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NSW HSC 2010 : VISUAL ARTS

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2010 H I G H E R S C H O O L C E R T I F I C AT E E X A M I N AT I O N Visual Arts Art criticism and art history Total marks 50 S ection I General Instructions Reading time 5 minutes 1 Working time 1 hours 2 Write using black or blue pen Pages 3 7 25 marks Attempt Questions 1 3 Allow about 45 minutes for this section S ection II Pages 8 9 25 marks Attempt ONE question from Questions 4 9 Allow about 45 minutes for this section 1450 Section I 25 marks Attempt Questions 1 3 Allow about 45 minutes for this section Allow about 6 minutes for Question 1 Allow about 14 minutes for Question 2 Allow about 25 minutes for Question 3 Answer each question in a SEPARATE writing booklet. Extra writing booklets are available. In your answers you will be assessed on how well you: write in a concise and well-reasoned way present an informed point of view use the plates and any other source material provided to inform your response 2 Question 1 (3 marks) How has the artist represented King Henry VIII in this painting? Awaiting copyright Plate 1: Hans Holbein the Younger, 1497 1543, Germany Portrait of Henry VIII, 1539 40 oil on panel, 88.3 74.9 cm Galleria Nazionale d Arte Antica, Rome 3 3 In your answer you will be assessed on how well you: write in a concise and well-reasoned way present an informed point of view use the plates and any other source material provided to inform your response Use a SEPARATE writing booklet. Question 2 (8 marks) How are ideas about cultural identity represented in these photographs? Awaiting copyright Plate 2: Rosemary Laing, b. 1959, Australia groundspeed (Red Piazza) #2, 2001 type-C photograph, 110 205 cm Note: Red Piazza was a carpet pattern popular in Australian homes and entertainment venues in the mid twentieth century. Question 2 continues on page 5 4 8 Question 2 (continued) Awaiting copyright Plate 3: Rosemary Laing, b. 1959, Australia one dozen unnatural disasters in the Australian landscape #2, 2003 type-C photograph, 110 205.7 cm Note: Laing s photographs are not digitally manipulated. End of Question 2 5 In your answer you will be assessed on how well you: write in a concise and well-reasoned way present an informed point of view use the plates and any other source material provided to inform your response Use a SEPARATE writing booklet. Question 3 (14 marks) Analyse Meret Oppenheim s practice with reference to the plates and text. Awaiting copyright Plate 4: Meret Oppenheim, 1913 1985, Germany Ma gouvernante (my nurse), 1936 metal, leather and paper 14 21 33 cm Moderna Museet, Stockholm Meret Oppenheim worked and exhibited with the Surrealists: Andr Breton, Marcel Duchamp and Max Ernst. The Surrealists were interested in exploring the unconscious. Question 3 continues on page 7 6 14 Question 3 (continued) Awaiting copyright Awaiting copyright Awaiting copyright Plate 5: Meret Oppenheim, 1913 1985, Germany Object (Luncheon in Fur), 1936 fur covered cup, saucer and spoon 10.9 cm diameter of cup, 23.7 cm diameter of saucer, 20.2 cm length of spoon Museum of Modern Art, New York End of Question 3 7 Section II 25 marks Attempt ONE question from Questions 4 9 Allow about 45 minutes for this section Answer the question in a SEPARATE writing booklet. Extra writing booklets are available. In your answer you will be assessed on how well you: present a well-reasoned and informed point of view apply your understandings of the different aspects of content as appropriate (Practice, Conceptual Framework and the Frames) use relevant examples Practice Question 4 (25 marks) Awaiting copyright With reference to this view, explain the significance of collaboration in artistic practice. In your answer, refer to relevant examples. OR Question 5 (25 marks) How do constraints on the practices of artists/designers/architects influence what they do and make? Make reference to at least TWO of the following in your response: site views of art critics and art historians historical precedents materials and technologies time audience expectations. OR 8 Conceptual Framework Question 6 (25 marks) Explain how artists can borrow concepts and approaches from other artists and yet their artworks are still regarded as original. OR Question 7 (25 marks) Discuss how digital media challenges the ways in which audiences experience artworks. In your answer, refer to relevant examples. OR Frames Question 8 (25 marks) Analyse the ways in which artists communicate through the use of particular symbols and organisational relationships in their works. In your answer, you could consider practitioners including artists, architects, designers and/or filmmakers. OR Question 9 (25 marks) Meaning is rarely obvious. Meaning has to be made. Discuss this statement with reference to different interpretations of art and a range of artworks. End of paper 9 BLANK PAGE 10 BLANK PAGE 11 BLANK PAGE 12 Board of Studies NSW 2010

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