This document provides assessment objectives and starting points for an independent art project on the theme of "Force". The assessment objectives are to develop ideas through investigations informed by sources, experiment with materials and techniques, document ideas and insights, and present a personal response. The starting points provide examples of people, places, the natural world, objects, landscapes, and imagination that could inspire ideas relating to force. These include portraits, landscapes, sculptures, and imaginative works that depict the human body, nature, architecture, and fantasy.
2. ASSESSMENT OBJECTIVES:
AO1: Develop ideas through sustained and focused investigations
informed by contextual and other sources, demonstrating analytical and
critical understanding.
AO2: Experiment with and select appropriate resources, media, materials,
techniques and processes, reviewing and refining ideas as work develops
AO3: Record in visual and/or other forms ideas, observations and insights
relevant to their intentions, demonstrating an ability to reflect on work and
progress.
AO4: Present a personal, informed and meaningful response
demonstrating critical understanding, realising intentions and, where
appropriate, making connections between visual, oral or other elements.
3. STARTING POINTS
The following starting points are to start you
thinking about your ideas. You may work from
any one of the starting points, or you may
develop a relevant starting point of your own that
explores the theme ‘Force’.
5. Hedgecoe’s profile shot of
the Queen was made by
him in June 1967, and
was then used by Arnold
Machin (a well-known
stamp sculptor) to make a
plaster version. Once the
plaster version was
produced, Hedgecoe then
photographed it for the
stamp image which is
now familiar to many
John Hedgecoe
9. Mark Gilbert
During a residency at St Bartholomews and the Royal London Hospital, Gilbert
painted patients undergoing facial surgery for cancer or deformity and patients
who had suffered severe facial injuries from car crashes, shotgun wounds or
assault. These portraits interpret the patients' physical appearance before, after
and, occasionally, during their corrective surgery
14. Rich Little Girls" by Yinka Shonibare
Yinka Shonibare -: "People have come to
associate the fabric with Africa, but actually
it is Indonesian-influenced fabric produced
by the Dutch for sales to the African market.
It was made in Hyde...and I buy it in Brixton
market. I like the fact that something seen as
being African is actually the product of quite
complex cultural relationships."
Rich Little Girls,, explores that complexity in
Shonibare's juxtaposition of the Victorian and
the "African". It's interesting that clothes, if we
pay closer attention to them, are usually more
than just clothes - their threads could very well
be binding the Netherlands, Indonesia and much
of Africa in a historical triangle of sorts. For Rich
Little Girls, it's fashion, it's art, it's culture/race,
and it's "African".
15. Anselm Kiefer
In 1971 Kiefer produced his first large-scale landscape paintings and from
1973 he produced painted wooden interiors that created a monumental
effect. His preoccupation with the spirit and forms of Nazi rule in Germany
is seen, finally, in his pictures reflecting the architecture of the 1930s and
specifically the buildings of Albert Speer. He made increasing use of
materials such as sand, straw, wood and photographs as well as sewn
material and toy soldiers.
16. William Bowyer RA (born 25 May, 1926) is a contemporary British portrait
and landscape painter, who works in a traditional manner
18. Paul Smith
Smith acts as the unnamed hero for these dramatics, in a die-hard, James
Bond style character. Although independently coherent, the images are
deliberately montaged to create an overtly fabricated scene. In doing so
avoiding any documentary overtones and producing an entirely fantastical
environment in which to place the hero.
21. NATURAL WORLD
Karl Blossfeldt was a German photographer and artist who
worked in Berlin, Germany. He is best known for his close-up
photographs of plants and living things. He was inspired by
nature and the way in which plants grow.
32. William Daniels
Daniels begins his painting process
by first constructing models and lo-fi
maquettes, often of well-known paintings,
from cereal boxes, masking tape and
cigarette papers. After each model has
been completed Daniels starts the slow
process of rendering in painstaking detail
each of its cuts, tears and folds.