A level Fine Art Exam
You have a choice of twelve titles for the A level Fine Art exam project (Unit 2). You will have a period of 8-10 weeks (plus the Spring half term and Easter holiday) to develop your ideas through preparatory studies before realising your final outcome as part of the 15 hour, controlled assessment. You should aim to be ambitious in your final outcome and presentation.
The exam paper is full of ideas to help you get started. Your art teachers will also set class and home work tasks that will enable you to have the best start possible for your exam project. Make sure everything is documented clearly in your sketchbook.
The exam paper is full of ideas to help you get started. Your art teachers will also set class and home work tasks that will enable you to have the best start possible for your exam project. Make sure everything is documented clearly in your sketchbook.
1. Choose the title you are going respond to.
You can only choose one title or theme from the paper. Please use the pinterest boards below to help you. Click on the image to hyperlink to the board. (btw- you can only view it if you have a Pinterest account)
Environmental Comment |
Organised Chaos |
Gap
|
Spatial
|
Reflections
|
Haven
|
Consider the idea of art, craft or design as a tribute.
Artefacts and images have often been produced to recognise achievement, mark an event, declare respect for a person or show regard for a place. Investigate how items of art, craft or design have been used in one or more of these ways and creatively develop a tribute of your own. |
Investigate the process of transformation.
The process of transformation can be seen all around us, from the slowly changing landscape to the metamorphosis of a caterpillar to a butterfly. Artists, craftspeople and designers create transformations, such as by taking something apart and recomposing it in a way that is unexpected and innovative. Research some examples of transformation that you find particularly interesting and develop a personal approach that expresses a creative response to the process. |
Search hidden meanings.
There are many examples of art, craft and design that provoke us to delve beyond first impressions to find deeper purposes and intentions. The time and place in which we encounter such examples also influence our interpretations. With these thoughts in mind, select subject matter which you find of particular interest in terms of the possible meanings it can convey and develop a creative response that you and your audience will find intriguing. |
Document a routine.
A routine is often considered as a commonplace task, chore or duty which is undertaken regularly or at particular intervals. We all follow routines and in many instances they can become a means of maintaining order and security within increasingly chaotic lifestyles. Research a routine and from your investigation develop an imaginative and innovative response. |
Explore close relationships.
‘Explore’ can mean travelling into or through an unfamiliar place. It may also be defined as examining or enquiring thoroughly or minutely. Relationships can refer to connections between things, enabling them to be considered together. These may be ideas that are closely related, subject matter that has affinity, or to close relationships between visual elements such as colour and texture. Select a relationship for exploration from which to develop a personal response. |
Capture a moment from time and place.
The double portrait of the Arnolfini marriage ceremony by Jan Van Eyck in London’s National Gallery is just one of many examples where a specific event has been the stimulus for works of art, craft or design from different eras and cultures. Such works reflect the time and place in which they were produced. Showing awareness of the context within which you are conducting research and development, produce a creative and memorable outcome. |
Half Term Homework...
2. Research 3 artists
Present three artists in your book explaining what the artist made, why they created it, and how it links to your theme. (1 page per artist including photos/transcriptions etc)
3. Practical Response
Create a practical response to each artist you have chosen. The practical response should be inspired by the artist and can either be completed in your book or outside of your book. It must not be a copy of a piece.
TOP TIP
The more planning that you do for the response in your sketchbook and the more ambitious it is THE MORE MARKS YOU WILL RECEIVE.
For example....
The piece on the right is a response to Ben Nicholson (below)
TOP TIP
The more planning that you do for the response in your sketchbook and the more ambitious it is THE MORE MARKS YOU WILL RECEIVE.
For example....
The piece on the right is a response to Ben Nicholson (below)
The piece on the right is a response to Louise Bourgeois (below).
4. Visit an Exhibition
Eduqas LOVE an exhibition visit. Make sure that you see at least one artist's work in the flesh during the project.
Use the usual analysis framework if you really do not know how to write about the artwork you see. Also consider how the exhibition has been curated.
ANALYSIS
What do you think the artist's intentions are? There may be more than one. ‘PEC’ each intention.
P (name) creates (what type of images? Fantastical, surreal, objective)
E He / she does this by… (describe something in the image)
C He/she wanted us to consider ….
What wider issues is the artist addressing?
P (name) is considering (bigger issue in context of art, society, politics?)
E This is shown by … (describe something in the image)
C The (name) was interested in this issue because (they felt it was relevant to us now…)
How do the materials and techniques used support your artist's intentions?
P (name) has used (abstract marks, found objects, multiples, casting...) in creating this work.
E This creates a ______ effect. (describe something in the image)
C This helps to support (name) point about ...
What do you think the artist's intentions are? There may be more than one. ‘PEC’ each intention.
P (name) creates (what type of images? Fantastical, surreal, objective)
E He / she does this by… (describe something in the image)
C He/she wanted us to consider ….
What wider issues is the artist addressing?
P (name) is considering (bigger issue in context of art, society, politics?)
E This is shown by … (describe something in the image)
C The (name) was interested in this issue because (they felt it was relevant to us now…)
How do the materials and techniques used support your artist's intentions?
P (name) has used (abstract marks, found objects, multiples, casting...) in creating this work.
E This creates a ______ effect. (describe something in the image)
C This helps to support (name) point about ...
5. Picasso and Paper, Royal Academy
Picasso didn’t just draw on paper – he tore it, burnt it, and made it three-dimensional. From studies for ‘Guernica’ to a 4.8-metre-wide collage, this major exhibition brings together more than 300 works on paper spanning the artist’s 80-year career.
Exhibition Prep
Use the papers available to create a sketchbook to work in during the exhibition visit. Make sure that the last page is supported by the thick card to work on. Pages must not be smaller than A4.
Project Expectations
Ensure that you have satisfied each of the Assessment Objectives by the end of the project. See the PP below.