Topics: Art history, History of art, Art criticism Pages: 90 (23787 words) Published: March 17, 2013

Visual Arts

Stage 6

Support Document

The Board of Studies owns the copyright on all support documents. Schools may reproduce this support document in part or in full for bona fide study or classroom purposes only. Acknowledgement of the Board of Studies copyright must be included on any reproductions. Students may copy reasonable portions of the support document for the purpose of research or study. Any other use of this support document must be referred to the Copyright Officer, Board of Studies NSW.

The Board of Studies has made all reasonable attempts to locate owners of third party copyright material and invites anyone from whom permission has not been sought to contact the Copyright Officer, Board of Studies NSW, 117 Clarence St, Sydney NSW 2000, Tel:(02) 9367 8111; fax: (02) 9279 1482.

© Board of Studies NSW 2000

Published by
Board of Studies NSW
GPO Box 5300
Sydney NSW 2001

Tel: (02) 9367 8111

Internet: http://www.boardofstudies.nsw.edu.au

ISBN 0 7313 4402 9




2The Conceptual Framework and the Frames6

3Sample Units of Work – Preliminary Course14
3.1Patterns of Practice15
3.2What are Artworks?22
3.3An Example of Three Programmed Units in a Sequence29

4Sample Case Studies – HSC Course44
4.1Piero and his World464.2Abstraction in Twentieth Century Art50
4.3Cezanne and the Basket of Apples56
4.4Critical Debates about Jenny Holzer60

5The Innovation of the Body of Work64

6Using Extracts of Writing68

7Assessment Advice72

See the Board of Studies website (http://www.boardofstudies.nsw.edu.au) for the annotated bibliography that complements this document.


This support document provides further explanation of the new Visual Arts Stage 6 Syllabus (1999). It focuses on the content of practice, conceptual framework and frames, case studies and the body of work. These are illustrated and amplified in sample programs and other information. This support document has been prepared for electronic distribution via the Internet and may be updated over time. It should assist teachers in implementing the syllabus with Preliminary course students in 2000.

Section 2 of this support document, The Conceptual Framework and the Frames, discusses how the conceptual framework and the frames offer ways for teachers to think about the relationships between various matters of content when planning teaching and learning opportunities. The conceptual framework is introduced as a new aspect of content in this syllabus and is used to represent the ways artists, artworks, worlds and audiences can be understood when different frames are used. This section also contains selected examples using the conceptual framework and frames.

Section 3, Sample Units of Work — Preliminary Course, and section 4, Sample Case Studies — HSC Course, offer a variety of interpretations of the content, suited to teaching and learning in the Preliminary and HSC courses. They reflect the significant role teachers play in selecting content that is relevant and suitable for the abilities, interests and understanding of their students. These samples take into account: the objectives and outcomes of the Preliminary and HSC courses content that demonstrates how the conceptual framework, frames, and practice have been interpreted in the particular examples assessment strategies including internal assessment tasks, assessment criteria and some other ideas for assessment resources and references suited to the intentions of the programs course requirements.

The development of a body of work has been introduced as a course requirement in artmaking practice, acknowledging that an increasing number of works in series are being produced for the HSC (including those seen in the annual ARTEXPRESS exhibition) and reflecting...
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