and explorations using the Creative Practice, including the presentation of one or more finished artworks that resolve the student’s intentions.

Comparison of artists, their practice and their artworks.

Use the Interpretive Lenses to critically analyse, interpret and compare meanings and messages of historical and contemporary artists, their practice, and artworks

School Assessed Coursework

A comparison of the practices of historical and contemporary artists, using the Interpretive Lenses to analyse and interpret the meanings and messages of selected artworks.

Suggested teaching timeline for Units 1-4

When designing a timeline, teachers should take into consideration the frequency and length of classes, their cohort, access to teaching spaces and materials. The recommended time allocation for the delivery of each unit of study is 50 hours. Teachers may choose to deliver outcomes within each unit sequentially or in parallel where possible depending on the school calendar. Below is a suggested approach to delivering the outcomes; however, this needs to be considered alongside the individual school calendar and the administrative dates supplied annually by the VCAA. Refer to the VCAA Administrative Handbook for further information or speak to your school’s VCE VASS coordinator.

UNIT 1: INTERPRETING ARTWORKS AND EXPLORING THE CREATIVE PRACTICE

AREA OF STUDY

Area of Study 1

Artists, artworks and audiences

Area of study 2

The Creative Practice

Area of Study 3

Documenting and reflecting on the Creative Practice. 

ASSESSMENT TYPE

Assessment of research and analysis

Visual responses leading to a Body of Experimental Work in a visual diary or similar

Annotated documentation in visual diary

or similar

OUTCOME STATEMENT

Discuss the practices of three artists and apply the Structural Lens and the Personal Lens to analyse and interpret one artwork by each artist.

Use the Creative Practice to develop and make visual responses informed by their exploration of personal interests and ideas.

Document and evaluate the components of the Creative Practice used to make personal visual responses.

INQUIRY FOCUS

‘How do artists use materials to express personal ideas?’

‘How do artists, materials and techniques and processes help me communicate ideas in my artworks?’

‘How will I document and evaluate my Creative Practice?’

Week 1 
  • Introduce and explore the relevant terminology of the study, including the Creative Practice and Interpretive Lenses, through group activities and familiarisation games
  • Introduce the three artists that will be studied over the Semester. The artists must be from different periods of time and cultures, one must be contemporary and one artist must be Australian.

Advise students that outcome two requires them to:

  • Produce personal visual responses in relation to the artists they study for Outcome 1.
  • Produce at artworks in at least three different art forms.
  • Document their art making in the Visual diary
  • Introduce the students to the visual diary.
  • Discuss the nature of habitual documentation and relevant annotation using the Interpretive Lenses.
  • Discuss strategies for critical and reflective thinking and documentation in the Visual Diary.
Week 2
  • Introduce and begin investigating Artist No. 1 and their practice.
  • Present a range of artworks by the artist and discuss their use of visual language to communicate ideas.
  • Scaffold the practice of the artist for the students, looking at the key characteristics of Art Creative Practice.
  • Mapping of The Creative Practice in the Visual Diary. Using the practice of Artist No. 1 as an example, students consider how they would develop an artwork applying the Creative Practice.
  • Students explore and experiment with materials similar to those of Artist No. 1. The teacher will lead the students through a series of activities based on common subject matter or theme.
  • Students complete a map of their planned Creative Practice in the Visual Diary. The document the four stages of the Creative Practice.
  • The exploration of ideas and experimentation of materials and techniques are evaluated and documented in the Visual Diary. Sample questions and responses are provided to the students so they can develop their documentation.

Week 3

  • Review the artworks by the artist and apply the Structural and the Personal lens to interpret the meanings and messages of the artworks.
  • Use a range of sources to formulate personal opinions on the artist and their work.
Students are guided to develop a topic of interest related to the artworks and practice of an artist. The topic is brainstormed and the students plan the proposed work in a series of rough sketches.
  • Students complete a brainstorm of their ideas for Artwork 1. They document the generation of ideas including references to the artists of inspiration.
  • Students are introduced to the use of the Personal and Structural Lenses to analyse and reflect upon their work.

Week 4

  • Scheduled assessment task on Artist No. 1 drawn from the list of assessment tasks outlined in the study design on page 22.
  • The task must include presentation of information on:
  • The practice of the artist
  • The use of the Structural and Personal Lenses
  • Use of personal opinions and points of view about the artwork
  • The artists use of visual language to communicate ideas and meaning.
Mockups of the artwork are produced before the students begin to develop the artwork.

Students are introduced to critical and reflective thinking strategies to evaluate the ideas for their artworks. They evaluate the mockups of the artworks considering:

  • The use of visual language
  • The use of materials, techniques and processes used to make personal visual responses

Week 5

  • Introduce and begin investigating Artist No. 2 and their practice.
  • Present a range of artworks by the artist and discuss their use of visual language to communicate ideas.
  • Scaffold the practice of the artist for the students, looking at the key characteristics of Art Creative Practice.
  • Students continue to work on their artwork producing examples of samples and problem-solving aspects of their work considering:
  • The use of visual language to communicate ideas and meaning.
  • Use of materials, techniques and processes
  • Application of the Personal and Structural Framework to communicate meaning.
  • Critical and reflective thinking strategies are documented in the evaluation of the use of the Creative Practice in art making.
  • The samples are evaluated applying the Personal and Structural Framework to communicate personal meanings and messages in the artworks.

 

Week 6

  • Review the artworks by the artist and apply the Structural and the Personal lens to interpret the meanings and messages of the artworks.
  • Use a range of sources to formulate personal opinions on the artist and their work.

Students present their work to their peers before refining their work. They produce a series of questions to provide feedback on their work. They can draw on the feedback questions for the Critique outlined in the planning section of the support materials

  • The presentation is planned in the Visual Diary as students draw on their documentation to develop feedback questions to improve their artwork.
  • They reflect on the feedback from the presentation and use it to plan the development of their second artwork.  

Week 7

  • Scheduled assessment task on Artist No. 2 drawn from the list of assessment tasks outlined in the study design on page 22.
  • The task must include presentation of information on:
  • The practice of the artist
  • The use of the Structural and Personal Lenses
  • Use of personal opinions and points of view about the artwork
  • The artists use of visual language to communicate ideas and meaning.

Students review the use of the Creative Practice in the making of their finished work. They evaluate the use of the Creative Practice and what they could improve upon for their next artwork.

Students review their finished artwork and feedback using the structure of the Creative Practice. They note any aspects of the Creative Practice they need to improve upon for their second artwork.

 

Week 8

  • Introduce and begin investigating Artist No. 3 and their practice.
  • Present a range of artworks by the artist and discuss their use of visual language to communicate ideas. Scaffold the practice of the artist for the students, looking at the key characteristics of Art Creative Practice.
Students explore and experiment with materials similar to those of Artist No. 2. The teacher will lead the students through a series of activities based on common subject matter or theme.
  • The exploration of ideas and experimentation of materials and techniques are evaluated and documented in the Visual Diary. Sample questions and responses are provided to the students so they can develop their documentation.

Week 9

  • Review the artworks by the artist and apply the Structural and the Personal lens to interpret the meanings and messages of the artworks.
  • Use a range of sources to formulate personal opinions on the artist and their work.
Students are guided to develop a topic of interest related to the artworks and practice of an artist. The topic is brainstormed and the students plan the proposed work in a series of rough sketches.
  • Students complete a brainstorm of their ideas for Artwork 1. They document the generation of ideas including references to the artists of inspiration.
  • They use the Personal and Structural Lenses to analyse and reflect upon the communication of ideas and meaning of their planned artwork

Week 10

  • Scheduled assessment task on Artist No. 3 drawn from the list of assessment tasks outlined in the study design on page 22.
  • The task must include presentation of information on:
  • The practice of the artist
  • The use of the Structural and Personal Lenses
  • Use of personal opinions and points of view about the artwork
  • The artists use of visual language to communicate ideas and meaning.
  • Mock ups of the artwork are produced before the students begin to develop the artwork.

Students use critical and reflective thinking to select their preferred artwork. They evaluate the mock-ups of the artworks considering:

  • The use of visual language
  • The use of materials, techniques and processes used to make personal visual responses

TERM ONE BREAK

 

 

 

Week 1

 

Students continue to work on their artwork producing examples of samples and problem-solving aspects of their work considering:

  • The use of visual language to communicate ideas and meaning.
  • Use of materials, techniques and processes
  • Application of the Personal and Structural Framework to communicate meaning.
  • Critical and reflective thinking strategies are documented in the evaluation of the use of the Creative Practice in art making.
  • The samples are evaluated applying the Personal and Structural Framework to communicate personal meanings and messages in the artworks.

Week 2

 

For their final artwork, students select the ideas and work of one of the three artists studied in Outcome 1 to produce an artwork.

They use their past documentation for artworks 1 and 2 to build upon the ideas, and use of materials and techniques for the artwork.

 

  • Students use critical and reflective thinking to select their preferred ideas and art form.
  • They apply the Interpretive Lenses to propose how they will communicate ideas and meaning.
  • They also discuss the relationship to their artist of inspiration and how their artworks and practice have influenced their own artworks and art practice.

 

Week 3

 

Two weeks are spent making the work by refining materials, techniques and processes. The students apply the Personal and Structural lenses to evaluate the development and refinement of ideas and meaning in the artwork.

Complete documentation in the Visual Diary documenting and evaluating the progress of the artwork. Students consider the use of visual language and apply the Personal and Structural Lenses in the evaluation of the development of their artwork.

Week 4

 

A presentation of the final works is planned. The students plan the presentation of their work and develop a final reflection statement that discusses the presentation of their work, and the communication of ideas and meaning.

  • The presentation of the final artworks are planned in the Visual Diary. Students consider the presentation of the work, the context in which it is presented and the use of the Interpretive Lenses to communicate meanings and messages to the audience.
  • Feedback questions are developed for the presentation drawing on the documentation that the students have produced for the artwork.

Week 5

 The final body of work is presented to an audience. The students present the body of work in a presentation with questions for feedback.

The final body of work is presented with the Visual Diary documentation and the artists statement

 

UNIT 2: INTERPRETING ARTWORKS AND DEVELOPING THE CREATIVE PRACTICE

AREA OF STUDY

Area of Study 1

The artist, society and culture

Area of study 2

The collaborative Creative Practice

Area of Study 3

Documentation of collaboration using the Creative Practice

ASSESSMENT TYPE

Assessment of research and analysis

Visual responses within a Creative Practice; at least one finished artwork

Annotated documentation in visual diary

OUTCOME STATEMENT

Use the Cultural Lens, and the other Interpretive Lenses as appropriate, to analyse and compare the practices of artists and artworks from different cultures and times.

Use the Creative Practice to explore social and cultural ideas or issues to make and present at least one finished artwork using collaborative approaches.

Critically reflect on, evaluate and document their use of the Creative Practice to develop and make collaborative visual responses.

INQUIRY FOCUS

  • What is the role and purpose of art in societies?
  • How are collaborative artworks developed?

  • How do artists reflect upon and critique their collaborative practice?’

Week 1 

Introduce the three artists that will be studied for the Outcome.

Advise the students that the Outcome focuses on the role and purpose of art in different cultural contexts and times. The artists studied must be from the following categories:

  • An Aboriginal or Torres Strait Islander Person
  • An artist who collaborates with other artists, technicians or the viewer as part of their practice
  • An artist from a historical period
  • A contemporary artist

Students will also focus on the Cultural Lens, and their knowledge of the Personal and Structural Lens (from Unit 1), to interpret the meanings and messages of the artworks studied.

Advise students that outcome two requires them to:

  • Visual responses using collaborative practices.
  • Apply the Creative Practice to make at least one finished artwork
  • Explore social and cultural ideas or issues in art making.

 

Advise students that outcome three requires them to document in the Visual diary:

  • Reflect on, evaluate and document the Creative Practice used to make collaborative visual responses.
  • Present a critique of the Creative Practice used to make artworks.
  • Reflect on and use feedback from the critique to resolve at least one finished artwork. 

 

Week 2

  • Introduction to collaborative practice and the Cultural Lens.
  • Research of a range of sources to support the analysis, evaluation and interpretation of the practices of artists and their works.
  • Introduction to artist(s) No. 1 – focus on historical artists and their artworks.
  • investigate and document how artists use the Creative Practice and collaboration and document the investigation in the Visual diary.
  • Review a range of artists and their practice that use collaboration across art forms, focus on specific examples by artists.
  • Document the findings from Outcome 2 in the Visual diary.

Week 3

Continued investigation of historical artist and their practice. Focus on:

  • Collaborative practice
  • Methods of making and presenting artworks
  • Analysis of the beliefs, values and traditions expressed in artworks by the artist.
  • Research methods and use of a range of sources in the analysis, interpretation and evaluation of the artist and their artworks.
  • Investigate how artists use visual language to communicate ideas and issues in artworks
  • Explore a range of social and cultural ideas that are expressed in artworks to select as a class as a focus for the Creative Practice for Outcome 2.
  • Experiment with materials and techniques to produce an experimental artwork based on the exploration of a social or cultural idea from an artwork. (1)
  • Investigate annotation techniques and organisation strategies for the Visual diary
  • Document the exploration of social and cultural ideas expressed in artworks in the Visual Diary
  • Document and reflect on the experimentation for Artwork 1.

Week 4

  •  Application of the Cultural lens and other appropriate lens to interpret the meanings and messages of the artworks by the artist.
  • Preparation for Assessment task 1. Structure the assessment task on one of the following tasks outlined in the Study Design.
    • An extended written response
    • Short-answer responses
    • An annotated visual report
    • A digital presentation
    • An oral presentation
  • Explore how the artists collaborate in their practice.
  • Explore the application of the Cultural lens in the Creative Practice by viewing examples of student explorations in the Creative Practice.
  • Commence development of concepts for artworks based on the exploration of social and cultural ideas.

In the Visual Diary:

  • Reflect, evaluate and record all investigations
  • Document the use of the Cultural lens in student examples
  • Document the conceptual development for artworks.

 

Week 5

Assessment Task 1 on historical artist.

  • Collaborative practice
  • Methods of making and presenting artworks
  • Analysis of the beliefs, values and traditions expressed in artworks by the artist.
  • Research methods and use of a range of sources in the analysis, interpretation and evaluation of the artist and their artworks.

Application of the Cultural lens and other appropriate lens to interpret the meanings and messages of the artworks by the artist.

  • Plan the Creative Practice to explore, develop and refine a finished artwork using collaborative practice.
  • Develop an understanding of how visual language can be applied to communicate ideas in collaborative practice.
  • Apply the cultural lens to the experimental artworks produced in Weeks 3 and 4.

Submit Visual Diary for formative feedback.

The teacher will review the student’s:

  • Research into artists and artworks
  • Experimentation and visual responses
  • Use of the Creative Practice
  • Application of the Cultural lens.

 

Week 6

Investigation of Aboriginal or Torres Strait Islander artist(s) and their practice. Focus on:

  • Collaborative practice
  • Methods of making and presenting artworks
  • Analysis of the beliefs, values and traditions expressed in artworks by the artist.
  • Develop the use of specific materials, techniques and processes appropriate to the selected artworks and collaborative practice.
  • Develop subject matter and ideas related to the theme of cultural or social contexts.
  • Make connections between the ideas and the use of subject matter in the artwork
  • Document the use of materials, techniques and processes and collaborative practice for the artwork.
  • Document the use of subject matter and ideas related to the social or cultural context of the artwork.
  • Document the development of ideas and subject matter for the visual response
Week 7

Continued investigation of Aboriginal or Torres Strait Islander artist(s) and their practice. Focus on:

  • Collaborative practice
  • Methods of making and presenting artworks
  • Analysis of the beliefs, values and traditions expressed in artworks by the artist.
  • Research methods and use of a range of sources in the analysis, interpretation and evaluation of the artist and their artworks.
  • Develop the use of specific materials, techniques and processes appropriate to the selected artwork
  • Further develop the use of the Creative Practice by reflecting on the previous two experimental artworks. Use this to inform the final artwork
  • Make connections between the ideas and collaborative practice to make the final artwork.
  • Document the use of Creative Practice in the artwork.
  • Document the collaborative practice in the development of the artwork.
  • Use appropriate art terminology and appropriate Interpretive Lenses to reflect on and evaluate the exploration and development of each visual response in the Visual diary
Week 8
  •  Application of the Cultural lens and other appropriate lens to interpret the meanings and messages of the artworks by the artist.
  • Preparation for Assessment task 2 Structure the assessment task on one of the following tasks outlined in the Study Design.
    • An extended written response
    • Short-answer responses
    • An annotated visual report
    • A digital presentation
    • An oral presentation

 

Week 9

Assessment Task 2 on Aboriginal and Torres Strait artist, their practice and artworks.

  • Collaborative practice
  • Methods of making and presenting artworks
  • Analysis of the beliefs, values and traditions expressed in artworks by the artist.
  • Research methods and use of a range of sources in the analysis, interpretation and evaluation of the artist and their artworks.
  • Application of the Cultural lens and other appropriate lens to interpret the meanings and messages of the artworks by the artist.
  • Select (at least one) artwork to expand upon as a final artwork.
  • Commence making the work.
  • Apply aspects of the Cultural lens and other appropriate lenses to the making of the artwork. Discuss the links between the collaborative process and the Interpretative lenses.
  • Document how the experiments may lead to further development and refinement
  • Document the application of the Cultural lens and other appropriate lenses to the collaborative practice.

Week 10

 

  • Continue to make the artwork.
  • Monitor and evaluate the roles of the collaborators in making the artwork.
  • Further develop and refine visual language to communicate ideas through documentation in the Visual diary.
  • Further develop and refine the use of the Creative Practice and collaboration based on research and experimentation in Area of Study 2.
  • Introduce the students to the critique by providing a structure that is based on the Creative Practice.
  • Brainstorm the questions that could be asked to gain feedback from the critique to refine finished artworks

TERM THREE BREAK

 

 

 

Week 1

Investigation of a contemporary artist and their practice. Focus on:

  • Collaborative practice
  • Methods of making and presenting artworks
  • Analysis of the beliefs, values and traditions expressed in artworks by the artist.
  • Continue to make artworks.
  • Re-focus the roles of the collaborators in the making of the work by evaluating their participation using the Creative Practice.
  • As a group apply the Cultural lens to evaluate the meanings and messages of the work.

 

 

  • Document the Creative Practice
  • Document the process of making the artwork, including collaboration.
  • Evaluate the collaborative practice using the Cultural Lens and other appropriate lenses.
  • Develop the format of the critique. Students must document their collaboration in making the final artwork.

Week 2

Continued investigation of contemporary artist(s) and their practice. Focus on:

  • Collaborative practice
  • Methods of making and presenting artworks
  • Analysis of the beliefs, values and traditions expressed in artworks by the artist.
  • Research methods and use of a range of sources in the analysis, interpretation and evaluation of the artist and their artworks.

Throughout the critique discuss and consider any refinements that need to be made to the artwork.

 

  •  Presentation of the critique as a group.
  • Document any feedback and reflect on any refinements to be made to the work.

Week 3

  • Application of the Cultural lens and other appropriate lens to interpret the meanings and messages of the artworks by the artist.
  • Preparation for Assessment task 2 Structure the assessment task on one of the following tasks outlined in the Study Design.
    • An extended written response
    • Short-answer responses
    • An annotated visual report
    • A digital presentation
    • An oral presentation

From the critique discuss and select any refinements to be made to the finished artwork.

 

Document agreed upon refinements to be made to the finished artwork.

Week 4

Assessment Task No. 3 on a contemporary artist, their practice and artworks.

  • Collaborative practice
  • Methods of making and presenting artworks
  • Analysis of the beliefs, values and traditions expressed in artworks by the artist.
  • Research methods and use of a range of sources in the analysis, interpretation and evaluation of the artist and their artworks.
  • Application of the Cultural lens and other appropriate lens to interpret the meanings and messages of the artworks by the artist.

Refine artwork and prepare for final presentation.

 

  • Introduce the final reflection statement considering the use of the Creative Practice, collaboration in the finished work and the application of the Cultural lens and appropriate other Interpretive Lenses.
  • Document a draft reflective statement for feedback by the teacher.

Week 5

 
  • Present the finished artwork in a critique explaining and evaluating the use of the Creative Practice and with a focus on the use of the Cultural lens to interpret meanings and messages.
  • Students should consider the context of the presentation of the work and the audience interpretation of the work.
  • Complete and submit the Visual diary
  • Use the documentation in the Visual diary to write an evaluative statement that accompanies the final artwork.

Unit 3: Investigation, ideas, artworks and the Creative Practice

Approaches to Teaching Unit 3

Unit 3 Outcome 2 requires students to create at least two artworks and present a critique that evaluates the artworks and art making. Students should begin art making in the early stages of term one (at least by week 5). 

Two Artworks

There are a number of approaches to supporting students to make two artworks during Unit 3. These approaches include:

  • Setting internal due dates for each artwork prior to the final submission date

  • Suggesting to students that they should work on one artwork at home and one at school

  • Helping students to plan key milestones in making two artworks

  • Developing a planner where students can see the dates they need to meet to complete the two artworks

  • Making an exhibition of one artwork by each student to see and discuss their progress prior to starting artwork two.

The Critique

In order for students to be prepared for the critique, they should plan to present the progress of both artworks. It might be a good idea to suggest that in the early stages of term two (week 2 - 3) that artwork one should be finished while artwork two might still be in development. This will provide fair and equitable time for the presentation of critiques and for students to reflect on their art making.

 

UNIT 3: INVESTIGATION, IDEAS, ARTWORKS AND THE CREATIVE PRACTICE

AREA OF STUDY

Area of Study 1

Investigation and presentation

Area of Study 2

Personal investigation using the Creative Practice

OUTCOME STATEMENT

Develop personal ideas using research that examines one artwork and the practice of an artist, and produce at least one finished artwork using the Creative Practice.

 

Apply and explore ideas in an area of personal interest using the Creative Practice.

 

ASSESSMENT TYPE

School Assessed Task

School Assessed Task

INQUIRY FOCUS

‘What components of the Creative Practice will I use to explore issues and develop a personal response to the artist?’

‘What components of the Creative Practice will I use to explore and develop my Body of Work?’

ASSESSMENT TASKS

  • A presentation of the research conducted by the student

  • At least one finished artwork that responds to the ideas explored using the Creative Practice.

A documented Body of Work that presents explorations and the development of personal ideas within selected art forms, using the Creative Practice and including reflective annotations.

WEEKS

Area of Study 1: Investigation and presentation

Week 1 

Introduce the students to the Area of Study and Assessment advice. 

  • Students research historical or contemporary artists that interest them. 

  • Go to the library and browse through books and journals

  • Provide the students with a list of artists and themes that they might like to explore

  • Visit the galleries and seek inspiration

  • Search the internet for well-known artists who work in a technique that interests the students

  • Research the websites of state and national galleries for artists and artworks. 


    Select an artist

  • Students make a list of inspiring artists then narrow the list down to one artist. 

  • Set up a bibliography table of sources of information for the research

  • Research and analyse a range of references about the artist’s work including their values and beliefs, ideas and issues, materials, techniques and processes and the context within which they work(ed). 

  • Use the bibliography to analyse and evaluate the sources.


    Select an artwork

  • Name the artist and work selected to study

  • Paste in a print of the artwork in the Visual diary

  • Annotate the artwork using the Structural Lens.

  • Pay attention to the materials, methods and processes.

  • Consider the context of the work: when and where was it made? Did this influence the work? (Cultural Lens)

  • How does the artist use Visual Language to communicate ideas or issues?

Write up observations in a written report of 300 – 500 words, with visual evidence.

Week 2

Exploration

Having investigated the artist and their work, make a mind map of possible visual responses to the artwork. These could be using the same materials, covering the same theme, or using the visual effects in the works. 

From the mind map, identify three different possibilities. Take a page for each one and brainstorm how each could be developed into an artwork. Consider subject matter, materials, composition or structure. Use the Interpretive Lenses to inform the ideas and possibilities for the artwork. 

Week 3 - 8

Develop a response to the artwork researched. 

From these investigations, select one direction to follow. Experiment with subject matter, materials, composition or structure, making small trials. Document these with photographs and entries in the visual diary.

Reflecting on the response

Students assess and evaluate their decisions. How do these trials respond to the selected artwork? What is it about the initial artwork that you studied that has continued in your work? Do you need to return to the initial inspiration? Plan how you will refine and resolve your trials to create a finished work. How do the Interpretive Lenses inform or shape your response? Refer to the Interpretive Lenses slide show to remind yourself of these.

Refining and resolving the artwork

Follow a plan to refine and resolve a finished work. Document the using photos and notes in the visual diary. Consider the use of  Visual Language. Does it communicate your ideas and/or issues?

Week 9 - 10

Preparing the critique

To prepare for the class critique, students can respond to the following questions.

  • Which artwork/artist was the initial inspiration for the work?

  • In what ways did the original artwork inspire your own?

  • What ideas and imagery does your own work use, and what meanings or messages do they convey?

  • How are the Interpretive Lenses evident in the work?

  • How did you develop, refine, and resolve the work?

  • How does your visual language communicate your ideas? How have you used the elements and principles? How do materials and techniques contribute to the work? How do these help to communicate your message?

  • What do you feel is successful about the work?

  • What do you feel remains unresolved?

Presenting the critique

Prepare to display the Body of Work, organised in a way that shows the development of ideas and the finished artwork. Present this display to the class, explaining the progression of the work and discussing the influence of the selected artist and their artwork on the students own work. Gather feedback from the audience. This might include:

  • What do they see?

  • Is the artwork resolved? Why or why not?

  • What do they wonder?

  • What potential can they imagine?

Reflecting on the critique

Record and reflect on the feedback and use it to determine the direction of the artwork for Area of Study 2. The following questions can be used:

  • What are the ‘take-aways’ from the Critique? What feedback did you receive from you peers?

  • What were the strengths of the Creative Process?

  • What were the weaknesses?

  • What else will be investigated? Will the subject matter of AoS1 be built on, or will a new direction be selected?

Area of Study 2: Personal investigation using the Creative Practice
Reflecting on the Body of Work, and building on the feedback from the Critique, students explore, experiment, and develop their ideas. They may choose to extend or expand ideas from Area of Study 1, or to move in a new direction. This is an inquiry-based area of study, so research, investigation, experimentation, and exploration are key. There are no finished works required in Area of Study 2.
TERM ONE BREAK

Identifying a direction

Make a page that contemplates how the student might extend the ideas, techniques or visual language from Area of Study 1. Consider the feedback from the Critique, keep and open mind and explore the possiblitiels. How will you make use of the feedback from the Critique?

Students want to explore a range of new ideas. They might return to artists from their earlier investigations. 

Students might research artists who investigate the same ideas, materials or aesthetics as researched in Area of Study 1. One of these artists could be part of their study for Unit 4 Area of Study 3. 

Plan

Identify an idea or direction and plan what the student will need to do to explore it. Do they need to learn or refine techniques? Trial materials? Develop sketches? Study artists? Find information on issues? 

Term 2

Week 1 - 5

Creative Practice

Use the components of the the Creative Practice to develop ideas, documenting and annotating these consistently in the Visual diary. 

  • Extend and develop the student’s own visual language.

  • Apply the Interpretive Lenses in both the research and the reflection

  • Use materials, techniques and processes to develop visual language

  • Critically reflect on personal responses

The Creative Practice is iterative and the students will work through the stages over and over again to advance their ideas and skills.

Research

Research the selected artists’ practice through the Interpretive lenses. This will further inform the student’s understanding and use of the Interpretive lenses in examination responses and for Unit 4 Area of Study 3. 

Week 6Submission of a documented Body of Work that presents explorations and the development of personal ideas within selected art forms, using the Creative Practice and including reflective annotations.
Week 7Complete a written task based on a second artist investigated in Area of Study 2. Collate information about the artist and compare their practices and artworks using the Interpretive Lenses. This will inform student knowledge and skills for Unit 4 Area of Study 3 and for examination preparation. 

 

 

UNIT 4: INTERPRETING, RESOLVING AND PRESENTING ARTWORKS AND THE CREATIVE PRACTICE

AREA OF STUDY

Area of Study 1
Documentation and critique of the Creative Practice
 

Area of Study 2
Resolution and presentation of a Body of Work
 		Area of Study 3
Comparison of artists, their practice and their artworks
 

OUTCOME STATEMENT

Document their use of Creative Practice in Unit 3 and present a critique to inform the refinement and resolution of a Body of Work in Unit 4

 

Use the Creative Practice to resolve and present a Body of Work.

Compare the practices of historical and contemporary artists, and use the Interpretive Lenses to analyse and interpret the meanings and messages of selected artworks.

 

INQUIRY FOCUS

‘How do I use feedback to expand on my ideas and help refine and resolve my Body of Work?’

‘How will I refine, resolve and present my Body of Work to an audience?’

‘How do artists Creative Practices differ? How do they communicate meaning and messages?’

ASSESSMENT TYPE

School Assessed Task

School Assessed Task

School Assessed Coursework

ASSESSMENT TASKS

•    A critique of the development, refinement and resolution of personal concepts, ideas, directions, explorations and the use of visual language in artworks.
•    A documented Body of Work that presents ongoing explorations and development of personal concepts within selected art forms, using the Creative Practice and including reflective annotations.
 		A Body of Work that resolves personal concepts, ideas and explorations using the Creative Practice, including the presentation of one or more finished artworks that resolve the student’s intentions.

A comparison of the practices of historical and contemporary artists, using the Interpretive Lenses to analyse and interpret the meanings and messages of selected artworks.

WEEKSUNIT 4 AREA OF STUDY 1 AND 2UNIT 4 AREA OF STUDY 3
Week 2/8 

Reflecting on the Critique

Students make a list of their future directions for the body of work. 

•    What were the key pieces of feedback?
•    What is my response?
•    What art form or materials and processes will I use? Do I have these, or have access to them? 
•    What further research, sketching or trialling do I need to do? When should I have this done by?
•    How long will my process take? Do certain parts of the process require longer than others?
•    See the side-note definition of context. What is the best context for my artwork? How and where will I display it?

Planning Finished work(s)

From this reflection, students plan how they will refine and resolve at least one finished work.


They should develop a plan for each week until the due date of the task.
 


Students gather together research for the task including:

•    Two selected artists and two artworks by each artist
•    A list of the sources of information for the artists and artworks

Revise the Interpretive Lenses using the questions outlined in the VCAA support material. 

Revision of list of art terminology to apply in analysis and interpretation. 
 
2/9

Reflect and Evaluate


Review and evaluate all the visual responses and documentation of Unit 3 Body of Work. 

  • Take time to notice what ideas have emerged, what techniques and processes have been employed, what trials or responses have not been extended.
  • Is there room for improvement?
  • What technical problems arose? How were these resolved?
  • Think about the original intention of the Creative Practice. What was the starting point? What inspired the investigation? Has this continued, or changed?
  • What is needed to begin to refine and resolve the Body of Work?

  • When must the work be ready for presentation? Make a list and set a time plan. Document the reflection and evaluation in visual and written form as part of Area of Study 1.

     

Refine and Resolve

Following the time plan, work through the list to progressively resolve the Body of Work. Continue to refer to the sources of inspiration and consider the Interpretive Lenses when making decisions. During this time, consider the context within which the works would best be viewed. 
 

 

  • How have other artists presented similar work? Would a digital display be appropriate?
  • Does the work need a dedicated installation space
  • Does it have specific lighting needs? Power supply?
  • How will the audience be engaged? The work is only complete when it has connected with an audience, so these considerations are part of the Creative Practice. 

 

Make a list for Presentation and add it to the time plan.

Present

Work through the time plan to prepare the Body of Work for presentation. 

Use the Creative Practice to refine and work towards resolving at least one finished work. Remember to consider and refer to the aspects of the Creative Practice, the Interpretive Lenses and the Elements and Principles of Art as the work evolves. Document the use of the Interpretive lenses in the Visual Diary. .
 

Introduction to comparative analysis and interpretation structures using a range of artworks from historical and contemporary contexts. 
3/1Research into the practices of the two selected artists. Summaries of the practices of the artists
3/2Analysis of the artworks by the selected artists applying the Interpretive frameworks
3/3Interpretation of meanings and messages of artworks by selected artists. Examples from artworks compiled. 
3/4

Complete a comparison table in preparation for the task addressing:

  • The practices of selected artists

  • Analysis and interpretation of artworks using selected Interpretive lenses

  • Meanings and messages of selected artworks. 

Compile a list of art terminology and find examples in the artworks.

Document sources to support the analysis and interpretation of artworks. 

Elect the format that the student would like to complete the task using the assessment task list on page 35 of the VCE Art Creative Practice study design

3/5Submit the work from Week 4 for formative assessment and feedback from the teacher. 
3/6Prepare supporting notes for the task
3/7School-assessed Coursework task presented
3/8Conduct examination revision using the VCE Art Creative Practice sample paper and past examination papers. 
3/9
  • Present the resolution of the Body of Work and the decisions about the context in which it will be presented.
  • Write a Personal Reflection Statement which reflects upon and evaluates the use of the Creative Practice to create the Body of Work, and the communication of personal ideas and concepts using visual language.
  • The Unit 3 Finished artwork is also included in the presentation but is not assessed as assessment occurred in Unit 3. 
     
Conduct examination revision using the VCE Art Creative Practice sample paper and past examination papers.

2023 Implementation videos

VCE Visual Arts studies (2023-2027) implementation videos 
Online video presentations which provide teachers with information about the new VCE Visual Arts Study Designs for implementation in 2023: VCE Art Creative Practice and VCE Art Making and Exhibiting.


School-assessed Task: On-demand videos

Watch a series of on-demand videos to provide teachers with an understanding of the delivery of the School-assessed Task, including authentication, administration and how to apply the assessment criteria and descriptors for the School-assessed Task.
 

Frequently Asked Questions

Frequently Asked Questions (DOCX, 80.05 KB)

A set of frequently asked questions for the VCE Art Creative Practice Study Design Units 1-4 from 2023.