Exhibition Preparation & Electronic Upload Checklist HL/SL/Non-Testers All Due Dates Are Clearly Stated Internal assessment details—SL and HL Part 3: Exhibition Weighting: 40% of exam
The following work counts as your March Project – worth 100+pts. Missing deadlines or failing to complete the work correctly will result in a deduction of points – at least 10%. Students will be assessed on meeting each deadline, technical accomplishment, the conceptual strength of their work, and the resolution of their stated intentions.
This document contains the following activities and due dates: A. Art exhibition layout proposal – modeled after either ‘salon, installation, or modern’ styles B. Prep work for display C. Curatorial Rational: a statement that addresses the work and the reason for it being set-up the way it is. D. Exhibition Text: Tags with basic info and statement for each work E. Exhibition Title: a title for your art show with your name F. Art work photographs: Pictures of zoom able quality or video G. Exhibition photographs: photographs of your entire exhibition H. Set-up the exhibition I. Attend your opening night J. Give form 6/VAPPF (Planning and Progress Form) to Nygaard K. Upload day for all work – art, process portfolio, comparative study, candidate statement, labels and statements for each work, exhibition photographs
Exhibition and Portfolio Task for All Students File
Limit (HL)
Limit (SL)
Mandatory/ optional
File types
Maximum file size
Curatorial rationale (artist statement) Due: Friday 10th in Class
700 words
400 words
Mandatory all students
Text: DOC, DOCX, PDF, RTF
1 MB
(400 words for nontesters)
Mounted For Show Digital file title like this: Your Name, Curatorial Rationale Exhibition text – Due Friday 10 In Class Have this info ready on a word document for IB upload
500 characters
500 characters.
1. mounted artwork tags (2”x5”) Title Medium Size (metric) HxWxD
*Artwork tags *500 character brief statement of intentions for each work
2. Statements for each work(testers) on same mount as tag When uploading images, this info accompanies. This will state title, medium, size and a brief outline of intentions—500 characters. 3. Show Name and your name Large lettering mounted Artworks Documentation
All Students:
*Show Title *Your name
8–11
4–7
Mandatory all students:
Image: JPG, TIF Video: F4V, M4V, MOV, MP4
5 MB 5 minutes/500 MB
2 per artwork
2 per artwork
Optional for both
Image: JPG, TIF
5 MB
8–11
4–7
Mandatory for all students
Image: JPG, TIF
5 MB
Photographed/Video by Monday March 13th unless it is dependent on the art show installation-share with Phelps BEFORE upload for points Digital file title like this: Your Name, Name of work If a series then: Your Name, Name of work, (Diptych) Additional supporting photographs Photographed/Video by Monday March 13th unless it is dependent on the art show installation-same as above Use for different angles or details Digital file title like this:Preparation Exhibition/Art Work Your Name, Name of work, Supporting Ready to hang by the end of Thursday Photo March 16th.
Nontesters must show 8+ works
Set-up day is Friday March 17th 7:30 am to completion -
Must be ready to hang
-
Framed if necessary
Opening Night: Tuesday March 21st 6-8pm. Bring required food/drink. Take-down is Friday March 24th beginning lunch to completion. You must take the work home Friday. The BB will be used by other groups after….. Exhibition photographs Due: March 24th Email to Phelps
2
2
Mandatory all students
Digital file title like this: Your Name, Exhibition Photo 1 Testers Upload to IB Day By the week of Monday March 27th TBA All of the above info plus the CS and PP and planning form
6/VAPPF
Only Testers
Structuring the curatorial rationale 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. 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?
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.
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.
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.
Documenting the artworks Watch this video: “How to photograph your art” https://www.youtube.com/watch?v=Vpj28da03JQ&list=PLNfTtipyWFiDc1ndroJWIsx4wwFHA51PI
Each artwork included as part of a candidate’s exhibition (other than electronic, lens-based and screen-based artworks that exist as digital pieces), should be captured in the way that the student considers most appropriate for the e-submission: still image or video. Complying with permitted file formats listed in the table above, students should be free to decide in which way they want to digitally present each artwork part of their exhibition and it is recommended that
they are actively involved in the process of digitally documenting their own work. The maximum size for image files is 5MB, however it is expected that the majority of files will not exceed 3MB. The files documenting the artworks selected for the exhibition must be uploaded in the order in which the candidate wished them to be seen in the exhibition. Candidates might want to address this aspect of the presentation of their artwork in the curatorial rationale. The file slots to upload the individual artworks are numbered and this will allow the candidates to present the pieces in their preferred order. Four file slots at SL and eight file slots at HL appear as mandatory in the upload screen because this is the minimum number of required artworks at each level, but up to seven artworks at SL and 11 artworks at HL can be submitted. There is no prescribed number of art-making forms that need to be represented in the exhibition. For their exhibition candidates should select the resolved pieces that represent their most successful achievements against the assessment criteria and present them to an audience. Teachers should understand that it is important that the selected pieces are the students’ own choice.
* Photographs of 2D objects should be taken prior to any mounting or framing. *Choose works that best satisfy the IB Rubric Categories *Take pics with good lighting – not too dark, no reflecting light, cloudy days outside are best. *These pics should not be skewed. Images can be cropped but some background is ok if it is not distracting. Very little color correcting should be done, if any. *Color correcting is OK only if it does not alter the likeness of the work *They must be oriented correctly (up is up) *Video is possible for 3D work or complex work or time based work or installation work In the case of temporary artworks that are digitally documented, the artwork that the candidate submits for assessment must be the one that was actually displayed in the candidate's exhibition. The following cases are provided as examples. Case 1: a melting ice sculpture is presented in the exhibition and for assessment purposes the candidate has opted to submit a video documenting the artwork. In this case the melting ice sculpture is the artwork, the medium is melting ice and the size of the actual object must be provided. Case 2: a video showing a melting ice sculpture is shown as part of the candidate’s exhibition and this piece of video art is submitted for assessment. This will be a timebased artwork and the film duration will be indicated in the size field when uploading the file. Case 3: a printed photograph is part of the exhibition and for assessment purposes the digital version of the photo is presented. The actual artwork is the printed photograph and the medium and size entered when uploading the file should refer to the exhibited object specifying on what support the image was printed. The digital file should be submitted for assessment only if the final printed version did not differ significantly, otherwise the final printed object should be reproduced and submitted.
Two additional supporting photographs (optional files)
The submission of up to two additional supporting photographs for each artwork is optional. File slots are available to allow candidates to upload up to two additional image files in support of each of the artworks included in their exhibition. No additional data (title, size, medium, text) are required is the additional photographs. The additional supporting photographs allow the candidates to enhance a particular aspect, a specific detail or a specific part of their artworks, or to offer more than one view of the same piece. This option should be used only when candidates find that one image is insufficient and more photographs are needed to document a single artwork. In the majority of cases this should not be necessary as examiners are anyway able to zoom in to enlarge details of the artworks.
Additional supporting photographs Whatever the chosen means of capturing each individual artwork, students are permitted to submit up to two additional photographs in support of each submitted artwork. These additional supporting photographs or screenshots are intended to enable students to provide an enhanced sense of scale or specific detail to the submitted artwork. These additional photographs are optional. Photographs of 2D objects should be taken prior to any mounting or framing.
The two exhibition photographs (mandatory for the internal assessment) The two exhibition photographs (no video documentation is accepted in 2016) are mandatory files to submit for moderation. This documentation provides a better insight of the exhibition and in order to maintain consistency in the assessment process all candidates must provide this piece of evidence.
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.
Grading Criteria – select works based upon the requirements Summary
Part 3: Exhibition
SL SL marks total
HL HL marks total
A
Coherent body of works
9
9
B
Technical competence
9
C
Conceptual qualities
9
9
D
Curatorial practice
3
3
30
9
30
Criteria 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. Mark
Descriptor
0
The work does not reach a standard identified by the descriptors below.
1–3
4–6
7–9
The work shows little coherence through minimal communication of thematic or stylistic relationships across individual pieces. The selection and application of media, processes and techniques and the use of imagery show minimal consideration of intentions. The work shows some coherence through adequate communication of thematic or stylistic relationships across individual pieces. Stated intentions are adequately fulfilled through the selection and application of media, processes and techniques and the considered use of imagery. The work forms a coherent body of work through effective communication of thematic or stylistic relationships across individual pieces. Stated intentions are consistently and effectively fulfilled through the selection and application of media, processes and techniques and the considered use of imagery.
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. Mark
Descriptor
0
The work does not reach a standard identified by the descriptors below.
1–3
4-6
7–9
The work demonstrates minimal application and manipulation of media and materials to reach a minimal level of technical competence in the chosen forms and the minimal application and manipulation of the formal qualities. The work demonstrates adequate application and manipulation of media and materials to reach an acceptable level of technical competence in the chosen forms and the effective application and manipulation of the formal qualities. The work demonstrates effective application and manipulation of media and materials to reach an assured level of technical competence in the chosen forms and the effective application and manipulation of the formal qualities.
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. Mark
Descriptor
0
The work does not reach a standard identified by the descriptors below.
1–3
4–6
7–9
The work demonstrates minimal elaboration of ideas, themes or concepts and demonstrates minimal use of imagery, signs or symbols, or the imagery, signs or symbols used are obvious, contrived or superficial. There is minimal communication of artistic intentions. The work visually elaborates ideas, themes or concepts to a point of adequate realization and demonstrates the use of imagery, signs or symbols that result in adequate communication of stated artistic intentions. The work visually elaborates ideas, themes or concepts to a point of effective realization and demonstrates the subtle use of complex imagery, signs or symbols that result in effective communication of stated artistic intentions.
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? Mark
Descriptor
0
The work does not reach a standard identified by the descriptors below.
1
The curatorial rationale partially justifies the selection and arrangement of the exhibited works or the curatorial rationale may not be an accurate representation of the exhibition.
2
3
The curatorial rationale mostly justifies the selection and arrangement of the exhibited works, which are presented and arranged in line with the student’s stated intentions in the space made available to the student. The curatorial rationale fully justifies the selection and arrangement of the exhibited works, which are presented and arranged clearly, as appropriate to the student’s stated intentions within the space made available to the student.
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? Mark
Descriptor
0
The work does not reach a standard identified by the descriptors below.
1
*The curatorial rationale partially justifies the selection and arrangement of the exhibited works or the curatorial rationale is not an accurate representation of the exhibition. *The curatorial rationale conveys little justification for the relationship between the artworks and the viewer within the space made available to the student.
2
*The curatorial rationale mostly justifies the selection and arrangement of the exhibited works. ^The curatorial rationale mostly articulates the relationship between the artworks and the viewer within the space made available to the student.
3
*The curatorial rationale fully justifies the selection and arrangement of the exhibited works. *The curatorial rationale effectively articulates the relationship between the artworks and the viewer within the space made available to the student.
Fun Reading…..beware! Teachers (and examiners) must assess only the maximum amount of work required and therefore must: not consider pieces in excess of the maximum number of artworks allowed for the level ignore any artwork that by mistake is included in the exhibition photographs but is not part of the exhibition submission be aware of the word count limits for the curatorial rationale and credit only the work within 400 words at SL and within 700 words at HL. Teachers and examiners are not expected to read what exceeds the prescribed number of words remember that the two exhibition photographs - now compulsory- inform the holistic assessment of the exhibition component but are not allocated marks stop watching video files after 5 minutes: video files should not exceed 5 minutes and examiners must not continue viewing videos that last longer.
Teachers (and examiners) must be aware of the following points: Art-making forms: there are no restrictions in the exhibition criteria for range of media used by the candidate, meaning that the candidate is not required to present a collection of artworks using more than one medium and therefore must not be penalised for not doing so. (Visual arts guide - First examinations 2016, p 53) Collective pieces: the candidate may present a series of works (for example, a series of photographs) as one piece. This should be indicated in the title, such as: Reflection (series). (Visual arts guide – First examinations 2016, p 53) Exhibition space: the space where the exhibition is presented must not influence the marking and constitute any bias. Candidates must not be put at disadvantage because of the space in which the exhibition is set up. Assessment criterion D refers to the selection of works and to what extent the curatorial rationale justifies the selection and arrangement of a group of artworks in a designated place, but no reference to the quality of the space itself is made in the Visual arts guide - First examinations 2016. Sound: any audio component used as part of an artwork will not be assessed in the visual arts course (Visual arts guide – First examinations 2016, p 11). Examiners are required to assess only the visual arts and are therefore required to ignore any audio element that candidates might have used in their art pieces. The sound should be turned off when marking/moderating the exhibition component, so that the focus remains purely on the visual creative content and there is no interference from the audio. This applies to music, dialogues and any kind of sound that might be part, for example, of a piece of video art or of an installation. Academic honesty in the exhibition: on page 54 the Visual arts guide – First examinations 2016 (March 2014) states that “When the student is aware that another person’s work, ideas or images have influenced their selected pieces for exhibition the source must be included as a bibliographic reference within the exhibition text, following the protocol of the referencing style chosen by the school”. This implies that: any image taken from the Internet and used as inspiration by candidates when creating their artwork must be appropriately referenced in the exhibition text for each artwork that refers to another artwork candidates must include in the exhibition text clear reference to their source of inspiration acknowledging its title, artist, date, medium (where this information is known) and providing details or bibliographic reference of where the artwork was viewed
where candidates are deliberately appropriating another artist’s artwork, the exhibition text should acknowledge the original work and make explicit reference to the appropriation; mention of the appropriation process and relevant references can also be included in the curatorial rationale - in the curatorial rationale all sources need to be referenced at point of use In some instances a judgement will need to be made by examiners between occasionally confused/incomplete citation (sloppy referencing) and an academic honesty issue. Teachers might find useful to know that when in doubt examiners are required to refer the matter to the IB. Examiners are not required to spend large amount of time investigating possible academic misconduct in detail.
*On Collaboration: Teachers must ensure that all student work for assessment is prepared according to the requirements and must explain clearly to students that the internally assessed work must be entirely their own. Where collaboration between students is permitted, it must be clear to all students what the difference is between collaboration and collusion.
Academic honesty Artworks presented for assessment will have been made or constructed by the student. For instance, a piece of fashion design cannot be presented for assessment in realized form if the student did not create it themselves. Where the student has not created the realized piece themselves, they would still be able to submit the design of the piece as an artwork for assessment in the exhibition, but the realized piece cannot be included. Where a student has taken found objects and created art with them this is considered as constructed by the student. Students should identify if objects are self- made, found or purchased under the “medium” section when compiling the exhibition text for each of their submitted pieces. When the student is aware that another person’s work, ideas or images have influenced their selected pieces for exhibition the source must be included as a bibliography reference within the exhibition text, following the protocol of the referencing style chosen by the school.
