graad 12 national senior certificate grade 12 · the reclining female body takes up the bulk of the...

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VISUAL ARTS P1

NOVEMBER 2013

NATIONAL SENIOR CERTIFICATE

GRAAD 12

GRADE 12

Visual Arts/P1 2 DBE/November 2013 NSC


INSTRUCTIONS AND INFORMATION In this examination you will demonstrate the following skills: • The use of the correct art terminology • The use and implementation of visual analysis and critical thinking • Writing and research skills within a historical and cultural context • The placing of specific examples into a cultural, social, political and historical

context • An understanding of distinctive creative styles Read the following instructions before deciding which questions to answer.

1. 2. 3. 4. 5. 6. 7. 8. 9. 10. 11.

This question paper consists of TEN questions. Answer any FIVE questions for a total of 100 marks. Number the answers correctly according to the numbering system used in this question paper. Questions appear on the left-hand pages, with visual sources on the right-hand pages. Ensure that you refer to the reproduced colour visual sources where required. Information discussed in one answer will not be credited if repeated in other answers. Cross-referencing of artworks is permissible. Name the artist and title of each artwork you discuss in your answers. Underline the title of an artwork or the name of a building. Write in a clear, creative and structured manner, using full sentences and paragraphs according to the instructions of each question. Listing of facts/tables is NOT acceptable. Use the following guidelines for the length of your answers. Look at the mark allocation: 6–8 marks: a minimum of ½–¾ page 10–14 marks: a minimum of 1–1½ page(s) Bullets usually act as guidelines in your essay to help structure your answer. Write neatly and legibly.



GLOSSARY Use the following glossary to make sure you understand how to approach a particular question.

Analyse: Compare: Contextualise: Discuss: Explain: Formal elements of art: Interpret: State: Substantiate: Visual sources:

A detailed and logical discussion of the formal elements of art, such as line, form, shape, colour, tone, format and composition of an artwork. Point out differences and similarities in an ordered sequence within the same argument. Relating to or depending on the framework of information; relating to the situation, time/era and location to which the information refers. Present your point of view and give reasons for your statements. Clarify and give reasons for your statement. The basic elements used to create a work of art, such as line, shape, tone, texture, colour, space, composition, et cetera. Analyse and evaluate (give an informed opinion of) an artwork. Contextualise it historically, culturally, socially, politically, et cetera and substantiate your findings by referring to similar specific examples. Give exact facts and say directly what you think – give your opinion, as well as an explanation. To support/motivate with proof or evidence. The reproduced images that are provided in this question paper or referred to in other sources.



ANSWER ANY FIVE QUESTIONS. QUESTION 1: THE EMERGING VOICE OF BLACK ART

The visual sources in FIGURES 1a, 1b and 1c all portray figures in a landscape. There are, however, stylistic differences between the work of Erich Heckel (FIGURE 1a), a German Expressionist, and the works of the South African artists, Peter Clarke (FIGURE 1b) and Gladys Mgudlandlu (FIGURE 1c).

1.1 Choose any TWO images from FIGURES 1a, 1b and 1c and write an essay in

which you discuss the similarities and differences between these paintings. Make as many observations as you can, regarding the following: • Style and techniques • Use of colour • Use of shape • Composition • The feelings and atmosphere these works convey

(10)

1.2 Discuss the artworks of any TWO artists you have studied, whose work tells

us about their personal observations.

Your essay should include the following: • Names of artists • Titles of artworks • Inspirations and influences on these artists' work • Formal art elements used in the artworks • Themes and meaning

(10) [20]



FIGURE 1a: Erich Heckel, Glassy Day,

oil on canvas, 1913. FIGURE 1b: Peter Clarke, Flute Music,

oil on canvas, 1960.

FIGURE 1c: Gladys Mgudlandlu, Three Men in Blue, oil on canvas, 1970.



QUESTION 2: SEARCH FOR AN AFRICAN IDENTITY IN SOUTH AFRICAN ART

Traditional African art had a profound influence on South African artists.

2.1 The Dogon artefacts in FIGURES 2a and 2c were used as a source of

inspiration for Alexis Preller and Deborah Bell.

Write a paragraph on these TWO works (FIGURES 2b and 2d), in which you consider the following:

• Influences on and use of Dogon imagery • Composition • Style • Interpretation or message • How the use of the Dogon images helped to create an African identity in the works of Preller and Bell

(8)

2.2 Write an essay on any TWO artworks you have studied that show strong

influences of African and/or international art.

Consider the following in your essay: • Name(s) of artist(s) and title(s) of work(s) • African/International influences • Formal elements of art • Composition, style and technique • Subject matter and message conveyed

(12) [20]

Dogon: An ethnic group from Mali Artefact: An object that was made by hand, and which is of historical or cultural interest



FIGURE 2a: Dogon, Mali.

Seated Couple, wood and metal, 1800–1850. FIGURE 2b: Alexis Preller, Adam and Eve,

oil on canvas, 1955.

FIGURE 2c: Dogon Door, wood,

date unknown. FIGURE 2d: Deborah Bell, Greasing

Palms – Salutations, etching, drypoint and chine colle, 1997.



QUESTION 3: ART AND POLITICS: RESISTANCE OR PROTEST ART

Eric Ndlovu remarked about his painting, Children Trapped, that 'It depicts the emotional mess created as a result of misunderstandings among people, nations, countries and continents of our planet Earth.' Ndlovu was a schoolboy when he left South Africa after the Soweto Uprising of 1976, and this painting could refer to this uprising and/or the turmoil of the 1980s in South Africa. Willie Bester is another South African artist who has also commented on the traumatic effects of political turmoil.

3.1

Discuss how these TWO works (FIGURES 3a and 3b) depict the 'emotional mess' by referring to the following: • Use of specific images • Colour and texture • Composition and space • Atmosphere of each work • Possible messages/interpretations of each work

(10)

3.2 Discuss the work of any TWO artists you have studied, who reflect on

situations of turmoil and tension. Your answer should include the following: • Names of the artists • Titles of artworks • Issues addressed in the work • Style of the work • Use of formal art elements • Meaning and interpretation

(10) [20]



FIGURE 3a: Willie Bester, Forced Removal, mixed media, date unknown.

FIGURE 3b: Eric Ndlovu, Children Trapped, oil on cloth, 1985.



QUESTION 4: CRAFT AND APPLIED ART

Traditional potters create vessels for a specific function, while contemporary ceramic artists change these into more aesthetically pleasing decorative works of art.

4.1 Do you agree with the above statement? By referring to FIGURE 4a and any

other pot reproduced in FIGURES 4b, 4c and 4d, write a paragraph in which you consider the following: • Traditional versus contemporary • Shape • Decoration • Whether you regard these pots as works of art. Give reasons for your

response. • The pot you respond to most positively, and why

(8)

4.2 Discuss the importance of the work of any TWO South African craft artists

whose work you have studied. Specifically refer to the following in your discussion: • The names of the craft artists • The materials and techniques used • The decoration and construction used • Any other relevant information related to each of the artists discussed

(12) [20]



FIGURE 4a: Nesta Nala, Ukhamba,

clay, 1995.

FIGURE 4b: Charmaine Haynes,

Ceramic vessel, untitled, glazed ceramics, 2009.

FIGURE 4c: Ardmore Ceramic Studio,

Tribute to Bonnie, glazed ceramic, 2000.

FIGURE 4d: Grayson Perry, Untitled,

glazed ceramic, 2005.



QUESTION 5: ART AND POWER

On 5 August 2012, 50 years after Nelson Mandela was arrested just outside Howick, KwaZulu-Natal, a memorial site dedicated to him was unveiled by President Jacob Zuma. In his opening speech, President Zuma stated that the monument should speak to all like a sacred shrine, and a place that must be treated with the utmost respect. In the sculpture honouring Nelson Mandela, artist Marco Cianfanelli used 50 steel rods representing Mandela's many years behind prison bars. Nelson Mandela continues to be an inspiration to many other artists in South Africa and the rest of the world.

5.2 Write a short essay on ONE commemorative building, memorial or artwork

you have studied which you feel is representative of a worthy cause or individual. Your essay should include the following: • Name of your example, as well as the architect or artist who designed it • Who or what this example is dedicated to • Types of material and techniques and decorations used in its design • Significance of the site of the building/structure • Purpose/Function of this example • Use of any decorative features on this example • How successfully this example pays tribute to the person/event it is

dedicated to • Your response to this example. Substantiate your answer.

(10) [20]

5.1 The images of Mandela in FIGURES 5a, 5b, 5c and 5d stir up strong emotions in the viewer. Write a paragraph in which you discuss the following: • Your response to the larger than life drawing in FIGURE 5a • Whether the memorial in FIGURES 5b, 5c and 5d should be treated as a

'sacred shrine'. Give reasons for your answer. • Interesting use and placement of the steel rods to create the image of Mandela's face • Importance/Significance of the site • Manner in which the viewer can interact with this sculpture

(10)



FIGURE 5a: Paul Emsley,

Nelson Mandela, charcoal and conté,

125 x 97 cm, 2010.

FIGURE 5b: Marco Cianfanelli, close-up view of Nelson Mandela Memorial Site, Howick,

steel rods, 2012.

FIGURE 5c: Marco Cianfanelli,

Nelson Mandela Memorial Site (detail), Howick,

steel rods, 2012.

FIGURE 5d: Marco Cianfanelli, distant view of

Nelson Mandela Memorial Site, Howick,

steel rods, 2012.



QUESTION 6: THE ROLE OF THE FORMAL AND INFORMAL ART CENTRES IN

THE TRAINING OF ARTISTS IN APARTHEID/POST-APARTHEID SOUTH AFRICA

A group of cultural workers who fled into exile in Botswana in 1978 established the cultural organisation called Medu Art Ensemble. These members played a huge role in creating printed political posters during the apartheid years. Printmaking also became the voice of a generation of black artists at Rorke's Drift Art Centre.

6.1 Read the information above, study the visual sources (FIGURES 6a and 6b)

and discuss the following: • Possible reasons why printmaking became so prominent among black

artists at this time • Use of text in both works • Symbols and subject matter • Style • Space and perspective • Purpose/Message

(8)

6.2 Discuss, in the form of an essay, the significance of any adult South African

art centre you have studied. In your discussion, refer to the following guidelines: • Funding and function of the art centre • Types of artworks created • The work of ONE artist who studied at this centre • Subject matter, media and techniques used by the artist you have

selected

(12) [20]



FIGURE 6a: John Muafangejo, Windhoek People Pray for Peace and Love,

linocut, 1977.

FIGURE 6b: J Seidman, You Have Struck a Rock, screen-printed poster

printed by Medu Art Ensemble, 1981.



QUESTION 7: MULTIMEDIA – ALTERNATIVE CONTEMPORARY AND POPULAR

ART FORMS IN SOUTH AFRICA

Cai Guo-Qiang is a contemporary Chinese-born artist who now resides in New York. Head On (FIGURE 7a) is an installation consisting of 99 life-sized replicas of wolves and a glass wall. Cai Guo-Qiang had the wolves made in his hometown, Quanzhou, China. A local workshop was commissioned to make the lifelike wolves that are actually clothed in painted sheepskin and stuffed with hay. The huge artwork, Vortex (FIGURE 7c), was created by letting various grades of gunpowder explode on paper, on which images of wolves had been stencilled previously (FIGURE 7b). The artwork shows the burnt and smoky charcoal-stained traces left behind after the explosion.

7.1 With reference to the information above and the visual sources

(FIGURES 7a–7c), discuss the following in an essay: • How would you define an installation? • What, do you think, would be the effect of FIGURE 7a on the viewer? • It has been remarked that FIGURE 7a is both tragic and beautiful. Do you

agree with this statement? Give reasons for your answer. • According to Cai Guo-Qiang, FIGURE 7a symbolises the human condition. In the light of this statement, interpret the message of this work. Take the pack of wolves and the glass wall into consideration. • How the drawing in FIGURE 7c is the result of both planning and chance • The overwhelming sense of movement in both FIGURE 7a and FIGURE 7c • Your opinion on Cai Guo-Qiang's innovative use of materials and techniques

(10)

7.2 Multimedia art goes beyond the boundaries of what is normally seen as 'art'.

Critically analyse at least TWO multimedia artworks you have studied, to explain how they broaden the idea of art.

Your essay must include the following: • Names of artists and titles of artworks • Description and analysis of artworks • Messages and/or meanings of artworks • Ways that these artworks enrich and broaden the viewer's idea of art

(10) [20]

Vortex: The spiral motion of water or air that sucks everything near it towards its centre Contemporary: Usually seen as art from the 1970s to today; that which is cutting- edge and non-traditional



FIGURE 7a: Cai Guo-Qiang, Head On,

life-sized replicas of 99 wolves and a glass wall, 2006.

FIGURE 7b: Cai Guo-Qiang creating the gunpowder Vortex, 2006.

FIGURE 7c: Cai Guo-Qiang, Vortex, gunpowder on paper, 2006.



QUESTION 8: ART AND THE SPIRITUAL REALM – ISSUES IN ART AROUND

BELIEF SYSTEMS AND THE SACRED

The Chinese artist Huan Zhang collects the ashes of incense left by pilgrims at Chinese temples around Shanghai. He then sorts them by colour and shade, before using them in his sculptures and paintings. He exhibits his two sculptures, Ash Jesus and Ash Buddha (FIGURES 8a, 8b and 8c), facing one another. He states: 'To some, ash seems useless and insubstantial; it is a short-lived witness to human spirituality and spiritual practice … These ashes embody the hopes of men and women, human piety, spirituality and desire, which are then integrated into sculptures.'

8.1 Write an essay on FIGURES 8a, 8b and 8c, discussing the following:

• The possible interpretations of using ash in the sculptures of Huan Zhang (FIGURES 8a–8c) • The spacing/positioning of the two figures in relation to each other • The postures of the two figures and the mood they convey • Jesus and Buddha are two of the most recognisable religious images of the West and the East respectively. What ideas/meanings, do you think, Zhang wants to convey by placing these two figures facing one another?

(6)

8.2 Discuss the work of any TWO artists you have studied, in which these artists

visualised spirituality and/or religious issues. Your essay must include the following: • Names of the artists • Titles of artworks • Use of formal elements of art • Style and technique • Communication of religious and/or spiritual concerns by discussing the

possible meanings and interpretations of these works

(14) [20]



FIGURE 8a: Huan Zhang, Ash Jesus and Ash Buddha, ash, steel and wood, 2011.

FIGURE 8b: Huan Zhang, Ash Jesus and Ash

Buddha (detail), ash, steel and wood, 2011. FIGURE 8c: Huan Zhang,

Ash Jesus and Ash Buddha (detail), ash, steel and wood, 2011.



QUESTION 9: GENDER ISSUES

Traditionally, in Western art, the reclining figure was usually female, made for male appreciation. Today, artists use the reclining form to make different statements about gender.

9.1 By referring to TWO of the visual sources in FIGURES 9a, 9b and 9c, discuss

the statement above. Consider the following in your answer: • Use of title • Composition • Symbolism • Style

(8)

9.2 Write an essay in which you discuss the artworks of any TWO artists who

have used gender issues as a theme.

(12) [20]



FIGURE 9a: Diego Velázquez, Venus at Her Mirror (Rokeby Venus), oil on canvas, 1651.

FIGURE 9b: Marlene Dumas, Snow White With Broken Arm, oil on canvas, 1986.

FIGURE 9c: Kehinde Wiley, Sleep, oil on canvas, 2008.



QUESTION 10: CONTEMPORARY SOUTH AFRICAN (NATIONAL) AND

INTERNATIONAL ARCHITECTURE

For the first time in the United Kingdom, an 'amphibious' home has been given full permission to be built on the banks of the River Thames in Buckinghamshire. The residential home, designed by Baca Architects, is an architectural achievement that overcomes the threat of flooding by becoming a floating pontoon during a flood situation.

10.1 Using the images in FIGURES 10a and 10b, discuss the following:

• Advantages of this type of architectural design • Architectural influences and characteristics • Sustainability

(6)

10.2 Write an essay in which you discuss any TWO examples of contemporary

architecture you have studied which make use of innovative ideas. Include the following in your essay: • Names of buildings and architects • Function and site • Style and use of materials and building techniques • Socio-economic and environmental issues • Valid reasons why you find these buildings inspiring

(14) [20]

Sustainable: Using natural resources without destroying the ecological balance of an area, commonly known as 'green architecture' Amphibious: Taking place or operating both on land and in water Pontoon: A floating structure


Copyright reserved

FIGURE 10a: Residential Home in the United Kingdom, Baca Architects, 2010.

FIGURE 10b: Plan of another Residential Home (shown during flood conditions),

Baca Architects, 2011. TOTAL: 100


MARKS: 100

This memorandum consists of 24 pages.

VISUAL ARTS P1

NOVEMBER 2013

MEMORANDUM


GRAAD 12

GRADE 12

Visual Arts/P1 2 DBE/November 2013 NSC – Memorandum


INSTRUCTIONS AND INFORMATION Read the following instructions carefully before commencing marking:

1.

2.

3.

4.

5.

6.

7.

This question paper consists of TEN questions. Learners must answer any FIVE questions for a total of 100 marks.

It is MOST IMPORTANT that allowance is made for the learners in many instances: a. Learners must be given credit for providing their own opinions and ideas

in answers. b. Credit must also be given for lateral thinking. c. Also important is that arguments and statements are well reasoned and

qualified by reference to specific factors.

Questions and subsections must be numbered clearly and correctly. Bullets usually act as guidelines to help structure learners' answers.

Information and artworks discussed in one answer must not be credited if repeated in other answers but artworks may be cross-referenced.

Where applicable, learners must name the artist and title of each artwork mentioned.

Where appropriate, learners may discuss both two- and three-dimensional artworks in any question.

Remember that many learners will be discussing these examples, never having seen them before. Markers therefore cannot expect factual, academic information. They should draw upon their own experiences, cultures and interpretations of the artworks, within the context of the question. Therefore markers need to be open-minded and flexible in the marking process.

GENERAL INFORMATION FOR MARKERS • This memorandum is to serve as both a guideline for markers as well as a

teaching tool. Therefore, the memorandum for certain questions is in greater depth, as the information may be used as notes for learning material. Other parts of the memorandum may merely be a suggested guideline.

• NOTE: Markers are encouraged to reward learners for what they know, rather than punish them for what they don't know.

• Although the information for the questions is given in point form, learners must write in essay/paragraph format discussing their information in a holistic manner.

• Learners must answer all the questions in FULL SENTENCES or PARAGRAPHS, according to the requirements of each question. Answers in point form cannot receive full marks. • Markers must refer to the Visual Arts SAG document rubric (p.24) to obtain a guideline to assess the levels of achievement.



Assessing learners' ability to analyse and respond to examples of visual culture

ACHIEVEMENT RATING CODE

LEARNING OUTCOME 4: VISUAL CULTURE STUDIES

7 Outstanding

80–100%

• Demonstrates exceptional ability to respond to and analyse artworks in relation to their cultural, social, political and historical contexts. • Shows outstanding ability in the use of appropriate visual arts terminology. • Demonstrates extremely well-developed writing and research skills in the study of art. • Shows exceptional insight and understanding and uses divergent approaches.

6 Meritorious

70–79%

• Demonstrates a well-developed ability to respond to and analyse artworks in relation to their cultural, social, political and historical contexts. • Shows excellent ability in the use of appropriate visual arts terminology. • Demonstrates highly developed writing and research skills in the study of art. • Shows excellent insight and understanding.

5 Substantial

60–69%

• Demonstrates substantial ability to respond to and analyse artworks in relation to their cultural, social, political and historical contexts. • Shows substantial competence in the use of appropriate visual arts terminology. • Demonstrates well-developed writing and research skills in the study of art. • Shows a good level of insight and understanding.

4 Moderate 50–59%

• Demonstrates moderate ability to respond to and analyse artworks in relation to their cultural, social, political and historical contexts. • Shows moderate competence in the use of appropriate visual arts terminology. • Demonstrates competent writing and research skills in the study of art • Shows a fair level of insight and understanding.

3 Adequate 40–49%

• Demonstrates adequate ability to respond to and analyse artworks in relation to their cultural, social, political and historical contexts. • Shows adequate competence in the use of appropriate visual arts terminology. • Demonstrates adequate writing and research skills in the study of art. • Shows an adequate level of insight and understanding.

2 Elementary

30–39%

• Demonstrates only basic ability to respond to and analyse artworks in relation to their cultural, social, political and historical contexts. • Shows little ability in the use of appropriate visual arts terminology. • Demonstrates basic writing and research skills in the study of art. • Shows an elementary level of insight and understanding.

1 Not achieved

0–29%

• Demonstrates little or no ability to respond to and analyse artworks in relation to their cultural, social, political and historical contexts. • Shows extremely limited ability in the use of appropriate visual arts terminology. • Demonstrates limited writing and research skills in the study of art. • Shows little or no understanding or insight.



QUESTION 1: THE EMERGING VOICE OF BLACK ART 1.1 Learners must choose any TWO images from FIGURES 1a, 1b and 1c and

write an essay in which they discuss the similarities and differences between these paintings. They must make as many observations as they can, regarding the following: • Style and techniques • Use of colour • Use of shape • Composition • The feelings and atmosphere these works convey IF LEARNERS DISCUSS A THIRD EXAMPLE NO MARKS WILL BE AWARDED FOR IT. MARKERS MUST MARK THE FIRST TWO EXAMPLES GIVEN. IN THE CASE OF ONLY ONE EXAMPLE DISCUSSED, THE LEARNER MAY ONLY BE AWARDED A MAXIMUM OF 6 OUT OF 10 MARKS. FIGURE 1a: Erich Heckel, Glassy Day, oil on canvas, 1913. Erich Heckel was one of the founders of the German Expressionist group Die

Brücke. In this work, a woman is shown naked against an awesome nature of snowy mountain peaks, reflected in a lake. Her arms are raised to display a body painted to resemble an African sculpture. She has a pot belly, pendulous breasts and partly visible face. This is an example of the many nudes in nature and bather subjects produced by members of the Brücke group. The woman is denied recognisable features and she functions as both a literal and symbolic representation of the 'primitive' and 'woman as nature'. The work is expressionistic with violent brushwork. The thinly applied paint does not cover the entire surface of the canvas, creating the sense that it was done spontaneously and in haste. Heckel's paintings show a cubistic influence when travelling to Berlin. His work has a suggestion of Picasso's Les Demoiselles d'Avignon. The painting is expressive and consists of straight angular lines that form interlocking crystal-like shapes that seem to penetrate all the other elements. Even the clouds seem like solid cube-like shapes. The zigzag form of the landscape is balanced by the warm-coloured sculptural form of the woman and rocks in the foreground. The composition is dominated by translucent, blue brightness of the sky and water. The warmer coloured landscape and the brownish woman contrast with the cold blues and whites. The atmosphere is one of a frozen iciness due to the colours and shapes. It feels cold and alienated as the woman seems to be in a reflective mood. This work reminds us of Paul Cezanne- fragmented shapes. FIGURE 1b: Peter Clarke, Flute Music, oil on canvas, 1960.



Peter Clarke's work shows the hardships and suffering of the coloured

community in Cape Town. The Group Areas Act led to the relocation of many coloured communities to the Cape Flats in areas such as Atlantis, Ocean View, etc. These sandy areas were located far from their jobs and led to displaced communities. In this work a young boy (focal point), is the largest figure is playing a flute amidst a field of Arum lilies. The three white arum lilies in the foreground bring sharpness to the front and encircled him. In the background simple houses are painted of the disadvantaged community. Aerial perspective is created by the smaller figures Two figures, a dog, a wagon, and a piece of wood is shown in the background. Clarke gives dignity to the boy playing the flute – it is as if the music carries him away from the mundane hardship of his everyday life. There is a strong awareness of modern international styles in his works which is seen in the stylisation and simplification of his shapes. The angularity in the shapes shows an expressionistic influence. Everything is stripped down to basic shapes without much detail. The colour is subtle, mostly greens, blues and browns. His clothes form a contrast between the cool blue shirt and warm yellow shorts. There is a dreamlike atmosphere. Expressionism, hard outlines, etched shapes/stylized-simplified

FIGURE 1c: Gladys Mgudlandlu, Three Men in Blue, oil on canvas. Gladys Mgudlandlu, who died in 1979, has been described as the first African woman painter of note and she was the first to exhibit in Cape Town, if not on the entire continent. Mgudlandlu lived most of her life in semi-poverty, teaching by day, often painting at night by the light of a paraffin lamp in her tiny home in Nyanga. Mgudlandlu was largely self-taught and described herself as a 'dreamer-imaginist'. She created her own unique African expressionist style of painting using vivid colours with bold, rhythmic brush-strokes to depict landscapes, people, fauna and flora overlaid by the influence of Xhosa folklore. Three Men in Blue seems like a conventional modernist landscape, reminiscent of Maggie Laubser. Her saturated colour and expressive brushstroke describe the landscape and figures. Three men clothed in dark blue are standing with their backs to the viewer. They are distorted and child-like with exceptionally large hands. They are gazing into the distance. The landscape is an in bright warm yellow that contrasts with the blues of the figures. The clouds are painted in broad strokes to form a turbulent sky. The painting is about direct expressionism, distortion and the power of colour. There is a play between cobalt, ultramarine and raw sienna. Shadows are detached from the individuals, as though projected into the scene from other figures outside the frame. Expressionistic qualities, colour-simplification and distortion-naive.

(10)



1.2 Learners are to discuss the artworks of any TWO artists they have studied,

whose work tells them about their personal observations.

Their essay should include the following: • Names of artists • Titles of artworks • Inspirations and influences on these artists' work • Formal art elements used in the artworks • Themes and meaning

IF THE LEARNER ONLY DISCUSSES ONE ARTIST THE MAXIMUM WILL BE 6 OUT OF 10.

(10) [20]

QUESTION 2: SEARCH FOR AN AFRICAN IDENTITY IN SOUTH AFRICAN ART

2.1 The Dogon artefacts in FIGURES 2a and 2c were used as a source of inspiration for Alexis Preller and Deborah Bell.

Learners must write a paragraph on these TWO works (FIGURES 2b and 2d), in which they consider the following: • Influences on and use of Dogon imagery • Composition • Style • Interpretation or message • How the use of the Dogon images helped to create an African identity in

the works of Preller and Bell

CROSS REFERENCE OF ARTWORKS MUST BE EVIDENT IN THE LEARNERS ANSWER IF THE LEARNER ONLY DISCUSSES ONE EXAMPLE THE MAXIMUM WILL BE 5 OUT OF 8.

FIGURE 2a: Dogon Seated Couple.

This Dogon sculpture is from Mali. It depicts two seated figures carved out of wood. They have sharply angled legs, and their arms are bent at the elbows and wrists to create a step like form. The breasts are placed high on the female torso, and continue the mass of the shoulders. This stylisation of the human body can be seen in many Dogon sculptures.

The almost featureless faces conform to the simplification of forms that characterizes these sculptures. This piece probably represents a protective spirit (dege) or a nommo ancestor and would have been had ritualistic significance.

FIGURE 2b: Alexis Preller, Adam and Eve.

South African artist Alexis Preller made use of references from a number of different cultures and art movements in his artworks. He often merged aspects and imagery from the 'real' world, with that of a more personal internal, psychological one. His own life experiences, including his travels to many exotic countries as well as his birth place of Pretoria are used as inspiration. Surrealistic type imagery abounds in his work.



In Adam and Eve, Preller depicts a Dogon carving of a man and wife, as

seen from the front and the back. It was unusual, for Preller to make faithful representations of actual objects at this stage of his career, but here he has adopted these figures as 'stand-ins for the human protagonists in a Judeo-Christian cultural myth'.

Influenced by the Dogon sculpture Seated Couple, which was carved according to the basic conventions of the Dogon culture, Preller transformed the image into a two-dimensional representation on canvas.

The seated couple are the focal point of the composition, yet their identity is obscured. They look like Dogon figures, but placed into Preller's abstract landscape along with elements from other African artefacts, they take on a regal status. This is similar to that of Egyptian art – the male figure being darker than the female one.

Adam and Eve has been meticulously painted with subtle colouring. The forms are clear and the space has a luminous quality to it. Around the edges of the format he has placed a decorative border. Both African and Renaissance influences are evident.

There are no shadows or indication of the source of the light, but the main elements of the composition – excepting the symbolic 'Tree of Life' are surrounded by a shadowy silhouette, a device that had appeared in previous Preller paintings.

FIGURE 2c: Dogon Door (relief) – The decorative door has been carved from wood. The frame around the figures has geometric shapes carved into the wood. It consists of stylised figures which reach to the skies and could indicate that they are praying to the gods.

FIGURE 2d: Deborah Bell, Greasing Palms – Salutations, etching, drypoint and chine colle, 1997.

Deborah Bell is a South African artist who is influenced by museum objects from ancient civilizations. Her work incorporates multi-layered references to past and present worlds.

Greasing Palms – Salutations, is a vertical composition. The strong focal is that of two large hands, indicating that two people are shaking hands – either in greeting or as the title implies shaking on a 'deal' made which would benefit both parties. There is a use of expressive drawing in the form of drypoint etching.

The ominous element is the AK47 in the centre of the format with the Dogon inspired set of three figures at the very top. These standing figures have their hands up as if in surrender. Bell has drawn these figures in the same expressive roughly-hewn style seen in the carved Dogon door.

Smaller images – not too clearly seen have been included near to these standing figures. A rough line drawing of kneeling, begging figures are shown at the feet of the Dogon figures. They look as if they have almost been erased or obscured by the white surface.



The images on the left and right of the standing Dogon figures show a man on

a bicycle, a car and people under an umbrella – so called everyday activities

(8) 2.2 Learners must write an essay on any TWO artworks they have studied that

show strong influences of African and/or international art. The following should be considered: • Name(s) of artist(s) and title(s) of work(s) • African/International influences • Formal elements of art • Composition, style and technique • Subject matter and message conveyed IF THE LEARNER ONLY DISCUSSES ONE ARTWORK THE MAXIMUM WILL BE 7OUT OF 12.

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QUESTION 3: ART AND POLITICS: RESISTANCE AND PROTEST ART 3.1 Learners must discuss how these TWO works (FIGURES 3a and 3b) depict

the 'emotional mess' by referring to the following: • Use of specific images • Colour and texture • Composition and space • Atmosphere of each work • Possible messages/interpretations of each work FIGURE 3a: Willie Bester, Forced Removal, mixed media, date unknown. This mixed media rectangular artwork represents a South African community being bulldozed down. The Bulldozer is seen as a metaphor for the injustice of a political system, forcing people from their homes. The people are shown horrified by the act of destruction. Compositionally the artwork is illustrative of a town with a green mountain view in the background. The building on the right is seen intact and the building on the left is being demolished by the bulldozer. Above the bulldozer popular brand names are visible namely Pepsi and BP. There is also the indication of a supermarket 'Simla'. There are feint representations of people. Two figures are shown behind the bulldozer and a single man wearing blue pants is seen on the far right of the composition. They seem to be painted onto the walls. The wording 'made in England' is imprinted on the lower left hand side of the artwork, however it is written upside down. We know that this artwork represents a South African community and not an English one. The question is what was made in England?



The artwork has vertical, diagonal and horizontal lines which are seen in the

buildings and roofs. The only curved line is seen in the mountain. The use of bright colours is seen in both the building and the bulldozer. The bulldozer (the focal point) almost blends into the colouring of the buildings. The dominant colour is yellow, blue and red. Yellow is symbolic of happiness but this scene is not one of happiness. The buildings are a mixture of both rectangular and square like buildings. There is shallow space and the viewer feels that they are right in front of the composition and there is a sense of danger. Chaotic and sense of insecurity. Frustration and contempt with the government as they bulldoze their homes to the ground. Drawing the attention to the plight of the common people.

FIGURE 3b: Eric Ndlovu, Children Trapped, oil on cloth, 1985.

This oil painting represents children fleeing from a fire or explosion. Two children, a baby and a pig/dog/goat are seen running down a road towards the viewer. The cars on the left hand side of the road are abandoned and have been destroyed and in bad shape. The sign on the building on the left indicates that it was once a bank. The telephone and electricity cables have also been damaged. There is a single shoe lying in the road and a 'no parking' sign is seen on its side. There is indication of abandoned baskets and suitcases, broken glass, old bins, a single bicycle, and pieces of paper (or it could be money).

A rectangular composition. Diagonal lines are dominant in this composition. The diagonal lines create a sense of space and perspective as they recede. The diagonal lines of the road converge and meet at the focal point- a white banner which is stretched across the road and an orange/yellow blaze of fire is visible before the road continues. The colouring in the rest of the painting is comprised of earthly tones, greys and whites. The painting is realistic and no impasto (thickly applied paint) is visible.

Realistic portrayal and imaginative artwork that gives us a nightmarish quality. A sense of urgency, chaos and fear is prevalent in this artwork.

IF THE LEARNER ONLY DISCUSSES ONE ARTWORK THE MAXIMUM WILL BE 6 OUT OF 10.

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3.2 Learners must discuss the work of any TWO artists they have studied who

reflect on situations of turmoil and tension.

They must include the following in their answer: • Names of the artists • Titles of artworks • Issues addressed in the work • Style of the work • Use of formal art elements • Meaning and interpretation

IF THE LEARNER ONLY DISCUSSES ONE ARTIST THE MAXIMUM WILL BE 6 OUT OF 10.

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QUESTION 4: CRAFT AND APPLIED ART

4.1 Learners must write a paragraph on whether they either agree or disagree with the statement. They must refer to FIGURE 4a and any other pot reproduced in FIGURES 4b, 4c and 4d, considering the following: • Traditional versus contemporary

The first pot is a traditional clay pot made by Nesta Nala, which is used for traditional purposes while the pots of Charmaine Haines, Grayson Perry and Ardmore are more contemporary, decorative pots are made for aesthetic purposes. • Shape

The traditional clay pot Figure 4a has a basic rounded shape with a narrow opening similar to the pot in Figure 4b which is more elongated and taller. The pot from Ardmore Figure 4c has a wider opening; the pots in Figure 4d and Figure 4b have similar basic classical/amphoral shapes. • Decoration

FIGURE 4a is decorated with incised patterns or amasumpa (literally 'warts') which is an ancient form of decoration in which bumps of clay are created either by sticking them on the piece or embossing them from inside. Nesta selected the section of the pot to be decorated and then applied amasumpa which are attached with clay slip and smoothed into the surface with a pebble. Decoration is applied to the shoulder of the pot.

FIGURE 4b is decorated with simplified, stylised lines and forms of the human face. Some textured patterns are applied on the forms. Coloured stains and natural oxide washes are used to further exemplify the manipulative and expressive quality of the clay surface, including carving and textures, showing a strong sense of surface pattern.

FIGURE 4c: The pot is highly decorated with repetitive patterns and shapes. The face/portrait of Bonnie Ntshalintshali who was an exceptionally talented potter at Ardmore died in 1999 becomes the focal point. Since then, her story has inspired many other artists.

FIGURE 4d: The pot in Fig 4d was made by the British artist Grayson Perry – he mixes text and figurative illustration to convey the artist's personal and peculiar message. These images are applied in different layers and colours. • Methods and techniques

FIGURE 4a: She creates a utility item for collecting water or storing home-made beer. Contemporary craft artists as seen in 4b, 4c and 4d are more decorative and have either been painted or sculptural pieces have been added to the vessels. Nala's pot is hand-coiled and smoothed with a gourd shard or other smooth object. When the clay is leather-hard, it is burnished with river pebbles.



FIGURE 4b: Vessels are thrown and altered incorporating sculptural

elements and semi-relief. Coloured stains and natural oxide washes are used to further exemplify the manipulative and expressive quality of the clay surface, including carving and textures showing a strong sense of surface pattern. FIGURE 4c: This pot is a tribute to Bonnie Ntshalintshali who worked at the Ardmore art centre. Ardmore pieces are usually the result of combined efforts. Some works are hand-built and then painted, but many others are built up with decorations by artists from basic shapes thrown on the wheel by regular potters. After the work has been bisque fired, the painters choose pieces to paint. Eventually the works are glazed and fired by artists selected for these tasks. Red aids ribbons and a portrait of Bonnie have been painted on the pot. FIGURE 4d: The surface of his vase is richly textured from designs marked into the clay, followed by intricately complicated glazing and photo-transfer techniques. The shapes/images are stylized. • Response Learners must give their own personal response to these pots as a work of art or not. They must give valid reasons for their answers. This is an open ended question. LEARNERS MUST DISCUSS ONLY TWO ARTWORKS.

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4.2 Learners must discuss the importance of the work of any TWO South African

craft artists whose work they have studied. They must refer to the following: • The names of the craft artists • The materials and techniques used • The decoration and construction used • Any other relevant information related to each of the artists discussed IF THE LEARNERS IF THE LEARNER ONLY DISCUSSES ONE ARTISTTHE MAXIMUM WILL BE 7 OUT OF 12.

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QUESTION 5: ART AND POWER 5.1 The images of Mandela in FIGURES 5a, 5b, 5c and 5d stir up strong

emotions in the viewer. Learners must write a paragraph in which they discuss the following: • Their response to the larger than life drawing in FIGURE 5a The drawing is a super-realistic rendering with charcoal and conté. The portrait has a regal or majestic feel as Mandela's portrait is placed in front of a pitch black background. The use of chiaroscuro/use of light and dark and shallow use of space allows the viewer to focus/zoom in on his facial features. The artist has also drawn a part of his decorative shirt which has abstract star-like shapes on it. • Whether the memorial in FIGURES 5b, 5c and 5d should be treated

as a 'sacred shrine'. Give reasons for your answer. The sculpture is in memory of Mandela's life. It is not a place of worship as he is only an icon and not a god. When you walk through the structure it radiates like a burst of light, which is symbolic of the political uprising of many people and solidarity. The artist said the sculpture showed the irony of the apartheid government trying to stop the struggle, but it had the opposite effect as it helped to grow and galvanise the movement. • Interesting use and placement of the steel rods to create the image

of Mandela's face The non-conventional sculpture is comprised of 50 charcoal coloured steel columns. When approaching the sculpture from the front a portrait of Mandela is visible. It has vertical bars which represent his imprisonment. The bars are not placed in a single row. If the viewer were to move to the side of the sculpture as seen in Figure 5b there is no image but just slanted vertical jagged rods. These steel rods could also represent spears. The use of steel could also be representative of the South African mining.

• Importance/Significance of the site The artist said the sculpture showed the irony of the apartheid government trying to stop the struggle, but it had the opposite effect as it helped to grow and galvanise the movement. Zuma has encouraged generations to visit the site because those who do will be inspired. The site will become more important when Mandela dies as many people will pay their respects to him at this site. This site is the only tangible image of Mr Mandela as the majority of South Africans have never met him.



• Manner in which the viewer can interact with this sculpture

The memorial is a portrait of Mandela from the front. When you walk through the structure it radiates like a burst of light, which is symbolic of the political uprising of many people and solidarity. If the viewer approaches the sculpture from the side spear-like, shattered rods or bars are seen spaced far enough for the viewer to move between them. Some of the bars are closer than others which might create a feeling of claustrophobia, containment and capture when walking through and in between the rods. This same feeling was experienced by Mr Mandela when he was captured and jailed.

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5.2 Learners must write a short essay on ONE commemorative building,

memorial or artwork they have studied which they feel is representative of a worthy cause or individual. Their essay should include the following: • Name of their example, as well as the architect or artist who designed it • Whom or what this example is dedicated to • Types of material and techniques and decorations used in its design • Significance of the site of the building/structure • Purpose/Function of this example • Use of any decorative features on this example • How successfully this example pays tribute to the person/event it is

dedicated to • Learners' response to this example. They have to substantiate their answer.

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QUESTION 6: THE ROLE OF THE FORMAL AND INFORMAL ART CENTRES IN

THE TRAINING OF ARTISTS IN APARTHEID/POST-APARTHEID SOUTH AFRICA

6.1 After reading the information and referring to the visual sources

(FIGURES 6a, 6b and 6c), learners must discuss the following: • Possible reasons why printmaking became so prominent amongst black

artists at this time • Use of text in both works • Symbols and subject matter • Style • Space and perspective • Purpose/Message



• Possible reasons why printmaking became so popular amongst

black artists at the time:

o It is a more graphic form of art- visually effective for expressing a narrative.

o More than one print could be made- mass-produced. o It is a cheaper and convenient form of art for artists to reach out to a

wide audience simultaneously. o During this period artists focused their creativity on denouncing the

demise of apartheid portraying the anxious socio-political conditions in South-Africa.

• The introduction of text:

The reasons why Muafangejo introduced text in his work: o As an aesthetic strategy. o To contextualise his picture.

Text is used in the poster Figure 6b to convey a message and make a statement. The same size of lettering in uppercase is used throughout. • Style:

Both FIGURES 6a and 6b are done in a flat stylised manner with simplified shapes and forms. The lettering is also flat and simple. • MEDU ART ENSEMBLE

o In 1977, a group of 'cultural workers 'from the townships fled into exile in Gaborone, Botswana; In Gaborone they established the cultural organization Medu Art Ensemble (Medu is a SePedi word meaning roots). Medu ran units specializing in music, theatre, graphics and visual arts, photography; and 'research and production' (writing).

o Over the eight years of its existence, Medu varied from 15 to as many as 50 members. Most were South Africa exiles.

• Subject matter:

In FIGURE 6a Muafangejo depicts a scene with people clustered together shown exposed from the chest up, except for the priest on the lower far left hand side of the picture. The priest dressed in his white robe stands out more than all the rest of the crowd. The title of the work didactically reveals that this gathering is actually a prayer meeting. The title of the work is inserted into the circular format in the middle of the crowd. Three graphic depictions of the crucifixes are visible.

In FIGURE 6b The poster is a depiction of a female, who is the focal point. Her left shackled fist is raised in the air. The image is printed on white accentuating the wording. The white horizontal lettering is placed in the lower part of the composition. The colouring of the women is a subtle variation of light greens which eventually become black.



• Space and perspective:

FIGURE 6a: To create an illusion of space Muafangejo overlapped the figures. The work still appears flat and graphic. Intense contrast has been achieved by rendering the people in the crowd in alternating fashion between dark and light tones or black and white. There is interplay between the negative and positive spaces. FIGURE 6b: The figure of the female is overlapped by the lettering. The background is done in one flat colour of a variation of greens and black. • Purpose/message: FIGURE 6a: To document and record his life-narrative. FIGURE 6b: To convey information, as well as a socio-political message. IF THE LEARNER ONLY DISCUSSES ONE EXAMPLE THE MAXIMUM WILL BE 5 OUT OF 8.

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6.2 Learners must write an essay in which they discuss the significance of any

adult South African art centre they have studied. They must refer to the following guidelines: • Funding and function of the art centre • Types of artworks created • The work of ONE artist who studied at this centre • Subject matter, media and techniques used by the artist learners have

selected FOR MAXIMUM MARKS THE LEARNER MUST DISCUSS THE CENTRE AND ONE ARTIST, IF ONLY ONE DISCUSSED THE MAXIMUM WILL BE 7 OUT OF 12.

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QUESTION 7: MULTIMEDIA – ALTERNATIVE CONTEMPORARY AND POPULAR

ART FORMS IN SOUTH AFRICA

7.1 With reference to the statement and the visual sources (FIGURES 7a–7c),

learners must discuss the following in an essay: • How would learners define an installation? An installation is an artwork that uses space as an integral part of the work. The viewer can usually 'enter' the piece and become a part of it. It allows for a variety of media to be used, both two-dimensional/three-dimensional and traditional/contemporary e.g. digital, etc. It can also include smells, sounds, etc. Cai Guo-Qiang conceived Head On in Germany in 2005, for his first solo show in Germany at the Deutsche Guggenheim. To compliment Head On, Cai Guo-Qiang also created large gunpowder drawing entitled Vortex, as well as a video of an explosion entitled Illusion II which shows an entire house being blown up with colourful fireworks in the centre of Berlin. Cai Guo-Qiang explained that all three pieces related to Berlin, but at the same time, applied more universally to the human condition. His art exemplifies the beauty of destruction, heroism, and human blindness; these elements are universal. • What, do learners think, would be the effect of FIGURE 7a on the

viewer? Head On is an installation consisting of ninety-nine life-sized replicas of wolves and a Plexiglas wall. It took Cai half a year to make the wolves in his hometown, Quanzhou, China where a local workshop was commissioned to make the lifelike wolves. They are actually clothed in painted sheepskins and stuffed with hay. Their realistic faces are made of plastic with marbles to create lifelike eyes. Their ears are laid back, their mouths are open with bared teeth and tongues which hang out as they run towards something with great deliberation only to crash into the glass wall and consequently fall to the ground. The wolves are packed closely together to create the illusion of an arch of movement as some are suspended above the heads of the viewers. This beautiful arch of wolves is contrasted with those who have crashed into the wall and lie on the ground with twisted and broken bodies. Learners can comment on the life-like realism of the wolves, the size of the piece, etc. Also the overwhelming sense of movement and that as an installation the work can be viewed from all sides, even from beneath some wolves.



• It has been remarked that FIGURE 7a is both tragic and beautiful. Do

learners agree with this statement? They must give reasons for their answer.

There is a profound beauty in the arch of wolves. Cai Guo-Qiang's intention for the glass wall was to increase the energy and movement of the forward-pressing pack of wolves, to accelerate their force and make it more intense at the moment of impact, to heighten the energy and beauty of the wolves. It becomes a tragedy when the running and leaping wolves crash into the wall. There is a clean arc of wolves with elongated bodies; they stretch to reach the approaching glass panel. It is juxtaposed with the disorderly wolf bodies that smash into the wall. The wolves that lie on the floor have been sculptured with twisted heads and limbs. Some are broken and placed in unnatural positions and eventually pile up one on top of the other. There is an abrupt juxtaposition of the streamlined running wolves with the broken, crumpled, 'lifeless' bodies of the other wolves on the floor. • According to Cai Guo-Qiang, FIGURE 7a symbolises the human

condition. In the light of this statement, learners must interpret the message of this work. They must take the pack of wolves and the glass wall into consideration.

Head On visually expresses the universal human tragedy to press forward in complete blindness. This has occurred throughout history. Cai Guo-Qiang uses the wolves to represent the human world. A lone wolf is a symbol of bravery and courage, while a pack of wolves represents a unity. Humans are easily blinded by collective actions and ideologies. They follow the pack like the wolves only to crash 'head on'. This is a recurrent theme in history where people blindly support political systems and ideologies, without really considering the consequences of their actions. Humanity is easily blinded by a kind of collective mentality and action, and is destined to repeat such error to an almost unbelievable degree. (Since the work was commissioned by a German museum in Berlin, Cai Guo-Qiang wanted to deal with the many issues that surround the city. It became the capital of the German Reich in 1871. In 1933, Adolf Hitler took over and that was the end of German democracy. The Berlin Wall was constructed in 1961 and separated East and West Germany for more than a quarter of a century. The wolves in this piece may represent Hitler and his soldiers. Hitler called himself 'Herr Wolf' and referred to his 'SS' men as his 'pack of wolves'. The glass wall that the wolves collide into could be seen to represent The Berlin Wall.) The work has since been exhibited internationally and the message is a universal one. Cai Guo-Qiang explained that the plate glass wall was intentional as it is a transparent boundary, harder to see and harder to escape from.



• Learners must say how the artwork in FIGURE 7c is the result of

both planning and chance.

The invention of gunpowder is attributed to the Chinese. The use of gunpowder in fireworks is a part of traditional Chinese culture and Cai grew up in a setting where explosions were common. This ancient Chinese invention is used by Cai to create contemporary works that remind one of historical Chinese ink drawings. The gunpowder artwork Vortex was created in the atrium of the Deutsche Bank. Handmade paper was spread out on the floor, and the motifs were formed by a dozen varieties of gunpowder, topped with stencils with the images of wolves and pressure-forming cardboards and rocks. Various grades of gunpowder were used.

The artist lit a fuse, and the drawing was ignited in a matter of seconds, producing an enormous white cloud of smoke. When the cardboard is removed, the new work reveals itself as a result of both planning and chance. The drawing shows the burnt and smoky charcoal-stained traces left behind after the explosion. The creation of these works is usually done in public. Cai has channelled his Chinese heritage and memories in the gunpowder drawings. He says that he began working with gunpowder to foster spontaneity and confront the suppressive, controlled artistic tradition and social climate in China. • The overwhelming sense of movement in both FIGURE 7a and

FIGURE 7c

Along the length of the wall, the wolves gain momentum and rise in a tight pack into an arc of simulated movement. The wolves are packed closely together, creating the illusion of one long, moving 'stream' of wolves. The 'stream', is suspended above the heads of the viewers, moving towards, and finally crashing forcefully, into a Plexiglas wall at the opposite end of the room. In Vortex wolves are chasing one another in a circular motion. • The learners' opinion on his innovative use of media and techniques

Learners must give their own substantiated opinion.

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7.2 Multimedia art goes beyond the boundaries of what is normally seen as 'art'. Learners must critically analyse at least TWO multimedia artworks that they have studied, to explain how they broaden the idea of art. They must include the following: • Names of artists and titles of artworks • Description and analysis of artworks • Messages and/or meanings of artworks • Ways that these artworks enrich and broaden the viewer's idea of art IF THE LEARNER ONLY DISCUSSES ONE ARTWORK THE MAXIMUM WILL BE 6 OUT OF 10.

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QUESTION 8: ART AND THE SPIRITUAL REALM – ISSUES IN ART AROUND

BELIEF SYSTEMS AND THE SACRED

Learners must write an essay on FIGURES 8a, 8b and 8c by discussing the

following: • The possible interpretations of using ash in the sculptures of Zhang

(FIGURES 8a–8c) Zhang Huan is an internationally acclaimed contemporary artist who has resided in New York for many years. Since returning to China, he has embraced the Buddhist faith. Zhang 'discovered' the beauty of ash while burning incense at a Buddhist temple in Shanghai. He has used ash as a medium in a body of new work that includes paintings and drawings. The ash from burning incense is a fragrant and physical residue of an intense spiritual act. Zhang has the ash collected weekly from some twenty temples around Shanghai. The large quantities of incense ash are sorted into patchwork palettes of different tones and grades: the finer dust is sifted from the coarser flakes, the lighter tones from the darker ones. In his sculptural works, the ash is mixed with water and glue, creating a malleable, cement-like substance which is finished with a liberal dusting of dry ash. In their encrusted surfaces, Zhang Huan reads the personal histories – the hopes, blessings and remembrances – of the millions of Chinese for whom incense burning is a daily ritual. Ash is refers to death and cremation in many religions. The Roman Catholics have Ash Wednesday. At Christian funerals they talk about 'ashes to ashes, dust to dust' – that what remains behind. • The spacing/positioning of the figures in relation to each other Ash Jesus and Ash Buddha are installed face-to-face with one another. In a kind of religious showdown, the figures were installed facing each other; Jesus with hands outstretched, and Buddha sitting cross-legged, the perfect embodiment of tranquillity. They seem to converse with one another face to face over the open space in between them. • The postures of the two figures and the mood they convey The Jesus figure consists of a head, arms and torso. It reminds one of Leonardo da Vinci's Jesus in his Last Supper. Jesus is humble, open and all forgiving with his head tilting to the side in a caring, nurturing way. Buddha is raising his hand as if to give a blessing. Both figures are larger than life. Huan created these figures of two of the most prominent religious figures in the world standing nearly three meters high. There is a religious and contemplative mood. The ash gives a very textural finish to the works.



• Jesus and Buddha are some of the most recognisable religious

images of the West and the East respectively. What ideas/meanings, do the learners think, Zhang wants to convey by placing these two figures facing one another?

The work asks for religious acceptance and tolerance. In this work Eastern and Western cultures are brought together, highlighting the likenesses and differences between Eastern and Western religions and cultures

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8.2 Learners must discuss the work of any TWO artists they have studied in

which the artist(s) visualised spirituality and/or religious issues. Their essay must include the following: • Names of the artists • Titles of artworks • Use of formal elements of art • Style and technique • Communication of religious and/or spiritual concerns by discussing the

possible meanings and interpretations of these works IF THE LEARNER ONLY DISCUSSES ONE ARTIST THE MAXIMUM WILL BE 9 OUT OF 14.

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QUESTION 9: GENDER ISSUES 9.1 By referring to TWO of the visual sources in FIGURES 9a, 9b or 9c,

learners must discuss the statement. The following should be considered: • Use of title • Composition • Symbolism • Style FIGURE 9a: Diego Velázquez, Venus at Her Mirror (Rokeby Venus), oil on canvas, 1651. This is the only surviving example of a female nude by Velázquez. The subject was rare in Spain because it met with the disapproval of the Church. Venus, the goddess of Love, was the most beautiful of the goddesses, and was regarded as a personification of female beauty. In the painting, Venus is shown with her son Cupid, who holds up a mirror for her to look both at herself and at the viewer. The Rokeby Venus is first recorded in June 1651 in the collection of the Marqués del Carpio, son of the First Minister of Spain. Velázquez Venus is presented in a sensually erotic pose, and yet she seems innocent and is so completely merged with the overall image that she cannot be touched. Venus is positioned in the foreground on grey-blue and white drapery. Cupid is seen without his bow and arrow. He is placed to the left of the painting in front of a red curtain and holds a mirror in his hands. His hands have been bound by fragile pink fetters/restraints. He is destined to do nothing and is completely immersed in contemplation/observation of the beautiful goddess. The mirror image, symbolic of vanity defies all the laws of optics – it does not reveal the other side of Venus, but only allows a vague and blurred reflection of her facial qualities or persona. The reflection of her portrait seems to be of an older woman. The underlying meaning of the picture is not intended to be a specific female nude, nor even as a portrayal of Venus, but as an image of self-absorbed beauty. The goddess of love appears here as a mythical being with neither aim nor purpose, needing no scene of action, but blossoming before our very eyes as an image of beauty itself. Velázquez paints in oil paint in different layers. His style is realistic but if you are close up it has an expressive quality. FIGURE 9b: Marlene Dumas, Snow White With Broken Arm, oil on canvas, 1986. Snow White With Broken Arm is a skewed version of the fairy tale. The image tends to shock the viewer as 'snow white' lies naked in an open coffin. The 'coffin', looks more like a dissecting table. The format is rectangular and The composition is horizontal which is divided in to three sections.



The reclining female body takes up the bulk of the picture space and it is

shown highlighted with strong use of chiaroscuro, giving it a sense of 3D. The top section of the picture shows a row of seven distorted faces. These are quite obviously the seven dwarfs. In the lower section of the painting the 'broken' arm clutches a camera, which emits a series of photographs. These seem to be a reference to her continued pain. The use of paint is masterful with subtle marbled bluish pink tones, which contrast dramatically with the Payne's grey. The work is a profound comment on a sick society.

FIGURE 9c: Kehinde Wiley, Sleep, oil on canvas, 2008. (132 x 300 inches)

Kehinde Wiley fuses the modern with the classical in a revolutionary and truly beautiful way. He paints intricate works of contemporary African-Americans in heroic poses inspired by historic techniques. His oversized paintings are rococo-influenced and his use of perspective is unique. The subjects of Wiley's art, mostly comprised of youths from New York's Harlem, are elevated to greatness in techniques utilised to immortalise Napoleon, popes and kings alike.

Wiley's paintings often blur the boundaries between traditional and contemporary modes of representation. His works are rendered in a realistic mode–while making references to specific Old Master paintings. Wiley creates a fusion of period styles, ranging from French Rococo, Islamic architecture and West African textile design to urban hip hop. Wiley's slightly larger than life figures are depicted in a heroic manner, as their poses suggest power and spiritual awakening. Wiley's portrayal of masculinity is filtered through these poses of power and spirituality.

The artist describes his approach as 'interrogating the notion of the master painter, at once critical and complicit.' Wiley's figurative paintings 'quote historical sources and position young black men within that field of power.' In this manner, Wiley's paintings fuse history and style in a unique and contemporary manner.

This rectangular work is of an idealised form of a semi-nude male painted on a larger than life canvas and is a breathtaking 11 feet tall and 25 feet long. It has been painted in a super-realistic technique using smooth brushstrokes and the use of chiaroscuro is prominent on the body. The seductive brown coloured figure is placed in the middle ground. The body lies quietly on white sheets with pale yellow flowers and hints of blue in the background and below his hand and feet. His body is seen from the front unlike Figure 9a. His entire body seems to be floating and his feet are seen resting on a brown book or pedestal. The figure has been painted in a diagonal line which is usually representational of imbalance. His elegant face is seen as being despondent/pitiful/forlorn/hopeless but innocently seductive or hidden. This pose of a sleeping muscular man has been borrowed from 18th century paintings. The artwork makes a statement on identity, and although Kehinde exclusively paints men, they seem more feminine. His figures appear more saintly and heroic than the 'dangerous and hyper-sexual' stereotypes rampant in our popular culture.

IF THE LEARNER ONLY DISCUSSES ONE VISUAL SOURCE THE MAXIMUM WILL BE 5 OUT OF 8.

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9.2 Learners must write an essay in which they discuss the artworks of any TWO

artists who have used gender as a theme. IF THE LEARNER ONLY DISCUSSES ONE ARTISTTHE MAXIMUM WILL BE 7 OUT OF 12.

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QUESTION 10: CONTEMPORARY SOUTH AFRICAN (NATIONAL) AND

INTERNATIONAL ARCHITECTURE

10.1 Using the images provided in FIGURES 10a and 10b, learners must discuss

the following: • Advantages of this type of architectural design • Architectural influences and characteristics • Sustainability Due to increase in population and lack of land for housing it has become necessary to create homes that can float. These homes are being built on lake fronts, riverbanks and areas below sea level. These homes will rise and fall with the tides. The homes are at great risk of hurricanes or floods. Wind and wave energy is used to heat the home and filter seawater for drinking. During a flood situation the entire building is designed to rise up in its dock [hollow concrete foundation] and float remaining buoyed by the flood waters. This foundation acts like the hull of a ship/boat. The garden would be much lower than the house allowing occupants to enjoy their garden and only rising to avoid floods when necessary. This type of building will offer homeowners protection due to global warming where more and more land is falling below sea level. The house rests on the ground on fixed foundations. During a flood situation the entire building is designed to rise up in its dock and float. This is possible due to a wet dock/space. When flooding occurs the dock fills with water and the house rises accordingly. To prevent the house from floating away four permanent vertical posts/pillars are arranged close to the sidewalls. The elevated building would be set high enough to avoid an extreme flood. Large windows are used to enhance the panoramic view of the waterfront. The riverside garden is both pretty and functional. Wind and wave energy is used to heat the home and filter seawater for drinking. The homes like the ones being developed help buyers stay away from the potential risk of their homes sinking into the ground. During an extreme flood the elevated building would be almost a storey away from the garden. The gardens act as a natural warning system, with terraces set at different levels. If and when flooding these terraces would flood incrementally thus giving the occupants enough warning to assess the situation and evacuate if necessary.


Copyright reserved

The house would have to be highly-insulated and use energy saving devices,

large windows, pitched roofs and a chimney to complement the irregular roof-line. Some buildings use wind and wave energy to heat the home and filter seawater for drinking. The building shows a distinct influence of modern architecture, i.e. Le Corbusier, but with a contemporary twist. The steel pilotis and ribbon windows are reminiscent of Villa Savoye. The lack of applied ornamentation is also an influence of the International Style.

(6)

10.2 Learners must write an essay in which they discuss any TWO examples of

contemporary architecture they have studied which make use of innovative ideas. The following should be included in their essay: • Names of buildings and architects • Function and site • Style and use of materials and building techniques • Socio-economic and environmental issues • Valid reasons why they find these buildings inspiring IF THE LEARNER ONLY DISCUSSES ONE ARTWORK/EXAMPLE THE MAXIMUM WILL BE 8 OUT OF 14.

(14) [20]

TOTAL: 100


MARKS: 50 TIME: SECTION A must be done during the third term. SECTION B must be done

during the fourth term under controlled conditions ONLY at school, 18 hours.

This question paper consists of 1 6 pages and a 2-page addendum. This question paper must be printed in full colour.

VISUAL ARTS P2

PRACTICAL

22 JULY–25 OCTOBER 2013


GRADE 12



INSTRUCTIONS AND INFORMATION 1. 2. 3. 4.

This question paper consists of TWO sections: SECTION A: SOURCEBOOK/WORKBOOK/JOURNAL SECTION B: THE ARTWORK Answer ALL the questions in SECTION A and SECTION B. Your teacher must introduce and facilitate this examination. In this examination you will be expected to demonstrate the following skills: • Independently and creatively apply advanced approaches and generate

ideas in response to a project brief. • Demonstrate an advanced degree of technical skill in the use of a range of materials and techniques. • Solve visual and conceptual problems in the creation of imaginative and innovative artworks, using a personal, expressive visual language. • Effectively manage time and the working process and present own work in a professional manner that enhances the expressive and conceptual impact of the work.

5. 6.

Your final art practical examination for Grade 12 represents the culmination of your art studies this year. Your creativity, originality and skill will be displayed. May you enjoy creating this artwork and may it be fresh and original, and communicate personal experience. Read the ADDENDUM with information about your working process at the end of this question paper.



SECTION A: SOURCEBOOK/WORKBOOK/JOURNAL The sourcebook forms an important part of this examination. There are no restrictions on size, and it can be presented in any form. You may work on it both at school and at home. It provides insight into the way you form ideas, how many alternatives you have investigated, as well as other processes leading to the final work. Your sourcebook should clearly communicate your thought processes. You MUST clearly mark this sourcebook as examination work and present it with your final artwork.

Direct copying from magazines, the Internet, et cetera is NOT allowed. Direct copying of an image that is not your own, will be penalised. This is a form of plagiarism and is unacceptable. The utmost importance is placed on the process of transformation of the source material. If you need to use appropriate borrowed images, you must combine them with your own original images to develop your own interpretation.

In your sourcebook you should VISUALLY tell the 'story' of how your final artwork was CONCEIVED, DEVELOPED and PRODUCED. This should be done through drawing, writing, experimenting, pasting, et cetera . This journey through time should reflect your INDIVIDUALITY and CREATIVITY as an art learner. The following is merely a guideline of things you could include in your sourcebook :

Paste this examination brief into the front of your examination sourcebook. Proposal/rationale, which could include mind maps, brainstorming, et cetera. Investigation, experimentation and research of approaches and/or ideas, which could include source material such as sketches, drawings, photos, images, collected poems, lyrics and research on artists that have inspired you. All material must relate to the development of your work, substantiating your decisions. Personalise and create original preparatory/compositional sketches and drawings based on your sources. Process drawings If your work is more process-orientated, you must include evidence of the creative process by documentation through original photographs, experiments and/or drawings and accompanying texts.



SECTION B: THE ARTWORK The examination work must be done in the presence of the Visual Arts teacher within the confines of the art room using a minimum of 6 hours and a maximum of 18 hours. GENERAL GUIDELINES

1. 2. 3. 4. 5. 6. 7. 8.

You are required to produce ONE artwork in the practical discipline that you have chosen this year . You may present your work as a single piece or possibly in the form of a diptych, triptych or a series of works that read as one artwork. You may NOT take the artwork out of the examination venue . This is regarded as an examination irregularity. You may discuss the question paper with your Visual Arts teacher prior to the start of the examination, but no discussion of work may occur during the examination period. There are no restrictions on size, but the artwork must be manageable and durable in terms of transportation to the examination centre, if required by the province. Remember the importance of the elements and principles of art such as line, shape, colour, texture, space, rhythm, balance, harmony, proportion and composition. There are no specific prescriptions regarding the style of the work. It can be naturalistic, expressionistic, decorative, et cetera. You may incorporate other media to create mixed media work in any of the practical disciplines.



ASSESSMENT CRITERIA MARKERS/EXAMINERS COULD USE THE FOLLOWING CRITERIA AS A GUIDE WHEN MARKING:

SECTION A: SOURCEBOOK/WORKBOOK/JOURNAL CRITERIA Concept development 10 Research, investigation, experimentation, et cetera 15 Process drawings 15 Presentation and overall view 10 TOTAL 50

SECTION B: THE ARTWORK CRITERIA Choice and use of materials/techniques 10 Use of formal art elements 10 Overall impression of work – originality, creativity, innovation 10 Interpretation and practical implementation of research 10 Completion and presentation of artwork 10 TOTAL 50

FINAL MARK: SECTION A (50) + SECTION B (50) = 100 (reworked to 50) 50



ASSESSMENT CRITERIA FOR PRACTICAL WORK (FET)

Outstanding 90–100 Exceptional ability; richness; insightful; fluent; high skill; observation and knowledge powerfully expressed; supported by an original or unusual selection of relevant visual references; outstanding and original presentation .

Excellent 80–89 Striking impact; most of the above; detailed; well organised and coherent; polished; skill evident; supported by original/unusual/relevant visual references; presentation original and considered; som e minor flaws evident .

Very good 70–79 Well organised, as above, but lacks the 'glow and sparkle'; good level of competence and selection of content; supported by a good selection of relevant visual references; obvious care and effort taken with original presentation; some obvious inconsistencies/flaws evident .

Good 60–69 Interesting visual presentation; clear intent; convincing; simple direct use of medium; displays understanding but tends towards the pedestrian and stereotyped response at times; adequate selection of relevant visual references; reasonable effort taken with presentation; distracting/obvious inconsistencies .

Average 50–59 Adequate; feels mechanical; derivative or copied; little insight; unimaginative; some visual references not always clearly identified; fair presentation; many distracting inconsistencies .

Below average 40–49 Enough material/works to pass; not logically constructed; some flashes of insight; limited selection of information; poor technical skills might be a contributing factor; little use of visual information; clumsy or careless presentation; in need of support /motivation to pass .

Weak 30–39 Visually uninteresting; uncreative; limited/poor technical skill used; little attempt to present information in an acceptable manner; little or no visual information/reference; general lack of commitment; in need of suppor t/motivation to pass .

Very weak Fail

20–29 Very little information; jumbled; not easy to view; little or irrelevant work/visual information ; no effort made to present work in an acceptable manner; general lack of commitment/cooperation.

Unacceptable Fail

0–19 Incoherent; irrelevant, very little or no work ; lack of even limited skills applied; no commitment/cooperation.



THEME This theme is meant to inspire and challenge you. It is open to a wide range of interpretations within your specific discipline. Your interpretation should be a culmination of the creative process you embarked on in Grade 10.

TIME

Salvador Dali, The Persistence of M emory , oil on canvas, 1931. Time is a measuring system used to sequence events from the past through the present into the future. For centuries, periodic events and periodic motion have served as units of time. Examples include the motion of the sun across the sky, the phases of the moon, the swinging of a pendulum, hourglasses, candles in a church and the beating of a heart. Two measuring instruments for time is the calendar, a mathematical abstraction for calculating large periods of time, and the clock (watch), a concrete mechanism that measures the passage of time. Another form of measurement consists of placing historical events in chronological order. Time has also been an important subject in religion, mythology and science. The concept of time is linear with a beginning (creation) and end (the second coming of Christ). Many other religions such as Hinduism and Buddhism see time as cyclical – a cylindrical wheel. Life goes through cycles of creation, destruction and rebirth.



Time questions the 'when'. To everything – turn, turn, turn There is a season – turn, turn, turn And a time for every purpose under heaven A time to be born, a time to die A time to plant, a time to reap A time to kill, a time to heal A time to laugh, a time to weep To everything – turn, turn, turn There is a season – turn, turn, turn And a time for every purpose under heaven A time to build up, a time to break down A time to dance, a time to mourn A time to cast away stones A time to gather stones together To everything – turn, turn, turn There is a season – turn, turn, turn And a time for every purpose under heaven A time of war, a time of peace A time of love, a time of hate A time you may embrace A time to refrain from embracing To everything – turn, turn, turn There is a season – turn, turn, turn And a time for every purpose under heaven A time to gain, a time to lose A time to rend, a time to sew A time to love, a time to hate A time of peace, I swear it's not too late! Lyrics of the song Turn, Turn, Turn. Adaption of words from the book of Ecclesiastes 3:1–8. Music by Pete Seger, 1966.

Reproduction from The Time Machine

by HG Wells. Time travel The term 'time travel' was popularised by HG Wells in his book, The Time Machine, in 1895. In this book, a time machine was used to travel backwards and forwards in time. 'Time travel' is a concept that means to be able to move forward and backward in time. This has become a popular theme in literature and films. One may ask if 'time travel' is theoretically possible.

Have you e ver wonder ed what it would be like to wake up in a different era? Why be bound by Newtonian laws and linear perceptions? Embrace quantum physics and take a spin through time.



Father Time is the anthropomorphised depiction of time that is usually depicted as an elderly bearded man carrying a scythe and an hourglass.

(Anthropomorphism is when a human form, characteristics or behaviour is given to inanimate objects or natural phenomena.)

Simon Vouet, Time Vanquished by Love, Hope and Beauty , oil on canvas, 1627.

Hans Holbein, The Ambassadors ,

oil on oak, 1533. The table behind the ambassadors is laden with instruments such as sundials and quadrants, which were used to tell the time. The distorted skull between the figures is a reminder of death.

Harmen Steenwyck, Still L ife of the Vanities of Human Life , oil on canvas, 1640.

The Dutch Baroque still lifes were commonly known as Vanitas . Objects symbolising the brevity of life were very popular. In this work the skull is symbolic of death, the chronometer (the timepiece that resembles a pocket watch) and the extinguished gold oil lamp mark the length and passing of life. These works were a reminder that people should not worship earthly riches.



Time is an undeniable fact of human life. Many artists have captured the different stages of human life and the passage of time.

Rembrandt, Self -portrait with Lace Collar , oil on

canvas, ca. 1629.

Rembrandt, Self -portrait , oil on canvas, 1659.

Rembrandt, Self -portrait , oil on canvas, 1669.

Rembrandt depicts the effect of time as seen in his Self -portraits .

Claude Monet, Rouen Cathedral series , oil on canvas, 1892–1894.

The Rouen Cathedral series of paintings consists of more than thirty paintings which Monet created between 1892 and 1893, and then reworked in his studio in 1894. Monet was impressed with the way light imparts a distinctly different character on the subject at different times of the day and year, as atmospheric conditions change. He realised that light and intensity change almost every second of the day. He painted the same scene over and over again at different times of the day to show the changing atmospheric conditions.



Eadweard Muybridge, Animal Locomotion , collotype, 1887.

Eadweard Muybridge is known for his pioneering work on locomotion, which used multiple cameras to capture motion in the passage of time in stop-action photographs.

Giacoma Balla, The Flight of the Swallows ,

tempera, 1913. Futurists were interested in capturing motion and the passing of time.

René Magritte, Time Transfixed , oil on canvas,

1939. A Surrealist interpretation of time.



The most basic division of time is the past , present and future .

Past

'History is a set of lies people have agreed on.' – Napoleon from his Memoirs in 1823.

How would you re-interpret history?

Peter Buggenhout, The Blind Leading the Blind , household dust, hair, wood, polyurethane, foam, aluminium, polyester and polystyrene, 2007.

Tony Scherman,

Bonaparte D reaming of Napoleon , encaustic on

canvas, 1998–1999.

Tony Scherman, Bonaparte: Waterloo

18.6.1815, encaustic on canvas, 1995–1997.

Tony Scherman, Napoleon 's Last Shave: St. Helena , encaustic on

canvas, 1995–1997. These three works form part of a series of monumentally scaled portraits of important stages of Napoleon Bonaparte's life. Napoleon lived before the age of photography, and Scherman metaphorically chronicles the life of Napoleon using only the image of his face.



Present

This is the only time that we are totally part of.

How do you see the present?

Churchill Madikida, Virus , video still-printed with pigment ink on fibre paper, 2004.

Virus is a video work which portrays a man hunched in a foetal position. He is in the middle of an HIV cell. As the video progresses, his image morphs and disintegrates until there is nothing left but abstractions. The soundtrack is a song sung by Madikida's late sister. It nostalgically remarks on a place lost but remembered and yearned for. When the video is finished, it loops back to the start and begins again. The optical effects are captivating and the video is beautiful to watch, with its rich reds and decorative patterns. This is misleading as Aids is not meant to be beautiful. The work shows the endless mutations of the Aids virus and how it alters the body of its human host. At the end of the projection, a huge pulsing wall of sick neon dots reflects the disturbing pace of the spread of the virus in a human body.



Future

The future is the unknown.

What is your vision of the future?

Adam Letch, Leaving the Body , photographic emulsion on paper, 2002.

Other interesting interpretations of time include the following works:

Tim Hawkinson, Wall Chart of World History from Earliest Times to the Present , ink,

graphite on rag paper, 1997. Hawkinson has devised various ways of measuring time. This seemingly absurd charting of the rise and fall of empires is modelled on the digestive system of the body. The artwork appears to be an elaborate improvisational drawing of intestines, Pre-Columbian motifs and a labyrinth of inner and outer space. This drawing is akin to a timeline with no beginning and no end.



William Kentridge, The Main Compl aint , production stills from animation, 1996.

To help you get started , consider the following :

Which smell takes you back in time? I'd like to have witnessed …

What era would you like to visit? What would you take along on a spin through time?

What futuristic device do you wish you had now? What modern convenience would you take as a gift on a visit to your ancestors?


Copyright reserved

This theme is open to many interpretations. It can be descriptive, symbolic, conceptual or more metaphorical. Using your research material, find an original and creative solution to create a truly individual interpretation of TIME. Teachers must facilitate the initial brainstorming/research process.

1. 2. 3.

Begin by conceptualising in the form of a mind map using the word TIME in your sourcebook/workbook/journal. Consider the following in relation to the idea of TIME: • An occasion, a point in time, a moment in time, an instant, era or phase • Re-interpreting history • Past, present and/or future • The different generations – grandparents, parents, children • Four seasons • The marking of time in different cultures • The ravages of time – ageing, decaying, et cetera • Time as the fourth dimension • The traces that time leaves behind – adding things or taking them away • Symbols related to time • Time is money • Time and space • Behind the times • A time bomb, time travel • There is a time for everything • A sequential approach to time • Using fragmentation and/or a combination of images to express time • A personal approach to the meaning of time Using the guidelines below, create an artwork in which you share your stories, ideas, emotions, visions and thoughts related to the theme of TIME. Your teacher may facilitate this process: • Intentions, aims or ideas that you wish to convey • Images that would best express your intentions • Exploration of and experimentation with materials and techniques • Process drawings such as preparatory/compositional sketches and

drawings based on your sources • Media that could successfully communicate these ideas • Techniques that would be the most appropriate for use in expressing your media and your ideas • Size, format and presentation that would best suit your ideas

At this stage, time is on your side , but start immediately, because the clock is ticking .

TOTAL (100 :

50



ADDENDUM

SECTION A: SOURCEBOOK • There are no specific guidelines for the size, format, layout and 'look and

feel' of the sourcebook. Individuality and creativity must be emphasised at all times. • The sourcebook must document and show the process from the beginning to the end. A clear link between the final artwork and the visual/written information in the sourcebook should be evident. Place more emphasis on preparatory sketches, drawings, experimentation of technique and materials that have been used in the final piece. For inspiration, refer to the sketchbooks of Leonardo da Vinci, Eugène Delacroix, Vincent van Gogh, Marlene Dumas, et cetera. Beware of superficial unrelated decoration.

SECTION B: THE ARTWORK • As this is an examination, THE CANDIDATE IS NOT ALLOWED TO REMOVE

ANY WORK FROM THE EXAMINATION ROOM . All materials needed for the examination must be brought into the examination venue, but note that NO work may leave this venue. Failure to work under examination conditions will be deemed an irregularity. • The candidate is encouraged to produce an artwork based on the medium he/she has investigated in his/her Grade 12 year. • Creativity and individuality must be emphasised. The artwork should be an expression of the candidate's interests/ideas and concerns at the level of an 18/19-year-old. • A successful artwork is a combination of concept and realisation. Beware of illustrative work. Emphasis should be placed on the aesthetic qualities, 'freshness' and energy of the artwork. • The artwork need not only be naturalistic. There are other styles, such as expressionism, abstract, decoration, stylisation, abstraction, et cetera. • In all digital/multimedia/new media work, concept development and realisation must play an important role. When marking, evidence of the candidate's thought processes leading to the final realisation of the concept should be visually evident.

Note the following criteria if working with photography: DARKROOM PHOTOGRAPHY • Produce a set of at least FIVE related photographs. • The candidate must do all the development of both the film and the negatives at

school under the supervision of the teacher. • Place all contact sheets, test strips and records of the processes in the sourcebook. • Give careful consideration to the presentation of this work.


Copyright reserved

DIGITAL PHOTOGRAPHY • Produce a set of at least FIVE related digital prints. The candidate may only

rework and/or adapt these at school. • The digital size must be at least A4 in size. • Place the digital images on a disk (CD) and insert the disk into the front of the sourcebook. • Submit the sourcebook, with supporting information, with the final artwork(s). The sourcebook should include the following: o The program used (for example Adobe Photoshop 7) o All digital software procedures. The candidate must keep a record of

screenshots that illustrate all the editing decisions made. o The tools the candidate used to manipulate his/her images, in other words,

adjustments made, filters used (distort, noise, render, sketch), et cetera • Give careful consideration to the presentation of this work.

graad 12 national senior certificate grade 12 · the reclining female body takes up the bulk of the...

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