Visual Arts - selection of artist models for research standards

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The selection of appropriate artist models for visual art research standards at levels 1, 2 and 3 is critical. A range of factors need to be considered including:

• available resources ( New Zealand, international, contemporary, field specific; from books or the internet)
• student engagement (relevant cultural milieu, style and content)
• programme manageability (breadth, depth and range of artist models)
• having access to real works by the artist(s) (This can be a significant advantage.)
• how the features of the artist(s) (colour, style, imagery, composition) can be used / developed / integrated/synthesised in the student's own work for subsequent visual art standards.
• that artists investigated in research standards should be supplemented with the introduction of additional artist models as and when the course of study requires.
• consideration of Explanatory Note 3 (for each standard) which states that artist models should include work belonging to:
  • the cultural milieu of the student
  • work and ideas from recent and established practice
  • the work of contemporary New Zealand artists
  • the work of contemporary Māori within the bicultural tradition.

The number and nature of appropriate artist models may vary between levels.

Level 1: 90018 version 3

• Students must study at least one artist from each of Māori and European established practice (two artists from each cultural context provides enhanced opportunity to demonstrate the depth of understanding required for Excellence).
• Students should study the work of contemporary artists (Explanatory Note 3).
• Students may study the work of Māori artists that show European influences (Shane Cotton, Robin Kahukiwa, John Walsh, Ralph Hotere, Sandy Adsett, Michael Parekowhai, Hemi Macgregor, and Kelcy Taratoa) and European artists that show Māori influences (Colin McCahon, Gordon Walters, and Theo Schoon). This enhances the student's ability to identify and discuss the similarities and differences between these artists/contexts.
• It can be easier to manage if all students are working with the same artist, although having students analyse different works by the nominated artist reduces the risk of plagiarism.
• Artists with easily understandable pictorial conventions may be more appropriate for level 1 students. For example, the use of the grid composition, monochrome browns, and symbolism of appropriated objects in the early work of Shane Cotton are straightforward concepts for level 1 students to discuss.

Level 2: 90233, 90471, 90472, 90473, 90474

• The 2.1 research standards are designed as a practical application of artists' methods and ideas, rather than a theoretical investigation. However, a degree of research and documentation is necessary for Achieved and Merit, while an analysis of relevant methods and ideas is required for criterion one for Excellence.
• Students should study the work of contemporary artists (Explanatory Note 3).
• Students may study the work of New Zealand artists that reflect a bi-cultural practice. Although the specific study of Māori artists is not an explicit requirement of the achievement criteria (as it is for AS90018), Explanatory Note 3 states: "The body of evidence presented should include work belonging to the cultural milieu of the student and involve the study of work and ideas from recent and established practice. Where relevant, this evidence could also take account of the work of contemporary New Zealand artists. This could include the study of work of contemporary Maori within the bicultural tradition."
• Prescribed artist models for an entire class is not appropriate at level 2. Students may select from a pre-approved list of appropriate artist models. Students may be given the opportunity to identify their own artist models and discuss these with the teacher.
• Lists of artists for student selection may be grouped thematically (landscape, still life, portrait) or stylistically (grid, multiple-image, graffiti).
• Artist models from outside the field of study may be considered, such as painting models for photography, but should not replace those from the field of study.

Level 3: 90515, 90659, 90660, 90661, 90662

• Students need to select at least one artist to research from at least two different approaches. Students may select two or three different artists from up to four different approaches. Teachers should ensure the depth of research, and duration of the activities, is appropriate for the four-credit weighting and of a level 3 standard.
• Selected approaches should maintain a common pictorial concern to allow comparisons to be made, and yet be sufficiently differentiated to allow differences to be identified. A useful approach is to select a particular theme, and then investigate the work of between three and four artists from different time periods and geographic locations.
  For example, a figurative theme could be investigated through the work of:
  
  • Jacques Louis David (Traditional)
  • Freda Kahlo (Modernism)
  • Jeffrey Harris ( New Zealand Contemporary)
  • Merlin Carpenter (Post-Modernism)
• Students must have access to significant resources for each artist selected appropriate for the level 3 standard expected for an in-depth analysis of artists , and critical analysis of the relationships between selected approaches.
• Use of prescribed artist models for an entire class is not appropriate at level 3. Students, in consultation with teachers, should identify an individual selection of artist approaches illustrating a common pictorial concern. A list of appropriate artists may be provided but should not prevent students from selecting additional artists.
• Artist models from outside the field of study may be considered, such as painting models for photography, but should not replace those from the field of study.

The use of artist models in subsequent standards

It is not intended that students transcribe or closely imitate work from established practice. Nor does any visual art standard require students to work explicitly in the style of an artist from established practice. Rather, the intention of the research, drawing, and production standards is for students to use their understanding of the methods and ideas of established practice to inform their own practical investigations.

A useful approach is to study a range of artist models from which aspects of their practice can be adopted, modified, integrated and then synthesised with the methods and ideas of the students. This is appropriate in contemporary practice and provides opportunity for learning.

The following is a list of possible artist models for painting. This list is NOT exhaustive, complete or prescribed. Schools should develop their own lists of artist models subject to:

• the availability of resources
• the interests and needs of the students
• the specific context of the learning environment
• the interests and expertise of the teaching staff.