Planning
Accreditation period for Units 1-4: 2023-2027
Developing a curriculum and assessment program
Approach to planning the study
The VCE Art Making and Exhibiting Study Design outlines the nature and sequence of learning and teaching necessary for students to demonstrate achievement of the outcomes for each unit. Teachers should use the study design and this support material to develop a program that includes appropriate learning activities to enable students to develop the knowledge and skills identified in each unit. The areas of study describe the knowledge and skills required to demonstrate a specific outcome.
Developing a program of study
Teachers are required to develop a program that meets the requirements of the study design, including areas of study, outcome statements, key knowledge and skills, and assessment tasks. Teachers should consider developing a weekly course outline for each unit. When planning the program, teachers should allow equal time for each outcome in each unit, document the assessment tasks for each outcome, and plan a scope and sequence of learning activities for each outcome. They should ensure that this program outline incorporates coverage of the key knowledge and development of the key skills that will be assessed at the end of each outcome. When developing a program, teachers are advised to ensure all units in VCE Art Making and Exhibiting are constructed on the basis of 50 hours of class contact time.
When developing teaching and learning activities, the focus should be on the outcomes, key knowledge and key skills.
The following offers general advice to teachers on developing a program.
Selecting artists and exhibitions for study
The context will determine how schools, teachers and students will select artists, artworks and exhibitions to study. Factors that will determine the specific selection will depend upon the:
- school culture, their values and beliefs
- student cohort, their needs and priorities for learning
- teacher, their experiences and knowledge.
The teacher needs to consider:
- Equity. Patterns emerge in the choices schools and teachers make regarding the selection of artists and artworks. Diversity is an important consideration in our society and this might be reflected through the decisions schools make in the study of art. Diversity can be increased in schools when decisions are made that enable a range of voices from minority groups, people of colour and gender identities to be introduced into learning spaces. Students from different cultural contexts should also have the opportunity to study and understand historical and contemporary perspectives that may be different from and similar to their own.
- Access. The accessibility of resources and ideas should enable students to access the information required to address the key knowledge and key skills and to complete the outcomes. Teachers should consider whether students have access to technology and resources in their school that enable them to research the artists, artworks and exhibitions.
- Context. Teachers should consider whether students can identify with ideas, views and values that are discussed and whether these contexts align with the key knowledge and key skills in each area of study.
Inquiry learning in Art Making and Exhibiting
Each of the four units of VCE Art Making and Exhibiting focuses on specific inquiry learning strategies to assist students to develop their art practice. Each area of study across the four units has a focus and a learning inquiry question. The key terms of the art-making and exhibiting are listed below.
Explore
Expand
Investigate
Understand
Develop
Resolve
Collect
Extend
Connect
Consolidate
Present
Conserve
The diagram below identifies the key concepts in the art-making process that these strategies cover.
Overview of Units 1–4
The overview of the four units and the key concepts are explained in the diagram on page 11 of the VCE Art Making and Exhibiting Study Design under the heading ‘Study specifications.’ The diagram can be used to explain to students the foundations of their art making.
| Area of Study 1 Outcome 1 | Area of Study 2 Outcome 2 | Area of Study 3 Outcome 3 | |
|---|---|---|---|
| Unit 1: Explore, expand and investigate | Explore – materials, techniques and art forms Key question Focus Assessment | Expand – make, present and reflect Key question Focus Assessment | Investigate – research and present Key question Focus Assessment |
| Unit 2: Understand, develop and resolve | Understand – ideas, artworks and exhibition Key question Focus Assessment | Develop – theme, aesthetic qualities and style Key question Focus Assessment | Resolve – ideas, subject matter and style Key question Focus Assessment |
| Unit 3: Collect, extend and connect | Collect – inspirations, influences and images Key question Focus School-assessed Task | Extend – make, critique and reflect Key question Focus School-assessed Task | Connect – curate, design and propose Key question Focus School-assessed Coursework |
| Unit 4: Consolidate, present and conserve | Consolidate – refine and resolve Key question Focus School-assessed Task | Present – plan and critique Key question Focus School-assessed Task | Conserve – present and care Key question Focus School-assessed Coursework |
Suggested timeline for teaching 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, and excursions to exhibition spaces. 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: Explore, expand and investigate | |||
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| Outcome | 1 | 2 | 3 |
| UNIT 2: Understand, develop and resolve | |||
| Outcome | 1 | 2 | 3 |
| Week | ‘How do artists use materials and techniques in their art making?’ | ‘How do artists use materials and techniques to represent ideas and achieve a style in their artworks?’ | ‘What role do artworks and their presentation play in society?’ |
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| Term one break | Homework: Document any further work related to the production of at least one artwork. | Homework: Continue planning and researching. | |
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| Week | ‘How are thematic exhibitions planned and designed?’ | ‘How does an artist develop aesthetic qualities and style in artworks?’ | ‘How does an artist develop ideas and a personal style in artworks?’ |
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Students are encouraged to view artworks in a range of presentations in exhibitions in the current year of study |
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| Term break | Homework: Document any work related to the resolution of (at least one) artworks. | ||
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Approaches to teaching Units 3 and 4
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
- Setting internal due dates for each artwork prior to 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 deadlines 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. A suggested approach is that in the early stages of Term 2 (weeks 2–3) 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: Collect, extend and connect | |||
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| Outcome | 1 | 2 | 3 |
| UNIT 4: Consolidate, present and conserve | |||
| Outcome | 1 | 2 | 3 |
| Term / Week | How do artists use selected art forms and ideas to create visual language?’ | ‘How are ideas, reflection and feedback used in art making to develop artworks?’ | ‘How are artworks selected and presented for exhibition?’ |
| 1 / 1 | Researching artists, artworks and ideas
Define and Decide:
| Advise students that Outcome 2 requires them to:
Share with the class:
| Introduce the context of Outcome 3 and the requirement that the three artists and two artworks by each artist selected in Area of Study 1 must be the same as those selected in Area of Study 3. Students need to view two exhibitions in the current year of study. They will visit at least one or two exhibitions prior to the completion of Outcome 3. Visiting exhibitions will also help students to collect inspiration and influences from the artworks they see and how they are displayed in exhibitions. |
| 1 / 2 | Properties of art forms and practices of artists
Collect a variety of ideas from a range of sources Expand understanding of art elements, art principles and aesthetic qualities
| Make a booking to see one or two exhibitions. Refer to the VCAA website and select exhibitions to visit from the suggestions made in the ‘VCE Art Making and Exhibiting Exhibitions’ list. | |
| 1 / 3 | Interpret subject matter Experiment and explore ideas and technical skills Develop ideas and explore materials and techniques Reflect on the artists’ personal experiences Research each artist’s background and context. What inspired them to make art? Identify the influences and stories from their personal background that can be seen or inferred from their artworks. | Manipulate materials and apply techniques and processes to develop individual style. Integrate inspirations and influences of other artists. | |
| 1 / 4 | Submit the Visual Arts journal for formative feedback END OF TASK
| Visit one or two exhibitions Research questions: | |
| 1 / 5 | Commence the process of making two artworks. At this stage, all students should be exploring materials and techniques with the intention to develop a series of trials and experiments that will lead to the making of two artworks. At least one artwork needs to be ready to present in the critique at the start of Term 2, week 3. Expand ideas developed in Outcome 1 that will contribute to the development of two artworks. Develop and use visual language to communicate ideas in art making and artworks | ||
| 1 / 6 | Continue art making. | ||
| 1 / 7 | Continue art making. Conduct individual student meetings to discuss progress. Make a record of the meeting on the Authentication Record Form. | Prepare a formative assessment task for Outcome 3 to be completed in class during week 7 or 8 to prepare students for completing Outcome 3. The task might be a set of structured questions that could include:
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| 1 / 8 | Continue making two artworks. | ||
| 1 / 9 | Continue making two artworks. | Using the material developed in the formative assessment task completed during week 7 or 8, prepare a Google Slides presentation that uses the six artworks you have collected to address the following components:
The oral presentation should be no longer than five minutes. The presentation may be recorded prior to the presentation date or delivered in class. The presentation is due in Term 2, week 1. Distribute and explain the assessment criteria and how their performance in this task will be measured. | |
| 1 / 10 | Continue making two artworks. Provide an overview and set the requirements of the critique task (see Term 2, week 3). The timing of the critique will depend upon the size of the class. | ||
| Term break | Homework: Continue art making. The two artworks need to be finished by week 5. | ||
| 2 / 1 | Continue making two artworks. Submit progress of critique presentation for formative feedback. | Thematic group exhibitions oral presentation task Submit the Google slides presentation. | |
| 2 / 2 | Continue making two artworks. | ||
| 2 / 3 | Present a critique to reflect on, explain and evaluate art making
Submit the critique presentation and record the completion on the Authentication Record Form. | ||
| 2 / 4 | Continue presenting critiques and / or making two artworks. Critical and reflective thinking in art making and reflecting on feedback After the critique, examine the feedback collected and write a short reflection statement that summarises the next steps you need to make to develop the next artwork in Unit 4. | ||
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| 2 / 6 | Art-making task
Record the submission of all work on the Authentication Record Form. | ||
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| Transition from Unit 3 to Unit 4 | |||
| Term / Week | ‘How do artists refine and resolve artworks?’ | ‘How are ideas presented in finished artworks on exhibition?’ | ‘What role does conservation and care have in the presentation of artworks?’ |
| 2 / 8 | Using the feedback collected in Unit 3, commence planning to make one further artwork in a specific art form. All work involved in making one artwork should be presented in the Visual Arts journal. The Visual Arts journal needs to include written and visual information that demonstrates the development of:
Artworks from Unit 3 must show connections to the artwork made during Unit 4 and demonstrate skill development. | ||
| 2 / 9 | Identify materials that students will need to make the artwork and work with students to plan key milestones that the students will need to meet during Term 3; for example, authentication meetings and presentations to the class that explain the progressive development of the artwork. Commence making the artwork. | ||
| Term break | |||
| 3 / l | Continue art making. Document the key stages of the artwork’s development in the Visual Arts journal. |
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| 3 / 2 | Authentication Meeting: Each student should meet with the teacher to review work completed so far, and to identify strengths and opportunities for improvement and what needs to be done from this point on. | ||
| 3 / 3 | Continue art making. | ||
| 3 / 4 | Continue art making. | ||
| 3 / 5 | Authentication meeting – Visual Arts journal | ||
| 3 / 6 | Continue art making. | ||
| 3 / 7 | Continue art making. | Commence planning the display of one finished artwork. The selection of the space can be one that exists or one that is imagined.
Task: Write a short statement that provides an overview of the artwork to be displayed in the space, as a didactic panel. | |
| 3 / 8 | Finish one artwork for the critique (the artworks can be modified prior to final submission). | Discuss why the space was selected, how it complements the ideas in the artwork and the methods used for display such as:
Use this work to support the delivery of the critique. | |
| 3 / 9 | Present a critique of one finished artwork that explains:
Task: Organise a presentation that explains how the artwork will be presented in a space and how these decisions were informed by visits to gallery spaces. Images need to be used throughout the presentation to assist the audience to draw comparisons. Make a record of the presentation on the Authentication Record Form. | ||
| 3 / 10 | Submit one finished artwork. Record the submission on the Authentication Record Form. | Submit a reflection that collects feedback from the critique and evaluates the finished artwork. Make a record of the submission on the Authentication Record Form. | |
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Units 3 and 4 allocation of marks and weightings of outcomes
| Unit 3 Outcome 1 | Unit 3 Outcome 2 | Unit 4 Outcome 1 | Unit 4 Outcome 2 | Unit 3 Outcome 3 | Unit 4 Outcome 3 | Exam |
|---|---|---|---|---|---|---|
| Collect information from artists and artworks in specific art forms to develop subject matter and ideas in their own art making. | Make artworks in specific art forms, prepare and present a critique, and reflect on feedback. | Refine and resolve at least one finished artwork in a specific art form and document the materials, techniques and processes used in art making. | Plan and display at least one finished artwork in a specific art form and present a critique. | Research and plan an exhibition of the artworks of three artists. | Understand the presentation, conservation and care of artworks, including the conservation and care of their own artworks. | |
| SAT | SAC 50 | SAC 50 | External Assessment | |||
| (60%) | (5%) | (5%) | (30%) | |||
Creative and Critical thinking
Creative and Critical Thinking are interrelated processes that underpin art making. 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.
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 Art making, 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 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.
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 Making and Exhibiting
Learning approaches using Creative and Critical Thinking can be applied across Units 1 to 4 in each area of study. The table below recommends learning approaches associated with each form of research-based art practice. Learning activities and guiding questions apply Creative and Critical thinking processes. The table also aligns approaches to Creative and Critical thinking with the components of the Creative Practice.
| Art Making | Creative and Critical Thinking |
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| Research and exploration |
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| Experimentation and development |
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| Reflection and evaluation |
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| Refinement and resolution |
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Visual Arts Journal
The Visual Arts journal underpins every aspect of VCE Art Making and Exhibiting Units 1–4. There is no stipulation on the size and form of the journal as it is created individually by the student to document their art making, and to connect their practical work with their research and theoretical study.
The Visual Arts journal includes documentation of experiments with art forms, the understanding of materials, techniques and processes, the use of art elements, art principles and aesthetic qualities, and the exploration and development of visual language. Artistic influences, research, reflection of personal responses and the development of ideas are also documented in the Visual Arts journal. The Visual Arts journal demonstrates the development of students’ artworks when they:
- explore, experiment and trial ideas using materials, techniques and processes in specific art forms
- explore and develop their visual language to communicate ideas and meaning
- demonstrate the development of an appropriate range of skills in the use of materials techniques and processes in specific art forms
- explore and develop ideas and techniques for art making
- explore and investigate the practices that artists use to create artworks
- respond to artists and their artworks
- demonstrate evidence of the exploration of ideas in artworks that reflect cultural and historical contexts
- document and record the ways materials, techniques and processes have been used in trialling and in finished artworks in specific art forms
- reflect on their ideas and their art making
- reflect on their finished artworks
- plan and design an exhibition of their own and others’ artworks
- evaluate art practices and art-making experiences
- critique their own and others’ artwork to gain a critical evaluation or analysis of their artwork and to further develop and evolve their own art making
- investigate galleries, museums, collections, online galleries, other exhibition spaces and site-specific spaces through visits and viewing artworks on display.
The Visual Arts journal can be presented in many ways to organise and document art making. The Visual Arts journal can be presented as a book or a digital file.
Some approaches to presenting information and evidence of art making in the Visual Arts journal can include:
- annotation
- visual material
- audio recordings
- documentation that is numbered and dated
- intermittently scanned or photographed for authentication
- a copy of the Authentication Record Form
- citation of sources
- notes from class interactions and discussions.
Students should research how artists have documented their art making and ask the following questions when planning their own Visual Arts journal:
- What format will best suit the art form and approaches to art making?
- In what ways do artists collect and organise their ideas?
- Which strategies effectively maintain the documentation of art making?
- What strategies can be used to organise the Visual Arts journal? For example, using headings, image citation, legibility of handwriting, clarity of presentation while maintaining characteristics of art making.
Ideas to support annotation in the Visual Arts journal
The table below lists some of the key terms that students can identify for annotation in the Visual Arts journal. Some of the terms are listed in the study design (see Terms used in the study, on pages 14–15).
| Guiding statements / questions | Terms defined | |
|---|---|---|
| Art elements Art principles | Discuss the application of one art element through the use of one art principle. Identify and describe the characteristics of the art element or art principle, using adjectives and evidence from art making (trial, experiment or influence). | Art elements: colour, line, shape, form, tone, texture, sound, time and light. Art principles: emphasis (focal point), movement, rhythm, unity, variety, space, repetition (including pattern), balance, contrast, proportion, space and scale. |
| Aesthetic qualities | Describe the aesthetic qualities (the way the artwork looks, what the audience experiences) with specific reference to art elements and art principles. Discuss how the artist has used materials and techniques to influence the mood or feeling in the artwork. | Aesthetic qualities are usually explained as the way in which art elements, art principles, materials and techniques work together to influence the mood or emotion of an artwork. The term refers to the visual appeal of an artwork and how aesthetic qualities evoke an emotional impact and reaction within the viewer. |
| Style | Identify the characteristics employed by an artist that define their style. Discuss the use of subject matter that is commonly used by an artist or groups of artists. Identify a look, mood or feeling that contributes to the stylistic qualities of the artwork. | Style can be influenced by other artists and developed through the use of art elements, art principles, aesthetic qualities and visual language. Style can also be categorised to a group of artists working with a similar subject matter, materials, techniques and processes. |
| Subject matter | Identify and describe the subject matter. What is recognisable? Discuss how the artist manipulated the subject matter to represent ideas and communicate meaning. | Subject matter can be considered as the content in artworks; for example, the main figures or objects represented or the experience of the viewer in non-representational artworks. |
| Visual language | Identify and discuss the interpretation of the subject matter to represent ideas that create the artist’s visual language. In your discussion address the art elements and art principles, symbols, context, and use of materials, techniques and processes. | Visual language can be addressed by talking about how different components of an artwork combine to reveal the meaning or the artist’s intentions. Visual language in art is the structure (art elements and art principles), content (subject matter) and the artist’s intention and application of the art form (materials, techniques and processes) that represent contexts (personal, cultural and contemporary), ideas and meaning to audiences. |
| Materials | Discuss the look and behaviour of the material. How does the material change over time? How can the material be manipulated? Discuss the conventional and unconventional approaches to using the material. How do the environmental conditions change the properties of the material? What are the safety requirements for using this material and how should it be disposed of in an environmentally friendly manner? | Includes the characteristics and properties of materials and how an artist uses the materials. Conservation methods include health and safety requirements. |
| Techniques | Describe the effect of manipulating the material. What tools are required to manipulate the material? Discuss the traditional and contemporary approaches to using the material. | Techniques are the varying properties of the matter that are manipulated through the use of tools and other devices. |
| Processes | What are the key stages within the process of using the materials to create the artwork? What materials and techniques are used within specific art forms? | A process could be one part of using a material or technique or it could encompass all components of the art making process. |
| Influences | Identify and describe an artist or artwork that influences your thinking about art making. Discuss specific features of an artist’s use of material and techniques. | Influences could be considered as artists and artworks. Influences continue to occur and can be used across art making. |
| Inspiration | Identify and discuss the inspiration and how it can be translated in art making. | Inspirations can be viewed as broader and could include objects, memories and contexts. |
| Care and conservation | What planning needs to occur to conserve the artwork? What materials have been used and will they deteriorate over time? What is the potential damage of the artwork in different environments and conditions? How can temperature and humidity affect the artwork? Identify and describe the proper handling methods used for this artwork. | Care involves protecting artworks while they are on display. Consider art handling, transport and storage methods for artworks. Consider any condition reporting practices and the stability of different art forms. Consider lighting levels while artworks are on display and in storage and the condition of artworks on display and in storage. |
| Contexts | Where and when was the artwork created? How does the location and time where the artist made the artwork influence its interpretation? How can the artwork be interpreted differently according to where it was made, presented or viewed? What are the economic, philosophical, social or cultural influences on the practices of the artist and where are these evident in the artwork? How are the artist's intentions, expression of ideas, values and beliefs seen in the artwork? Identify and discuss how the artist’s intentions are reflected in the presentation of their artwork? How might the values, beliefs and interests of the audience provide context for experiencing the artwork? | The interpretation of the meaning of an artwork can evolve from the context in which it is created. The context is the frame of reference that allows the ideas and meaning of artwork to evolve. Historical and cultural contexts include the location and time where an artwork is made, presented or viewed. |
Critique
The critique is an integral aspect of VCE Art Making and Exhibiting. It provides opportunities for the student to reflect upon and communicate to others their art making through a reciprocal conversation or discussion. The critique can be delivered using different methods at different stages of the art making process when students are actively engaged in exploring, experimenting, developing, refining, resolving or presenting artworks. The critique allows students to reflect upon and evaluate the evolution of their artworks, and to collect and respond to feedback from both the teacher and other students.
The work in the critique should be compared to other works in the student’s practice and it should set the standard that the students 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 their art making. 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.
Critiques form part of the communal process of art making since, by comparing their work with others, each student can gain ideas and set a standard on which to build their practice. Pausing during the art making allows students and teachers to reflect, observe and consider possibilities outside usual habits. The critique also provides opportunities to consider historical and cultural contexts, and to consider alternative interpretations for their artworks. Discussion and feedback from the teacher and peers assists in moving forward and building on the learning that has taken place to this point.
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 think about 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: engage, explore, express, present and evaluate
Aims 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 involved in making artworks, identify and discuss the effects of decisions, and evaluate the choice of materials and their application of techniques and processes.
Critiques help students to connect their working processes to the final product by making explicit and analysing decisions that go into making a final artwork – how the artwork was made, why it was made that way and what it could look like if it was made differently.
When reflecting on the decisions made behind the work, students:
- observe, interpret, explain and evaluate artworks
- understand how different parts of a work (tangible and intangible) contribute to the effect of the work
- understand how an artwork can communicate meaning and messages
- learn how to verbalise what they see in an artwork
- learn how to how to evaluate the effectiveness of artworks
- describe what an artwork reminds them of or the feelings it evokes
- describe what an artwork would look like if a part of it was changed. (For example: What part of the work is the most extraneous? What could be taken away while the central idea of the work remains the same?)
Teachers should take advantage of the critique to teach key concepts of the assessment criteria so that students become familiar with them. While doing so, students should be made aware of how these assessment criteria relate to the key knowledge and key skills of the study design.
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 or 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 have a statement of intent, history of process, interview or similar format surrounding the work. The student should be able to articulate what they did in relation to their intention, and what skills they employed. They 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 their 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 to the audience, not just on providing explanations. The group can write 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 who is presenting their artwork.
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 and 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?
- Can you describe the artwork to someone who cannot see it?
- Does the work tell a story? What is it? Can you name the work with one word followed by a phrase?
- Can you 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? Note: when students focus on their use of materials and processes (removed from ideas) they should also remember that technique can create meaning for the work and be valued by audiences.
Feedback from the critique
The student should take advice from the critique in an active way, not a reactive way. Through active critique the student can justify the alternatives available to them.
Feedback from the critique must be supported with evidence. The student can take their own notes or receives notes from the teacher or their peers. Then the student can reflect on the feedback to confirm or reject what they might already know. Students can also identify contradictory comments. Further questions include:
- 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?
- How will you finish the work and what are the next steps to 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
The Student Art Guide
Stanford University
Art Critiques Made Easy (The Kennedy Center)
Teaching Students to Critique (The Kennedy Center)
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)
Exhibiting artworks
Presentation, conservation and care of artworks
Visiting exhibitions, whether in person or online, provides students with the opportunity to view artworks on display and to see how they are presented to viewers. Students learn about the physical considerations of conservation and care, and study the methods employed by galleries, museums, collections, online spaces, other exhibition spaces and site-specific spaces to ensure that there are no physical changes or damage to artworks.
The conservation of artworks in an exhibition is the concern of artists and the personnel associated with the exhibition spaces where the artworks are placed. Students should also learn about the complex considerations of conservation and care in relation to artworks, safeguarding them now and for the future.
Definitions of exhibition spaces
Online exhibition
An online exhibition is curated using digital technology in an online venue. Online exhibitions are only available to access via the internet and do not exist in a physical exhibition space. For example, an exhibition created via platforms such as Kunstmatrix or Ikonospaces.
Virtual exhibition
A virtual exhibition is an online digital replica of a physical exhibition. For example, technology such as Matterport stitches together photographic images of an exhibition space to create an interactive three-dimensional model of the physical gallery. Alternatively, virtual exhibition experiences may be available for audiences to access via a live or recorded tour of the exhibition through still and / or moving imagery.
Galleries
A gallery is an arts organisation in which audiences can view works of art on display indoors. For the purposes of this study galleries are distinct from museums as they do not hold a permanent collection and instead present a calendar of changing temporary exhibitions. Galleries may or may not have built in climate control facilities. There are various types of galleries with specific roles within the art industry, such as artist-run-spaces, public galleries and commercial galleries.
Museums
An art museum is an organisation dedicated to both the display and safekeeping of art. Exhibitions on display in the galleries of a museum may include artworks drawn from the museum’s own collection or on loan from artists and / or other lending institutions. Museums typically have climate control infrastructure built into their facilities and back-of-house facilities for storing artworks. There are various types of art museums including public, private, university and house museums.
Collections
A collection is the accumulation of artworks by a public, private or university art museum. Collecting institutions typically have a specific acquisition policy or purpose that guides the development of their collection over time. The collection held by an arts organisation can form the core of their research, exhibition-making and education programs.
Site-specific spaces
Site-specific spaces present artworks that have been made for a particular place. The artist takes into account the context where the art will be shown as they develop the artwork. Site-specific spaces can be indoors or outdoors.
Other exhibition spaces
These can include artworks exhibited in unorthodox locations or venues during events or festivals and also artworks on display in artists’ studios.
Presentation of art works
For the purposes of this study the presentation of artworks includes the following practical and aesthetic considerations:
- lighting and the effect of lighting on the appearance of the artworks and atmosphere within the exhibition space
- how spatial qualities such as the dimensions of permanent and temporary walls, sight lines and sound bleed can influence the placement of artworks and movement of audiences within an exhibition
- how surface treatments on walls and floors of the exhibition space (such as paint colour, wall texts or floor coverings) affect the overall atmosphere and narrative within the exhibition space
- how the placement of artworks and the relationships between them can communicate ideas, themes and stories that support the intentions of the artist(s)
- overall aesthetic display of artworks to influence the interaction of viewers and their understanding of the ideas behind the artworks on display
- student consideration of the aesthetics of the presentation of their own finished artworks in an exhibition space to realise their intentions.
Conservation
For the purposes of this study conservation practices for artworks include:
Environmental considerations
- methods of protecting artworks while they are on display, such as exhibition furniture (plinths and vitrines) and invigilation
- art handling, transport and storage methods for artworks
- condition reporting practices
- material stability of different art forms
- lighting levels while artworks are on display and in storage
- how temperature and humidity can affect the condition of artworks on display and in storage.
Ethical considerations
- Cultural protocols and instructions for the display, storage and handling of specific artworks, including works by Aboriginal and Torres Strait Islanders. Art Industry personnel involved with presentation, conservation and care of artworks are sensitive to the intention of the artist(s) who produced the work. They develop appropriate methods of storage, handling and display.
- Balancing the intentions of exhibiting artists with the care and conservation of artworks and access for audiences. Artworks that are performative, ephemeral, participatory, conceptual, produced using unstable materials or obsolete technologies can generate complex questions related to their care, conservation and display. Art Industry personnel consider the intention of the artists as they develop singular, appropriate methods to manage these artworks over time.
- Site-specific and public art (such as street art) is made and presented outside of galleries, museums, collections and online galleries, in a context that is often temporary and / or ephemeral nature. This leads to questions of what and how these artworks should be collected, preserved or conserved, and by whom.
Considerations for the display of artworks
| Practical and aesthetic considerations | ||
|---|---|---|
| Conservation and care considerations | ||
| Lighting | Fluorescent LED Track Spotlight | What effect does lighting have on the appearance of artworks? |
| Spatial qualities | Scale Sightlines Flow | What effect does the placement of temporary and permanent walls have on artworks? Consider sightlines, sound bleeding, and movement of the audience through exhibition spaces. |
| Surface treatments | Wall colour Floor Coverings Text panels Signage Banners | What effect do surface treatments have on the overall atmosphere of the exhibition space and artworks? Consider wall colours, floor coverings, text panels, signage. |
| Placement of the artworks | Narrative Themes Ideas | How does the placement of artworks and the relationship between them help to communicate ideas, themes and narratives in the exhibition space to support the intentions of the artist and curator? |
| Exhibition furniture | Plinths Vitrines Cases Chairs / Seating | How does the exhibition furniture such as plinths and vitrines help to protect artworks while they are on display? |
| Environmental | Condition reporting | How do condition reporting practices help to care for artworks on display and in storage? |
| Lighting and lux levels | What effect does lighting have on artworks on display and in storage? | |
| Temperature and humidity | How do temperature and humidity affect the condition of artworks on display and in storage? | |
| Ethical considerations | Cultural protocols | What measures are in place to ensure that culturally sensitive artworks are cared for correctly? |
| Unstable materials and obsolete technologies | What measures should be considered when caring for and displaying artworks that use unstable materials and obsolete technologies? What can museums do to ensure that artworks that use unstable materials and obsolete technologies can be viewed in the future? | |
Aboriginal and Torres Strait Islander knowledge, cultures and histories
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 Making and Exhibiting. 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 Can I teach Aboriginal culture? (culturalminds.com.au) also provides advice 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
Bunjilaka Aboriginal Cultural Centre: Museums Victoria
Culture Victoria Creative Victoria: First Peoples Action Plan for the Creative Industries
Drama Victoria: Advice for Victorian teachers
VAEAI ‘But can they paint dots?’
Teaching resources
Monash University Museum of Art
Museum of Contemporary Art Australia
Employability skills
The VCE Art Making and Exhibiting 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.
| Assessment task | Employability skills selected facets |
|---|---|
| Research, investigate and examine in an extended written response | 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 |
| Research, investigate and examine in short answer responses supported by visual references | 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 |
| Research, investigate and examine in an annotated visual report | 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 |
| Research, investigate and examine in a presentation through models, plans or orally | 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 |
| Making and presenting exploratory and finished artworks | 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 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 Art making exploring, connecting and developing ideas | 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 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; collecting, analysing and organising information |
| Critique accompanied by written and visual documentation | Communication: 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 and Reflection of Art making | 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 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 |
| Investigation, research, justification and presentation of ideas | Learning: 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.
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 Making and Exhibiting and VCE Art Creative Practice.
2024 Exhibitions list
Information about recommended exhibitions, artwork displays and collections in 2024 to support the teaching of content related to the study of exhibitions, artworks and artists in the VCE Art Making and Exhibiting Study Design.