Artmaking Assessment - Task Description

Course Name: HSC Visual Arts Assessment Weighting: 20%

Year: 12VA Task 1 Total Marks: /50

Given: Term 3 Week 4 (first lesson) Due: Term 3 Week 10 (first lesson)

Outcomes being assessed:

H1 initiates and organises artmaking practice that is sustained, reflective and adapted to suit
particular conditions
H2 applies their understanding of the relationships among, artist, artwork, world and audience
through the making of a body of work
H3 demonstrates an understanding of the frames when working independently in the making of
art
H4 selects and develops subject matter and forms in particular ways as representations in
artmaking
H5 demonstrates conceptual strength in the production of a body of work that exhibits coherence
and may be interpreted in number of ways.

Task Description:
You will submit your Visual Arts Process Diary (VAPD) that documents your process of
investigation into a suitable concept for the creation of your Body Of Work.

Your VAPD must include:

a) a concise brainstorm mind-map determining your stream of ideas and layers of investigations
into the selected concept. (Apply the four frames)
b) Clear and detailed research of artists that have inspired your practice and explored the same
concept. (Apply the conceptual framework)
c) An artist statement refining your concept 300-350 words.
d) A wide range of sample media you have experimented conveying the concept you have
selected for your Body of Work.
e) You must include at least TWO larger experimentations to support the material in your VAPD.
f) A detailed Body of Work proposal specifically relaying your intentions as an artist.

Ask yourself these 9 questions to guide you through the assessment:

1. What is my BOW based on?

2. How do I reveal the concept to my audience?
3. Have I used the Frames within my artwork?
4. Do my ideas reflect the influence of artists studied previously i.e. Andy Warhol, Marcel
Duchamp, Salvador Dali, Jackson Pollock, and Tracey Emin?
5. How have I employed the Conceptual Framework agencies in my artwork?
6. Have I incorporated the of signs, symbols and metaphors into my sample work/ proposal
or are my ideas considered too Kitsch or Cliché?
7. Does my artwork evoke the memories, emotions, or experiences?
8. Have I ensured that my artwork is presented in a professional manner?
9. Is the audience able to interpret and access my ideas incorporated?
Things you need to KNOW to complete this task:

The purpose of this assessment task is to:

Content
 Create, explore, develop, and express your artistic practice through collections of
work and experimentation
 Research and investigate concepts to create layers of meaning.
 Demonstrate and apply an understanding of how artists incorporate codes, and
metaphors to interpret the experience of world around them.
 Embody and apply the Post-Modern frame.
 Apply practical use of the Frames and the Conceptual Framework.
 Professionally present a BOW proposal
 Experiment and exercise new technical skills and artistic practices.

Skills Experiment, explore, document, discover, create, transform, develop, investigate.

(verbs)

My Assessment Task Planner:

WEEK 4 WEEK 5 WEEK 6 WEEK 7

Sign register- receive Experiment and evaluate Embed the Conceptual Experiment with
assessment description. materials you will to Framework. Reference material use.
Research, Plan, include. Document your case studies and Continue sample work
Document, decide on process. Apply at least 2 inspiration. Begin construction.
inspiration, preliminary of the Four Frames. construction. Document Document process.
sketches. your process.

WEEK 8 WEEK 9 WEEK 10 WEEK 11

Use the provided Continue working Resolve documentation for

questions above to assess on resolution. submission. Enjoy the Christmas
your progress and work Document process. break! :D
towards resolution.
Document process.

Key Verbs associated with outcomes being assessed:

Verb Meaning
Demonstrates Show by example

Success Criteria:
Mind-map Sketches of ideas
Sample works Artist inspiration
Self-evaluation Photos of development of BOW in VAPD
 Criteria Mark Performance

Elementary Outstanding

 Complete brainstorm, documented idea

development and preliminary sketches within /10 1 2 3 4 5 6 7 8 9 10
your VAPD; through the support of the
conceptual framework.

 Application of visual and written codes and

layers of meaning within your concept. /10 1 2 3 4 5 6 7 8 9 10

 Consistent evidence of artistic appropriation

& technical skill experimentation (within and /10 1 2 3 4 5 6 7 8 9 10
outside of class.)

 Development of conceptual understanding

and strength. /10
1 2 3 4 5 6 7 8 9 10

 Audience engagement has been considered /10

and heightened. 1 2 3 4 5 6 7 8 9 10

Total Mark: /50

Opportunities:
Rubric Marks

 Demonstrates a sophisticated understanding of their artistic practices through

excellent visual & written illustrations.
 Demonstrate a highly developed understanding of the agencies of the
conceptual framework and how to effectively apply this to their art making 41-50
practice.
 Demonstrates excellent conceptual understanding and strength through their
BOW.
 Demonstrates an excellent understanding of the Frames though the many
layers of meaning embedded in the subject matter of artworks.
 Demonstrates and documents (in Visual Arts Diary) a sophisticated level of
technical experimentation, skill application, and refinement suitable to create
their artistic intentions. (composition, subject matter, and technical skill)

 Demonstrates a substantial understanding of their artistic practices through

well- documented visual & written illustrations.
 Demonstrate a developed understanding of the agencies of the conceptual
framework and how to effectively apply this to their art making practice. 31 - 40
 Demonstrates a substantial conceptual understanding and strength through
their BOW.
 Demonstrates a substantial understanding of the Frames though the many
layers of meaning embedded in the subject matter of artworks.
 Demonstrates and documents (in Visual Arts Diary) a substantial level of
technical experimentation, skill application, and refinement suitable to create
their artistic intentions. (composition, subject matter, and technical skill)

 Demonstrates a satisfactory understanding of their artistic practices through

sound visual & written illustrations.
 Demonstrate a sound understanding of the agencies of the conceptual
framework and how to apply this to their art making practice. 21 - 30
 Demonstrates satisfactory conceptual understanding and strength through
their BOW.
 Demonstrates a sound understanding of the Frames though the many layers
of meaning embedded in the subject matter of artworks.
 Demonstrates and documents (in Visual Arts Diary) a sound level of technical
experimentation and skill application suitable to create their artistic intentions.
(composition, subject matter, and technical skill)

 Demonstrates some understanding of their artistic practices through visual &

written illustrations.
 Demonstrate some understanding of the agencies of the conceptual
framework and how to apply this to their art making practice.
 Demonstrates some conceptual understanding through their production of 11 - 20
their BOW.
 Demonstrates basic understanding of the Frames though few layers of
meaning embedded in the subject matter of artworks.
 Demonstrates and documents (in Visual Arts Diary) a basic level of technical
experimentation and some skill application. (composition, subject matter, and
technical skill)
 Demonstrates elementary understanding of their artistic practices through
limited visual & written illustrations.
 Demonstrates an elementary understanding of the agencies of the 1 - 10
conceptual framework.
 Demonstrates elementary understanding and strength through their
production of their BOW.
 Demonstrates elementary understanding of the Frames with superficial
meaning the subject matter of artworks.
 Demonstrates elementary technical skill or application, and little or no
refinement to their artistic intentions.
 Documents an elementary record of incomplete composition, subject matter,
and technical skill)

 Student is not achieving unit outcomes. 0

Justification for “Opportunities for feedback to inform and improve student learning and links to the
literature.”

According to the Australian Curriculum and Reporting Authority (2019), assessment, depending on

teacher delivery; is a valuable tool for students to continuously improve their own learning (Hattie &

Timperley, 2007; McGinness, Dutt, Caldwell, & Scott, 2018). Assessment for learning is an effective

form of assessment employed through quality teaching where by students receive consistent and instant

feedback as they are learning. Heritage (2018), supports the assessment for learning model as students

have the opportunity to exercise their self-regulation skills as promoted by ACARA. The assessment above

delivers explicit instruction, scaffolding questions, a success criteria and a feedback sheet student are able

to fill out to assess their own progress. Deluca, Chapman-Chin, Lapointe-Mcewan, & Klinger (2018),

created a research project that revealed and discussed the mixed results of their study surrounding

the use of, perspectives, values students hold in relevance to assessment for learning through a

survey of 1079 students from K-12 as well as 12 portfolio-based interviews with specifically selected

students.

According to Deluca et al. (2018) the qualitative and quantitative research signifies students

of lower learning levels preferred a different source of feedback as opposed to students of a higher

learning level for the overall improvement of their academic achievement. Senior students reported

the regular use of Assessment for Learning approaches employed within their classroom; these

students preferred receiving feedback directly from their teachers as opposed to receiving peer

feedback when learning challenges arise. Furthermore, the results revealed that the most helpful

approaches in their learning were the teacher feedback and success criteria. According to Deluca

et al., (2018) solely relying on teacher feedback is a traditional support model that has shown to

still be valuable; supporting the perceptions surrounding teachers as the only experts that can

provide feedback within the context whereby grades have a weighted con sequence for post-

secondary opportunities (Harris, Brown, & Harnett, 2014; Deluca et al., 2018). Through the research

group, values are revealed regarding the senior students’ perspectives on self and peer -

assessment in comparison to teacher feedback in relation to graded tasks (Harris et al., 2014). The

success criteria delivered through class discussions clarified the meaning of student’s response

regarding received and given peer feedback. Through the teacher’s explicit instruction and
expectations students revealed reduced issues with peer feedback and fear of lack of credibility,

redundancy and lack of detail (Harris et al., 2014; Deluca et al., 2018).

In order for teachers to maximise the effectiveness of Assessment for Learning; students

must be explicitly taught the relevance the terminology and concept of the strategy to have become

increasingly engaged with their own learning. According to Deluca et al., (2018) Assessment for

learning involves behaviours that are taught and continuously exercised f rom early exposure as

students from the study resorted back to traditional learning methods. The assessment above is

effective provided the teacher explicitly explains the aim and how students are able to successfully

achieve the most valuable results, learning and how to resolve their own learning challenges

through the duration of the assessment. The assessment presented above is written for the

flexibility of students to be able to assess their own learning and receive their teachers’ feedback

as they are learning. According to Andrade, Hefferen, & Palma, (2014), it is most desirable to

learners when students become their own teachers, they exhibit characteristics including self -

monitoring, self-assessment and most important self-teaching. Furthermore, students benefit from

informal feedback from both the teacher and fellow peers (Andrade et al., 2014). Andrade et al.,

(2014) discusses the results supporting Assessment for Learning presenting evidence that showed

to deepen students understanding of artistic concepts and skills. This was achieved through explicit

instructions, aims and goals delivered by the teachers for maximising students’ academic success

and learning experience (Andrade et al., 2014; Harris et al., 2014; Deluca et al., 2018).

According to Sackstein (2017) peer feedback in the classroom is a powerful took for empowering

students to be the experts. In order to empower students in the classroom, teachers must get to know their

students, so teachers are able to characterise and expand on their strengths as well as develop their

opportunities. Through this support students to empowered to expand their know knowledge and expertise.

Additionally, this strategy meets professional standard 1.5.1 through Demonstrate knowledge and

understanding of strategies for differentiating teaching to meet the specific learning needs of students

across the full range of abilities.

Furthermore, through empowering the students and giving them these responsibilities, students

engage and embody the highest level of learning: asking them to teach (Sackstein, 2017; Sackstein,

2015). Through employing this strategy, students are learning at their own differentiated level as each

student will provide their own ideas, values, preferences and perspectives. Therefore, through this learning
experience students understand that there are multifaceted positive/engaging methods to teach and learn

(Brookhart, 2008; Sackstein, 2017). Subsequently, the traditional belief that teachers are the only experts

in the room is transformed. In addition to this transformation of learning there is a plethora of resources

that students are able to access thus presenting a great opportunity for teachers and students to learn

together appropriately strengthening the positive student- teacher relationship within and outside of the

learning experience.

Through the body of work proposal professional standards 2.3.1 is delivered through the use of

curriculum to create assessment and reporting to backwards design learning sequences and lesson plans.

According to Byrne (2016) applying understanding by design is an effective strategy for planning programs,

delivering curriculum and explicit instructions. This assessment provides students with the opportunity to

develop a deeper connection to the content as they are creating the concept thus delivering a more

meaningful learning experience within the classroom. As this assessment is monitored and developed in

the classroom as well as at home students are have a maximised opportunity for using feedback and

enhancing their artmaking experience (Brookhart, 2008; Sackstein, 2017; Deluca et al., 2018).

Additionally, students exercise their creative and critical thinking skills through the process of brainstorming

various concepts. Students also learn how to develop their ideas and concepts into a strong body of work

developing multifaceted meaning through mind-mapping, problem solve and sampling artistic practice

meeting standard 3.3.1. These strategies employed through this assessment indicates that the teacher

delivers a range of teaching strategies for students to experience more meaningful learning (Al Balushi &

Al Balushi, 2017). It is essential for students to practice applying their problem solving and critical thinking

skills through their body of work proposal as it strengthens life-long skills (Peters, 2015).

To conclude, Goss, Hunter, Romanes, & Parsonage, (2015) suggests that through these

strategies, students are less likely to misbehave within a classroom environment fulfilling standard 4.3.1.

Students are presented with the choice to follow the nine questions and success criteria for extra support

and guidance. It is important to deliver these options to the students, as to keep students engaged in the

content and creation process. Students are encouraged to photograph their sample media, preliminary

sketches and addition support material satisfying professional standard 3.4.1 whereby students

demonstrate knowledge of a range of resources, including ICT, that engage students in their learning. The

assessment was also constructed for students to experience additional development in their literacy and

numeracy skills (geometry and measurement) as well as personal and social capabilities through potential
group assistance during class time. Through assessment meets the Australian Curriculum through

providing a platform for students to identify and investigate challenges, develop higher-order thinking,

setting goals and interests. Therefore, students are empowered through trailing and resolving various

challenges exhibiting resilience for an improved academic achievement. Moreover, students are

empowered to self-assess their progress through the success criteria through this assessment. Deluca et

al., 2018 found that the critical scaffold was valued by students alongside teacher feedback.
References:

Australian Curriculum, Assessment and Reporting Authority. (2018). Retrieved May 4, 2019, from
https://www.acara.edu.au/

Andrade, H., Hefferen, J., & Palma, M. (2014). Formative Assessment in the Visual Arts. Art
Education, 67(1), 34-40.

Al Balushi, K.A., & Al Balushi, S. M., (2017). Effectiveness of Stimulating Neural Branching
Strategies in Developing Creative and Critical Thinking among Eighth Grade Students in
Sultanate of Oman. Journal of Educational and Psychological Studies, 11(2), 425-443.

Bartlett, J., & Ebooks Corporation. (2015). Outstanding assessment for learning in the
classroom (Second ed.).

Brookhart, S. M. (2008). How to give effective feedback to your students. Alexandria, VA: ASCD.

Byrne, B. (2016). Structural Equation Modeling With AMOS: Basic Concepts, Applications, and
Programming, Third Edition. (3rd ed., Multivariate Applications Series).

Deluca, C., Chapman-Chin, A., Lapointe-Mcewan, D., & Klinger, D. (2018). Student perspectives
on assessment for learning. The Curriculum Journal, 29(1), 77-94.

Goss, P., Hunter, J., Romanes, D., Parsonage, H., (2015), Targeted teaching: how better use of
data can improve student learning, Grattan Institute, 9-26

Heritage, M. (2018). Assessment for learning as support for student self -regulation. The
Australian Educational Researcher, 45(1), 51-63.

Harris, L. R., Brown, G. T. L., & Harnett, J. A. (2014). Understanding classroom feedback practices: A
study of New Zealand student experiences, perceptions, and emotional responses. Educational
Assessment, Evaluation and Accountability, 26, 107–133.

Hattie, J., & Timperley, H. (2007). The Power of Feedback. Review of Educational
Research, 77(1), 81-112.

Junyk, M. (2016). The Feedback Friendly Classroom: How to Equip Students to Give, Receive,
and Seek Quality Feedback That Will Support Their Social, Academic, and Developmental
Needs. Resource Links, 21(5), 35.

McCallum, D. (2015). The Feedback-Friendly Classroom: How to equip students to give, receive,
and seek quality feedback that will support their social, academic, and developmental
needs.

McGinness, H., Dutt, S., Caldwell, P., & Scott, K., (2018) Improving Feedback for Students:
Encouraging Student Agency and Responsibility. Journal of Paediatrics and Child
Health, 54(S2), 16

Sackstein, S. (2015). Teaching Students to Self-Assess: How do I help students reflect and grow
as learners? (ASCD Arias).
Sackstein, S. (2016). Peer Feedback in the Classroom: Empowering Students to Be the
Experts. (1st ed.).

Peters, R. (2015). Anchored learning and the development of creative, critical thinking and life -
long learning skills. Teaching Public Administration, 33(3), 221-240.

Philippakos, Z. (2017). Giving Feedback: Preparing Students for Peer Review and Self -
Evaluation. The Reading Teacher, 71(1), 13-22.