ACADEMIC HONESTY AND THE ARTWORKS YOU PRESENT.

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ACADEMIC HONESTY AND THE ARTWORKS YOU PRESENT (s.118)

Artwork Photography

Each quarter you will submit your 4 studio art pieces via Schoology. Therefore you must photograph your work and submit those digital images. You MAY NOT use images taken for the Weekly Progress grade. Rather, you will take new photos using the photo booth, then manipulate those photos on your computer to achieve the very best representation of your work.

You will ultimately use these photos as your AP Submission and the ENTIRETY of your score is based on them. Make each image great to give reviewers the very best view of your work.

 

Photography tips:

• Arrange the lights at a 45 degree angle (give or take) to your work.
• Adjust the lights so that they are above your work, angling down, but not directly on your work. Aim to illuminate the BACKDROP to minimize shadows.
• If appropriate, switch off the classroom lights.
• Do not use flash.
• DO NOT USE A FILTER.
• Take a bigger picture than you need. In other words, don’t be afraid to fit a small amount of the booth or lights in the photo.

Editing tips:

• Upload the photos to your computer and put them in Apple Photos or Google Photos or your preferred photo management application.
• CROP the image to remove background stuff like the booth or lights. Also consider the placement within the image. There should be space above and below the work. Don’t crowd the edges of the frame, but don’t leave more background than necessary.
• ROTATE the image so that the artwork is level and straight.
• ADJUST the color, contrast, highlights, shadows, and other criteria ONLY AS NEEDED TO ACCURATELY REPRESENT THE ACTUAL ARTWORK. Do not Photoshop your work to make it look better than it is, but definitely try to make it look its best. NO FILTERS.

 

Photography tips:

• Arrange the lights at a 45 degree angle (give or take) to your work.
• Adjust the lights so that they are above your work, angling down, but not directly on your work. Aim to illuminate the BACKDROP to minimize shadows.
• If appropriate, switch off the classroom lights.
• Do not use flash.
• DO NOT USE A FILTER.
• Take a bigger picture than you need. In other words, don’t be afraid to fit a small amount of the booth or lights in the photo.

Editing tips:

• Upload the photos to your computer and put them in Apple Photos or Google Photos or your preferred photo management application.
• CROP the image to remove background stuff like the booth or lights. Also consider the placement within the image. There should be space above and below the work. Don’t crowd the edges of the frame, but don’t leave more background than necessary.
• ROTATE the image so that the artwork is level and straight.
• ADJUST the color, contrast, highlights, shadows, and other criteria ONLY AS NEEDED TO ACCURATELY REPRESENT THE ACTUAL ARTWORK. Do not Photoshop your work to make it look better than it is, but definitely try to make it look its best. NO FILTERS.

Photography tips:

• Arrange the lights at a 45 degree angle (give or take) to your work.
• Adjust the lights so that they are above your work, angling down, but not directly on your work. Aim to illuminate the BACKDROP to minimize shadows.
• If appropriate, switch off the classroom lights.
• Do not use flash.
• DO NOT USE A FILTER.
• Take a bigger picture than you need. In other words, don’t be afraid to fit a small amount of the booth or lights in the photo.

Editing tips:

• Upload the photos to your computer and put them in Apple Photos or Google Photos or your preferred photo management application.
• CROP the image to remove background stuff like the booth or lights. Also consider the placement within the image. There should be space above and below the work. Don’t crowd the edges of the frame, but don’t leave more background than necessary.
• ROTATE the image so that the artwork is level and straight.
• ADJUST the color, contrast, highlights, shadows, and other criteria ONLY AS NEEDED TO ACCURATELY REPRESENT THE ACTUAL ARTWORK. Do not Photoshop your work to make it look better than it is, but definitely try to make it look its best. NO FILTERS.

Exhibition

It is not enough to simply create work. After two years of developing a personal style and direction, investigation, research, design, and finally execution of your art works, the final task is its exhibition. Outlined here are the formal requirements for the actual pieces of studio artwork you create for IB, and the requirements for its exhibition, on which you will be formally assessed to the tune of 40%

Unlike the Comparative Study and Process Portfolio the Exhibition will be assessed internally by Bay Port instructors under the guidance (and using the rubric) of the IB program.

However, like the Comparative Study and Process Portfolio the Exhibition is a requirement for all IB students regardless of your intention to submit formally.

Exhibition scores are based on three criteria: a collection of studio works (you will not submit all the work you complete in IB, just those you select), a Curatorial Rationale in which you justify the decisions you've made in selecting the work you did, and Exhibition Texts, 500 word or less descriptions of each piece that supplement them and educate your viewers.

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From the IB Visual Arts Guide 2016
Task Details For the exhibition task students at SL and HL should select and present their own original resolved artworks which best evidences:

• technical competence
  
• appropriate use of materials, techniques, processes
  
• resolution, communicating the stated intentions of the pieces
  
• cohesiveness
  
• breadth and depth
  
• consideration for the overall experience of the viewer (through exhibition, display or presentation). 

Students will be assessed on their technical accomplishment, the conceptual strength of their work and the resolution of their stated intentions. To support their selected resolved artworks, students at SL and HL should also submit: 

• exhibition text which states the title, medium, size and a brief outline of the original intentions of each selected artwork
  
• two photographs of their overall exhibition. While the photographs will not be used to assess individual artworks, they may give the moderator insight into how a student has considered the overall experience of the viewer in their exhibition. Only the selected artworks submitted for assessment should appear in the exhibition photographs. 

Students at SL should also develop a curatorial rationale which accompanies their original artworks (400 words maximum). This rationale explains the intentions of the student and how they have considered the presentation of work using curatorial methodologies.

Students at HL should also develop a curatorial rationale which accompanies their original artworks (700 words maximum). This rationale explains the intentions of the student and how they have considered the presentation of work using curatorial methodologies, as well as considering the potential relationship between the artworks and the viewer. 

Structuring the exhibition It is expected that work developed for the exhibition will overlap or have grown from initial or in-depth investigations within part 1: comparative study and part 2: process portfolio.

Work developed for the exhibition will have been carefully supported and facilitated by both teacher- directed learning activities and independent studies by the student. In preparing for this task students will need to have engaged with a variety of skills, techniques and processes that will have enabled them to manipulate materials, media, techniques and processes in order to discover strengths and work towards technical excellence.

Art-making forms Having worked within a range of art-making forms for part 2: process portfolio, students at both SL and HL may submit work created in any art-making form for part 3: exhibition. The submitted pieces should be selected by the student from their total body of resolved works and should represent their most successful achievements against the assessment criteria. They should be presented in a manner suitable for an audience.

Exhibition text (500 characters maximum per artwork) Each submitted artwork should be supported by exhibition text which outlines the title, medium and size of the artwork. The exhibition text should also include a brief outline of the original intentions of the work (500 characters maximum per artwork). The exhibition text should contain reference to any sources which have influenced the individual piece. Students should indicate if objects are self-made, found or purchased within the “medium” section of the exhibition text, where applicable. Where students are deliberately appropriating another artist’s image as a valid part of their art-making intentions, the exhibition text must acknowledge the source of the original image.

Collective pieces Students are required to submit individual artworks for assessment. Where students wish to submit portions of work in the form of one collective piece (such as diptych, triptych, polyptych or series), this must be clearly stated as part of the title of the submitted piece in the exhibition text, presented in parentheses. For example: Title of the piece (diptych). The requirements for capturing and submitting collective pieces is the same as with other standard submissions, however students deciding to submit collective pieces need to be aware that there is a compromise in the size an image can be viewed when submitted as part of a collective piece which may prevent examiners from taking details that cannot be seen into account. Collective pieces that are presented without the appropriate exhibition text will be considered as distinct artworks and could lead to a student exceeding the maximum number of pieces.

Structuring the curatorial rationale The curatorial rationale requires SL and HL students to explain why specific artworks have been chosen and presented in a particular format. It provides students with an opportunity to explain any challenges, triumphs, innovations or issues that have impacted upon the selection and presentation of the artworks. Students should use the curatorial rationale to explain the context in which particular artworks were made and presented in order to connect the work with the viewer. In addition to this, students at HL should also explain how the arrangement and presentation of artworks contributes to the audience’s ability to interpret and understand the intentions and meanings within the artworks exhibited.

SL students may find the following questions helpful when approaching this task. This structure is for guidance only and is neither prescriptive nor restrictive.

• What are you hoping to achieve by presenting this body of work? What impact will this body of work have on your audience? What are the concepts and understandings you initially intend to convey?
  
• How have particular issues, motifs or ideas been explored, or particular materials or techniques used?
  
• What themes can be identified in the work, or what experiences have influenced it?
  
• How does the way you have exhibited your artwork contribute to the meanings you are trying to convey to an audience?

HL students may find the following questions helpful when approaching this task. This structure is for guidance only and is neither prescriptive nor restrictive.

• What is the vision for presenting this body of work?
  
• How have particular issues, motifs or ideas been explored, or particular materials or techniques used?
  
• What themes can be identified in the work, or what experiences have influenced it?
  
• How does the way you have exhibited your artwork contribute to the meanings you are trying to convey to an audience?
  
• What strategies did you use to develop a relationship between the artwork and the viewer, for example, visual impact?
  
• How does the way you have arranged and presented your artworks support the relationship and connection between the artworks presented? 
• What do you intend your audience to feel, think, experience, understand, see, learn, consider from the work you have selected for exhibition? 

Formal requirements of the task—SL

• SL students submit a curatorial rationale that does not exceed 400 words.
  
• SL students submit 4–7 artworks. 
• SL students submit exhibition text (stating the title, medium, size and intention of the artwork) for each selected artwork. 
• SL students may submit two photographs of their overall exhibition. They will not be assessed or used to assess the individual artworks. 

Formal requirements of the task—HL

• HL students submit a curatorial rationale that does not exceed 700 words.
  
• HL students submit 8–11 artworks.
  
• HL students submit exhibition text (stating the title, medium, size and intention of the artwork) for each selected artwork.
  HL students may submit two photographs of their overall exhibition. They will not be assessed or used to assess the individual artworks. 

Submitting assessment work 
Students may choose to capture and submit individual artworks for assessment in a variety of ways, depending on the nature of the artwork and the resources available. The work should ideally be captured in whatever electronic means is most appropriate for the selected art-making form. A two-dimensional artwork, for example, might be best captured through a still photograph, while a three-dimensional artwork might be best captured through a short video recording. Lens-based, electronic or screen-based artwork such as animation, however, might call for more unusual file types. Please note that time-based submissions such as these are limited to a maximum duration of five minutes. Clarification on the acceptable file types for capturing the assessment materials can be found in the Handbook of procedures for the Diploma Programme.

Unless it is impossible, schools are advised to submit two photographs of each student’s overall exhibition. These exhibition photographs provide an understanding of the context of the exhibition and the size and scope of the works. While the photographs will not be used to assess individual artworks, they may give the moderator insight into how a student has considered the overall experience of the viewer in their exhibition. Only the selected artworks submitted for assessment should appear in the exhibition photographs.

The procedure for submitting work for assessment can be found in the Handbook of procedures for the Diploma Programme. Students are required to indicate the number of artworks submitted. Where submitted materials exceed the prescribed limits examiners are instructed to base their assessment solely on the materials that appear within the limits. 

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Vocabulary Analyse (AO2)  Apply (AO2)  Compare and Contrast (AO3)   Contrast (AO3) Demonstrate (AO2)  Describe (AO1) Discuss (AO3)  Evaluate (AO3) Examine (AO3)  Explain (AO2)  Explore (AO2)  Identify (AO1)  Justify (AO3)  List (AO4) Outline (AO1)  Present (AO1)  Show (AO4)  To What Extent (AO3)

Break down in order to bring out the essential elements or structure. Use an idea, equation, principle, theory or law in relation to a given problem or issue. Give an account of similarities and differences between two (or more) items or situations, referring to both (all) of them throughout. Give an account of the differences between two (or more) items or situations, referring to both (all) of them throughout. Make clear by reasoning or evidence, illustrating with examples or practical application. Give a detailed account. Offer a considered and balanced review that includes a range of arguments, factors or hypotheses. Opinions or conclusions should be presented clearly and supported by appropriate evidence. Make an appraisal by weighing up the strengths and limitations. Consider an argument or concept in a way that uncovers the assumptions and interrelationships of the issue. Give a detailed account including reasons or causes. Undertake a systematic process of discovery. Provide an answer from a number of possibilities. Give valid reasons or evidence to support an answer or conclusion. Give a sequence of brief answers with no explanation. Give a brief account or summary. Offer for display, observation, examination or consideration. Give the steps in a calculation or derivation. Consider the merits or otherwise of an argument or concept. Opinions and conclusions should be presented clearly and supported with appropriate evidence and sound argument.

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Assessment

A. Coherent body of works Evidence: curatorial rationale, the submitted artworks, exhibition text and exhibition photographs/video To what extent does the submitted work communicate: A coherent collection of works which fulfil stated artistic intentions and communicate clear thematic or stylistic relationships across individual pieces?  Candidates who fail to submit the minimum number of artworks cannot achieve a mark higher than 6.

B. Technical competence Evidence: curatorial rationale, the submitted artworks, exhibition text and exhibition photographs/video To what extent does the submitted work demonstrate: effective application and manipulation of media and materials; effective application and manipulation of the formal qualities? Candidates who fail to submit the minimum number of artworks cannot achieve a mark higher than 6.

C. Conceptual qualities Evidence: curatorial rationale, the submitted artworks, exhibition text and exhibition photographs/video To what extent does the submitted work demonstrate: Effective resolution of imagery, signs and symbols to realize the function, meaning and purpose of the art works, as appropriate to stated intentions?  Candidates who fail to submit the minimum number of artworks cannot achieve a mark higher than 6.

D. Curatorial practice (SL only) Evidence: curatorial rationale, the submitted artworks, exhibition text and exhibition photographs/video To what extent does the curatorial rationale justify: The selection, arrangement and exhibition of a group of artworks within a designated space?

D. Curatorial practice (HL only) Evidence: curatorial rationale, the submitted artworks, exhibition text and exhibition photographs/video To what extent does the curatorial rationale demonstrate: the justification of the selection, arrangement and exhibition of a group of artworks within a designated space?  reflection on how the exhibition conveys an understanding of the relationship between the artworks and the viewer?

Process portfolio

The Process Portfolio is an essential component of your overall IB score accounting for a full 40% of your grade. Composed of 9-18 (SL) or 13-25 (HL) Screens (see below), students showcase the research and investigation that goes into each piece of artwork developed for IB. These screens are generally developed in a presentation software like Power Point or Keynote then exported as images to PDF format before submitting to IB for formal assessment.

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From the IB Visual Guide 2016:Tasks
Students at SL and HL should:

• explore and work with a variety of techniques, technologies, effects and processes in order to extend their skills base, making independent decisions about the choices of media, form and purpose that are appropriate to their intentions
  
• reflect on their own processes as well as learning about the processes of experimenting, exploring, manipulating and refining the use of media in a variety of ways
  
• develop a body of work that evidences investigation, development of ideas and artworks and demonstrates a synthesis of ideas and media.

Structuring the process portfolio
Students will have pursued their own interests, ideas and strengths, and their submitted work should highlight the key milestones in this journey. The submission may come from scanned pages, photographs or digital files. The process portfolio screens may take a variety of forms, such as sketches, images, digital drawings, photographs or text. While there is no limit to the number of items students may wish to include on each screen, students should be reminded that overcrowded or illegible materials may result in examiners being unable to interpret and understand their intentions.

The selected screens should evidence a sustained inquiry into the techniques the student has used for making art, the way in which they have experimented, explored, manipulated and refined materials, technologies and techniques and how these have been applied to developing work. Students should show where they have made independent decisions about the choices of media, form and purpose that are appropriate to their intentions. The portfolio should communicate their investigation, development of ideas and artworks and evidence a synthesis of ideas and media. This process will have inevitably resulted in both resolved and unresolved artworks and candidates should consider their successes and failures as equally valuable learning experiences.

Examiners are looking to reward evidence of the following:

• sustained experimentation and manipulation of a variety of media and techniques and an ability to select art-making materials and media appropriate to stated intentions
• sustained working that has been informed by critical investigation of artists, artworks and artistic genres and evidence of how these have influenced and impacted own practice
  
• how initial ideas and intentions have been formed and how connections have been made between skills, chosen media and ideas
  
• how ideas, skills, processes and techniques are reviewed and refined along with reflection on the acquisition of skills and analysis of development as a visual artist
  
• how the submitted screens are clearly and coherently presented with competent and consistent use of appropriate subject-specific language. 
• Students must ensure that their work makes effective use of appropriate subject-specific language.

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Screens
Rather than physical IWB pages, IB is now looking for digital pages of information they call Screens. At its most basic, a screen is a single slide in presentation software like Power Point or Keynote. The size, layout, orientation, and other physical attributes of the screen are not prescribed. You can compile as much information, imagery, sketches, annotated art works, flowcharts, and text on a single screen as is clear and legible to a reviewer.

You are encouraged to rely on imagery to compose your screens as IB asks that straight text be kept to an absolute minimum. Also, since the slides that compose your portfolio will be seen in PDF format, no video, animation, or animated transitions are allowed on your screens.

As an IB student, you will maintain a physical journal in the form of a sketchbook. This sketchbook will be used to take notes, develop sketches, research conceptual and technical ideas related to your studio works, etc. The pages of this sketchbook can then be photographed and uploaded to  your computers as a foundation for your screens. HOWEVER, do not simply photograph, import, and call it done. The sketchbook pages are only a starting point for your screens and should not compose the entire screen. Additionally, the pages you photograph and import MUST BE READABLE.

Since these pages account for 40% of your grade it is important that they be treated like individual pieces of artwork. Each page is a collage of information and each collage must have a carefully developed aesthetic design, flow, clarity, and structure. These are not free form sketches thrown together but carefully considered art pieces chronicling your investigative process. Additionally, they must, as a series, reflect your artistic process. Begin the development of your screens with a general outline that, when viewed sequentially, tell the story of your development as an IB student.

Art-making forms
For SL students the submitted work must be in at least two art-making forms, each from separate columns of the table below. For HL students the submitted work must have been created in at least three art-making forms, selected from a minimum of two columns of the art-making forms table below. The examples given are for guidance only and are not intended to represent a definitive list.

2 Dimensional Forms Drawing: such as charcoal, pencil, ink Painting: such as acrylic, oil, watercolour Printmaking: such as relief, intaglio, planographic, chine collé Graphics: such as illustration and design

3 Dimensional Forms Sculpture: such as ceramics, found objects, wood, assemblage Designed objects: such as fashion, architectural, vessels Site specific/ephemeral: such as land art, installation, mural Textiles: such as fibre, weaving, printed fabric

Lens-Based, Electronic, and Screen-Based Forms Time-based and sequential art: such as animation, graphic novel, storyboard Lens media: such as still, moving, montage Digital/screen based: such as vector graphics, software generated

Submitted work might well include experiments undertaken during (and reflections upon) taster sessions in particular media, demonstrations of techniques, workshops, master classes, guided experimentation and studio practice experienced as part of the core syllabus activities outlined above. 

Sample Screens
Use these images to develop an understanding of how a screen should look. Note that some of the screens include a full page scan of a sketchbook with text beside it. This is one of many ways you can use the sketchbooks to complete your screens. Also note that all screens are horizontally oriented. When your screens are viewed by IB reviewers it will be on a computer screen. Therefore, all screens must conform to that general size, shape, and orientation.

Formal requirements of the task—SL
SL students submit 9–18 screens which evidence their sustained experimentation, exploration, manipulation and refinement of a variety of art-making activities. For SL students the submitted work must be in at least two art-making forms, each from separate columns of the art-making forms table.

Formal requirements of the task—HL HL students submit 13–25 screens which evidence their sustained experimentation, exploration, manipulation and refinement of a variety of art-making activities. For HL students the submitted work must have been created in at least three art-making forms, selected from a minimum of two columns of the art-making forms table.

Submitting assessment work
The submitted screens must not include any resolved works submitted for part 3: exhibition assessment task.

The size and format of screens submitted for assessment is not prescribed. Submitted materials are assessed on screen and students must ensure that their work is clear and legible when presented in a digital, on- screen format. Students should not scan multiple pages of work from their journals and submit them as a single screen, for example, as overcrowded or illegible materials may result in examiners being unable to interpret and understand the intentions of the work.

The procedure for submitting work for assessment can be found in the Handbook of procedures for the Diploma Programme. Students are required to indicate the number of screens when the materials are submitted. Where submitted materials exceed the prescribed screen limits examiners are instructed to base their assessment solely on the materials that appear within the limits. 

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Assessment

A. Skills, techniques and processesUsing the required number of art-making forms from the art-making forms table, to what extent does the work demonstrate:  Sustained experimentation and manipulation of a range of skills, techniques and processes, showing the ability to select and use materials appropriate to their intentions?  Candidates who do not submit works reflecting the minimum number of media and forms will not be awarded a mark higher than 3 in this criterion.

B. Critical investigation To what extent does the work demonstrate: Critical investigation of artists, artworks and artistic genres, communicating the student’s growing awareness of how this investigation influences and impacts upon their own developing art-making practices and intentions?

C. Communication of ideas and intentions (in both visual and written forms) Using the required number of art-making forms from the art-making forms table, to what extent does the student demonstrate: The ability to clearly articulate how their initial ideas and intentions have been formed and developed and how they have assimilated technical skills, chosen media and ideas to develop their work further?

D. Reviewing, refining and reflecting (in both visual and written forms) To what extent does the work demonstrate: The ability to review and refine selected ideas, skills, processes and techniques, and to reflect on the acquisition of skills and their development as a visual artist?

E. Presentation and subject-specific language To what extent does the work: Ensure that information is conveyed clearly and coherently in a visually appropriate and legible manner, supported by the consistent use of appropriate subject-specific language?

Part 1 (SL and HL): Comparative study

Part 1 (SL and HL): Comparative study

External assessment 20%

Why assess a comparative study?

Both SL and HL students need to understand the intricate relationship between theory and practice. The course encourages students to critically investigate the work of other artists and allow the work to inform their own art-making practice. This task gives students the opportunity to elaborate, extrapolate and present a comparative study of three works by at least two artists from different cultural contexts that they have investigated as a part of their art-making practice. HL students are further required to articulate the connections between the work examined in the comparative study and their own art-making, giving them the chance to think about how theory is related to practice.

Core syllabus areas related to the task

The following core syllabus areas are addressed in the comparative study assessment task. The term “artworks” is used here generically and could refer to a range of visual and cultural artifacts.

Visual arts in context

• What are the social, historical, political and intellectual contexts of each of the works explored?

• How do the artworks reflect aspects of the world in which they were created?

• What experiences of the world does the audience bring to their interpretation and appreciation of the artworks?

• Which critical methodologies are most appropriate to analyse, interpret and evaluate the artworks?

• How has exploring these contexts influenced the students’ own art-making? (HL only)

Visual arts methods

• What media, processes and techniques have been used in each of the artworks?

• What aspects of the processes and techniques are conventional or innovative?

• How have formal qualities, such as the elements and principles of design, been used and to what effect (or affect)?

• What motifs, signs and symbols have been used in the works and what do these communicate to the audience?

• How are the artworks evaluated?

• How have the artists’ methodologies influenced the student’s own art-making? (HL only)

Communicating visual arts

• What methods of organization and presentation most effectively communicate knowledge and understanding?

• How can visual organizers and graphics be used to convey information more effectively than words alone?

• Who is the audience for the comparative study? What prior understandings can be assumed?

Possible artists and approaches

The nature of this task is relatively open-ended, permitting a wide range of approaches providing that students still meet the requirements of the task and address the marking criteria. The following table provides a range of possible approaches to the task and relevant artists, artworks or artifacts. It is not intended to be prescriptive or exhaustive.

Approach	Artists/artworks	Description
Thematic	Damien Hirst (British, b 1965) For the Love of God (2007), platinum cast of human skull encrusted with 8601 flawless diamonds. Mosaic mask of Tezcatlipoca (Mexica/Mixtec, c. 15–16th century CE) human skull, deer hide, turquoise, black lignite, polished iron pyrite, white conch (Strombus) shell. The nasal cavity is lined with plates of bright red thorny oyster (Spondylus) shell. Quimbaya Death mask (Colombia:Quimbaya c. CE 600-1100), gold.	Memento Mori This presentation focuses on Damien Hirst’s For the Love of God (2007) work and arose from the student’s interest in the Día de Muertos (Day of the Dead) imagery from Mexico. Comparisons are made between Hirst’s work and 15–16th century Mixtec Mosaic mask of Tezcatlipoca as well as the Quimbaya Death mask. The student considers the prevalence of imagery of death across the cultures, considering the function and significance. The student considers the juxtaposition of precious elements with morbidity.
	Jean-Michel Basquiat (Haitian-American 1960–1988) Irony of Negro Policeman (1981) acrylic and crayon on canvas, 183 × 122 cm. Keith Haring (American, 1958–1990) Untitled (mural in the cafeteria of the Museum of Contemporary Art in Antwerp, Belgium, 1987), mural. Banksy (British, unknown) Untitled (Keith Haring tribute, The Grange, Bermondsey, London). Street graffiti, spray enamel via stenciling.	Crime to Commodity The student was interested in graffiti/street art and was posing questions through their own work about the definition of art versus vandalism. To broaden the field of the student’s investigation, the teacher directed the student to the work of Jean-Michel Basquiat and Keith Haring, both of whom were in the graffiti scene before transitioning to the status of respected visual artists. The student explores the cultural context of the world in which each of the artists worked/work and the significance of the political commentary in the work. The student was particularly pleased to find a Bansky image that paid homage to Keith Haring.
	Andres Serrano (American, born 1950) Piss Christ (1987) photograph of a small plastic crucifix submerged in what the artist has described as being his own urine in a glass. David Černý (Czech, born 1967) Shark (2005), life-like replica of a bound Saddam Hussein in a parody of the glass tank of Damien Hirst’s The Physical Impossibility of Death in the Mind of Someone Living. Bill Henson (Australian, born 1955), Untitled #38, 2005/06, type C photograph, 127 × 180 cm, edition of 5 + 2 A/Ps.	The Genius of Offense Following a TOK presentation on Robert Hughes’ Shock of The New: Art and the Century of Change, the student launched himself into an investigation of recent controversial art and the power of art to provoke strong reactions. The comparative study considered the range of responses to symbols and imagery used in the works from the different perspectives of the audiences who would see and respond to the works in various contexts. The investigation resulted in a short-lived, but enthusiastic series of works that challenged some of the assumptions and the culture of hisconservative faith-based private school.
Historical	Sandro Botticelli (Italian, Early Renaissance: c. 1445–1510), Nascita di Venere (Birth of Venus, 1486), tempera on canvas, 172.5 × 278.9 cm Alexandre Cabanel (French, 1823–1889), Naissance de Venus (Birth of Venus, 1963), oil on canvas, 130 × 225 cm Édouard Manet (French, 1832–1883) Olympia (1863), oil on canvas, 130.5 × 190 cm ORLAN (Mireille Suzanne Francette Porte, French, born 1947), The Reincarnation of Sainte Orlan (begun 1990), series of plastic surgeries on the artist’s body.	Visions of Venus This comparative study emerged from the student’s own art-making practice, which focused on representations of the human form and changing notions of beauty. The comparative study provides a survey of key works representing the female form in Western art. In analysing, interpreting, evaluating and comparing the works, the student adopted a feminist critical methodology, which identified how feminist theory informed the interpretation of imagery in the works and the evaluation of the significance of the works within the context in which they were created and to the broader canon of Western art.
	Pablo Picasso (Spanish, 1881–1973), Les Demoiselles d'Avignon (The Young Ladies of Avignon, 1907), oil on canvas, 243.9 × 233.7 cm. Fang mask used for the ngil ceremony (Gabon, Central Africa, c19th century), wood, 66cm. Iberian female head (Province of Albacete, Castile-La Mancha, Spain, c. 299–100 BCE), sandstone, 15 × 17 × 10 cm.	Primitivism in Picasso’s Les Demoiselles d’Avignon The student’s interest in this subject arose from a TOK discussion on the ethics of appropriation in the arts, with a particular focus on the exploitation of indigenous motifs. The student was directed to a copy of Hal Foster’s “The "Primitive" Unconscious of Modern Art”, October. Vol 34, (Autumn, 1985), pp. 45–70, which helped the student evaluate the claims, denied by Picasso, that the stylistically transitional elements in Picasso’s Les Demoiselles d’Avignon were influenced by his contact with African and Iberian sculpture.
	Rembrandt Harmenszoon van Rijn (Dutch, 1606–1669), Self-Portrait with Two Circles (c. 1665–1669), oil on canvas, 114.3 × 94 cm. Vincent van Gogh (Dutch, 1853–1890), Self-Portrait with Bandaged Ear, Easel and Japanese Print (1889), oil on canvas, 60 × 49 cm. Frida Kahlo de Rivera (Mexican, 1907–1954), Self-portrait with Thorn Necklace and Hummingbird (1940), oil on canvas, 61.25 × 47 cm. Brett Whiteley (Australian, 1939–1992), Art, Life and the Other Thing (1978) (Triptych), oil, glass eye, hair, pen and ink on cardboard, plaster, photography, oil, dried PVA, cigarette butts, hypodermic syringe on board, 90.4 × 77.2 cm, 230 × 122 cm, 31.1 × 31.1 cm.	Selfies The artworks explored in this study were originally investigated when the student was working on a series of her own self-portraits. As her own portraits were being completed rapidly, as a series over a specified period of time, she was particularly interested in artists whose bodies of work included numerous self-portraits. Her comparative study considers the changing conventions of portraiture within the context of the time and place in which the works were created. Her analysis and interpretation considered the ways in which meaning was conveyed through the use of formal and symbolic codes, and in the case of the Whiteley, written codes as well. The number of works examined compelled the student to rely on the thoughtful and considered use of annotated images and other visual organizers to convey her understandings in a succinct manner.

Resources

The Visual arts guide (March 2014) strongly recommends that at least one of the works explored in the comparative study is a work that the students have experienced first-hand. This makes visits to art museums and galleries or artist studios of critical importance as a resource to students. The artwork itself should be considered itself as a primary source. Where the school’s geographical, political or economic context makes access to museums and galleries impractical, students need to have access to good quality reproductions.

The visual arts teacher is undoubtedly the most influential source that students have direct access to. The quality of instruction that students need in order to analyse and deconstruct works and to research the cultural contexts of works is critical to their success.

Scholarly books on visual arts, artists, styles, movements, periods and themes are extremely useful. They can often provide the quality reproductions of works that can be used as primary source material as well as reliable and critical secondary source opinions about the intent and purpose of works, the cultural context of the work and the significance. Exhibition catalogues in particular can provide models for constructing a comparative study if viewed critically, considering why the curator has chosen to put certain works together? What associations and connections are being suggested?

Visual arts journals and periodicals also provide a rich resource, and often reflect more up-to-date contemporary trends in art-making practices than is available through other published works.

The internet is increasingly useful in investigation if used judiciously. Often, it is assumed that students have the skills needed to navigate the web with discretion, but this is rarely the case. Students need direction in finding the authors of sites and how to determine if the information provided is reliable. Many art galleries and museums have great websites with educational pages or forums. These are great starting points, as are the growing number of established contemporary artists who manage their own websites.

A guide for students

Task summary

The comparative study is an externally examined assessment task worth 20%.

To complete the task, you are required to present a comparative study of at least three artworks by at least two different artists from different and contrasting cultural contexts. The work should be selected from work you have investigated as a part of your independent coursework, and will be explored further and presented as a series of screen-based slides.

Formal requirements

SL

• SL students submit 10–15 screens, which examine and compare at least three artworks, objects or artifacts, at least two of which need to be by different artists.

• The works selected for comparison and analysis should come from differing cultural contexts.

• SL students submit a list of sources used.

HL

• HL students submit 10–15 screens, which examine and compare at least three artworks, objects or artifacts, at least two of which need to be by different artists.

• The works selected for comparison and analysis should come from differing cultural contexts.

• HL students submit 3–5 screens, which analyse the extent to which their work and practices have been influenced by the art and artists examined.

• HL students submit a list of sources used.

The CS is submitted as a PDF document, max file size 20 MB HL 10-15 screens plus 3-5 screens comparing to own artwork SL 10-15 screens only list of sources added as a separate doc, docx, pdf, rtf, 1 MB

Marking criteria summary
Marking criteria		Marks	What the examiner is looking for:	Total
A	Analysis of formal qualities	6	an effective identification and analysis of the formal qualities of the selected artworks, objects and artifacts. At the highest level of achievement, the work identifies and analyses the formal qualities of the selected pieces from at least two cultural origins and the analysis of these formal qualities is consistently informed by reliable sources and effective.	30
B	Interpretation of function and purpose	6	an informed and appropriate interpretation of the function and purpose of the selected artworks, objects and artifacts within the cultural context in which they were created. At the highest level of achievement, the work demonstrates a consistently informed by reliable sources and appropriate interpretation of the function and purpose of the selected pieces within the cultural context in which they were created.
C	Evaluation of cultural significance	6	an informed understanding of the cultural significance of the selected artworks, objects and artifacts within the specific context in which they were created. At the highest level of achievement, the work demonstrates consistently informed and appropriate evaluation of the material, conceptual and cultural significance of the selected pieces within the specific context in which they were created.
D	Making comparisons and connections	6	an effective identification and critical analysis of the connections, similarities and differences between the selected artworks, objects and artifacts. At the highest level of achievement, the work critically analyses the connections, similarities and differences between the selected pieces. These connections are logical and coherent, showing a thorough understanding of how the pieces compare.
E	Presentation and subject-specific language	6	information that is conveyed clearly and coherently in a visually appropriate and legible manner, supported by the consistent use of appropriate subject-specific language. At the highest level of achievement, the work clearly and coherently conveys information which results in a visually appropriate, legible and engaging study. Subject-specific language is used accurately and appropriately throughout.
F	Making connections to own art-making practice (HL only)	12	an analysis and reflection on the outcomes of the comparative study investigation and on how this has influenced your own development as an artist, identifying connections between one or more of the selected works and your own art-making processes and practices. At the highest level of achievement, the work analyses and reflects upon the outcomes of the investigation consistently and appropriately. You effectively consider your own development, making informed and meaningful connections to your own art-making practice.	42

Possible structure
Introduction	Summarize the scope of your investigation from which the focus artworks, objects and artifacts have been selected, and any thematic or conceptual framework you have used to draw the investigation together.	1 screen
The artworks, objects or artifacts and their contexts	Summarize your research from a range of different sources and present your inquiry into the identification and interpretation of the selected artworks, objects and artifacts. You also explain how you have applied a range and combination of critical theories and methodologies to the works. Areas of investigation might include: analysis of the cultural contexts of the selected pieces identification of the formal qualities of the selected pieces (elements such as shape/form, space, tone, colour, line, texture and principles such as balance, rhythm, proportion, emphasis, pattern, variety) interpretation of the function and purpose of the selected pieces (such as the meanings of motifs, signs and symbols used in the work) evaluation of the material, conceptual and cultural significance of the pieces and the cultural contexts in which they were created.	3–5 screens
Making comparisons and connections	Present your comparisons of the different pieces, clearly identifying links between them. These comparisons might include: comparing the cultural contexts of the selected pieces comparing the formal qualities of the selected pieces comparing the function and purpose of the selected pieces comparing the material, conceptual and cultural significance of the pieces.	3–5 screens
Connecting to own art-making practice (HL only)	Reflect on your research outcomes and the extent to which your own art-making practices and pieces have subsequently been influenced by artworks, objects, artifacts and their creators examined in the comparative study. These influences and personal connections, which should be evidenced in both visual and written forms, might include: cultural context formal qualities function and purpose materials, conceptual and cultural significance. When referring to your own artwork and practices, you must be sure to identify and acknowledge your own artworks with the same rigorous attention to detail as with images from other sources.	3–5 screens
Sources	Include a reference list of sources used during the study. In-text referencing is required throughout the comparative study. Every image used within the comparative study must be appropriately referenced to acknowledge the title, artist, date (where this information is known) and the source, following the protocol of the referencing style chosen by the school.	1 screen

Further advice for students

• Most students will complete the comparative study using a slide presentation software such as Microsoft’s PowerPoint®, Apple’s Keynote® or Prezi Pro™, and then convert the document to a portable document file (PDF) for electronic submission. Avoid using animations within slides and animated transitions between slides that may be lost when the file is converted, or may be missed if a moderator advances through your presentation prematurely.
• When importing images for your presentation, resize them first to a maximum height or width of 1,500 pixels, optimized for web and devices. This will significantly reduce the overall size of your file, without compromising the image quality when viewed on a screen.
• Use a consistent design scheme for your presentation. Use one or two fonts throughout the presentation. Sans serif fonts tend to be easier to read on screen. Avoid narrow or cursive fonts. Make slide backgrounds subtle and consistent and use high contrast between background and text colour.
• Wherever possible, communicate with visuals and graphics in preference to text.
• Check your grammar and spelling, paying particular attention to the spelling of artists’ names and subject-specific terminology.
• Your teacher is able to provide suggestions to improve your comparative study on your first draft only. Make sure you submit it on time.