Comparative Study
(External Assessment)
Embedded Files
Comparative Study:
"Students analyse and compare different artworks by different artists. This independent critical and contextual investigation explores artworks, objects and artifacts from differing cultural contexts." - The IB Visual Arts Guide
REQUIREMENTS
SL
3 different artworks
from at least 2 different artists
10–15 screens with commentary
Totals 30 points in the assessment
HL
3 different artworks
from at least 2 different artists
10–15 screens with commentary
Artwork reflection on the influence by any of the art/artists examined (3–5 screens)
Totals 42 points in the assessment
TASK DETAILS
Students at both SL and HL must select at least three artworks, objects or artifacts, at least two of which should be by different artists. For each of the selected pieces, students should:
• carry out research from a range of different sources (that they must be able to reference)
• analyse the cultural contexts in which the selected pieces were created
• identify the formal qualities of the selected pieces
• interpret the function and purpose of the selected pieces
• evaluate the material, conceptual and cultural significance of the selected pieces to the cultural contexts within which they were
created.
• compare the selected pieces, identifying links in cultural context, formal qualities, function, purpose, material, conceptual and
cultural significance
• present a list of sources used during the study
CHOOSING ARTWORK
I DO NOT recommend selecting artists you found
on social media. They often do not have the resources
available to support a thorough investigation
into their work.
When choosing the artworks that you will research and compare, be sure to select pieces that are:
similar in some thematic or conceptual way
diverse in time period
from different cultural contexts
made by at least 2 different artists
not overdone (think Starry Night, Mona Lisa or Girl with a Pearl Earring)
able to provide enough research to support your investigation
found in museums or galleries
have articles written about them by credible sources (i.e. not a blog or influencer's opinion)
BONUS: if you can see the work in person 👍🏻
PLANNING the STUDY
In class, I will provide you with a planning document where you will take notes and collect any and all evidence to support your research. Each section is designed to support the structure of your final slides. The more information you can capture in this document, the easier it will be to design & develop your slides. Below I'll explain each section so you have more support as you work through the project. If you have questions that are not answered here, please ask me for clarification.
Capture the artist's full and complete name, the title of the artwork and the date the work was completed.
In some cases, you will find works where the title is listed as "Untitled." This can sometimes make researching the specific work difficult. Be sure to look for a variety of research resources before committing to the Untitled work.
If you select a work where the artist is unknown or the credit is due to a culture or group, you will want to refer to the group as a whole. This can be challenging but is completely acceptible.
This is where you need to define the thematic or conceptual elements that connect your selected works.
Saying that the works are from different time periods and cultures is not enough of a reason to connect them. Similarly, saying that they all contain the same formal qualities (i.e. color, line, perspective, etc.) is not sufficient.
Works like the 3 on the right all refer to the influence of commercialism on the works' respective cultures. The first piece is an advertisement for a cigarette company that glorifies and beautifies the product. The second work is completed by an artist who began as a billboard painter & developed his perspective of the effects of advertisement & the depiction of perfection to promote consumerism in a past-war America
Most major works of art can be connected to an art movement or genre. These movements have defining characteristics that define the pieces of the period. By identifying the movement (and where the work falls in the movement) we learn about the artist's influences and the impact the work has created.
For each work, you will need to identify the movement and identify the qualities specific to that movement. In doing so, you will begin to notice elements of your selected pieces that will help you in your formal and cultural analyses.
In some cases, artworks do not connect to an art movement so you can define them by periods within that culture. For example, many Chinese works do not correlate to Western movements, so the work is attributed to a ruling dynasty (like the Song Dynasty) or to a period of proliferation of the use of a material (like Jade culture).
Use the site in the button below to find more specific information about art movements, genres & cultural movements.
By identifying artists and artworks from a similar time period and culture as the selected artist/work, you will be able to find more evidence, sources, articles and information that relates to these parallel works. From this information, you can make connections to the work you've selected and this will serve as evidence to claims that you make to support your initial claim.
Judith Beheading Holofernes
Judith Beheading Holofernes
Caravaggio, c. 1598–1599
Judith Slaying Holofernes
Judith Slaying Holofernes
Artemisia Gentileschi, c. 1612-1613
A fair example of this is below. During the Spanish Civil War, the city or Guernica was bombed by the German Nazis and Italian Fascists at the request of the Spanish Nationalists. As a Spaniard, this dramatic milatry act of bombing a town of innocent civilians really impacted Picasso and in turn he decided to capture the pain and anguish of all living things impacted by the act.
Artists are often the voice of their people, culture and period in time. The work they create is usually in response to the events occuring in the world that surrounds them. In this section, you are asked to list major world events that may have impacted the artist or the creation of the work.
These should not be events specific to the artist and their life. For example, the Vietnam War is going to impact an American artist differently than it might impact a Vietnamese artist. But listing an event like, "Van Gogh moves to Arles" is not on a large enough scale. It may still have an impact but that information would be mentioned elsewhere.
Describe what you see. This part is exactly what it says. Point out the subjects, the background, the placement and proximity of objects.
For this section, do NOT focus of formal qualities. You will go in depth on the Elements & Principles in the next part of your analysis, but this section is just focusing on the objects in the image.
In the piece below, you could state that you see a man
with a backpack and possibly overalls whose face
appears to be squinting. The man wers a straw cap
and appears to be walking with a walking stick while
carrying an unknown object in his other hand.. In the
background there appears to be a dirt road with
orange, red and green sections moving almost
diagonally across the canvas, giving the illusion of
depth. In the foreground there is a lighter value of
green with some brushstrokes that attempt to denote
texture in what can be assumed to be grass.
Study for "Portrait of Van Gogh" V, Francis Bacon, 1957
https://www.si.edu/object/study-portrait-van-gogh-v%3Ahmsg_66.187
Next, you will note the similarities you find in:
Artwork #1 vs. #2
Artwork #2 vs. #3
Artwork #1 vs. #3
Again, you are only focusing on the subjects and objects you see in the composition - NOT the formal qualities.
As you move through the document, make sure to note any and all resources along the way. You WILL need to complete a Citations page at the end of your submission. Standard MLA format is fine.
PART 2 - Formal Qualities
Criteria A Top Descriptor: The work identifies and analyses the formal qualities of the selected pieces from at least two cultural origins. The analysis of these formal qualities is consistently informed and effective. (6 points)
For each work of art, you need to complete a formal analysis of the elements & principles evident in each piece. Additionally, you should consider the artist's consideration of the composition.
In Part 2, make notes for the elements and principles that are DOMINANT or STRONGEST in the work. You do not have to have notes for every element and principle! Ideally, you will begin to see similarities across the pieces that will lay a foundation for your compare/contrast analysis at the end of your project.
If you need help defining the Elements of Art, click below.
If you need help defining the Principles of Design, cick below.
If you need help defining the Compositional Techniques, click below.
PART 3 - Significance
Criteria B Top Descriptor The work demonstrates a consistently informed and appropriate interpretation of the function and purpose of the selected pieces within the cultural context in which they were created. (6 points)
Criteria C Top Descriptor: The work demonstrates consistently informed and appropriate evaluation of the material, conceptual and cultural significance of the selected pieces within the specific context in which they were created. (6 points)
Function & Purpose
This part is challenging but if you have good research and enough to support your claim, you can make a substantial argument and support it with facts.
Here are some helpful questions to inform your analysis of function & purpose.
FUNCTION
refers to the role or practical use of the artwork—how it operates or interacts with its audience or environment. It focuses on what the artwork does or how it serves a specific need.
PURPOSE
more closely tied to the artist's intention or the reason for creating the artwork in the first place. It reflects why the artwork was made and often connects to deeper motivations.
General Understanding of the Artwork:
What is it about? What does it mean?
Is the piece meant to be expressive, political, in protest, decorative, illustrate a historically significant event, or instructional?
Does the artwork have a narrative (tell a story)? Is it religious, mythical, historical depiction, a portrait, abstract, or realistic? Why?
Function and Purpose:
What is the primary function of this artwork? (Contextual, personal, intellectual, social, or physical function)
How does the artwork's context influence its purpose? (Consider historical, cultural, and social context.)
Was the artwork commissioned by a wealthy patron? Was its original intention meant to be art, or was it meant for another use (e.g., utilitarian object)?
Artist's Intentions and Choices:
What message or meaning is the artist trying to convey? What choices did the artists make to effectively communicate their statement or message?
Have the artists made any formal statements about these particular artworks or their work in general that might support your analysis?
What signs, motifs, or symbols have been used, and what do they communicate to the audience?
Materials, Techniques, and Audience Interaction:
How does the use of materials and techniques contribute to the artwork's function and purpose?
How does the artwork interact with its audience? (Engagement, contemplation, emotional response)
Societal Reflection and Interpretation:
How does the artwork reflect or challenge societal norms and values of its time?
What kinds of statements are found in the work that reflects the culture or context in which the work was created?
Can the artwork's purpose be interpreted differently by contemporary audiences compared to its original viewers?
Comparative Analysis:
How does this artwork compare to others by the same artist in terms of function and purpose?
How have the artists you chose found ways to present the information they want to communicate in their art?
Personal and Cultural Influence:
How does the artist's personal background (culture, experiences, beliefs) influence the artwork's purpose?
Are there any specific events or experiences in the artist's life that are reflected in the artwork?
It can be helpful to be able to qualify the evidence that you find in your research. Below are some categories that can help you justify your research.
Please Note: These qualifications are not directly from IB and should not be used directly, but should guide you in defining your own justifications of Function & Purpose.
PURPOSE: ..the reason for which something is done or
created or for which something exists.
..have as one's intention or objective.
Direct pleasure - Art is "a source of immediate experiential pleasure in itself."
Skill and virtuosity - The making of art requires and demonstrates "specialized" skill
Style - Objects and performances in all art forms are made in recognizable styles, according to rules of form, composition, or expression."
Novelty and creativity - These qualities, as well as "the capacity to surprise," are integral to art in Dutton's view.
Criticism - "Wherever artistic forms are found, they exist alongside some kind of critical judgment and appreciation, simple or, more likely, elaborate."
Representation - "Art objects . . . represent or imitate real and imagined experiences of the world."
Special focus - All art is "bracketed off from ordinary life, made a separate and dramatic focus of experience"
Expressive individuality - A work of art possesses this trait (but so does "[a]ny ordinary activity with a creative component--everyday speech, lecturing, home hospitality" and so on)
Emotional saturation - Art is "shot through with emotion"
Intellectual challenge - Art "tends to be designed to utilize the combined variety of human perceptual and intellectual capacities to the full extent."
Art traditions and institutions - Works of art "gain their identity by the ways they are found in historical traditions, in lines of historical precedents."
Imaginative experience - The chief defining characteristic of art may be that its objects "provide an imaginative experience for both producers and audiences."
FUNCTION: ..an activity or purpose natural to or intended
for a person or thing.
..work or operate in a proper or particular way.
Expressive function – expresses the artists’ feelings
Descriptive function – records the likeness of a place or person or other subject.
Conceptual function –the idea or concept behind the work is more important than the object
Practical function -has a practical use, such as clothing, vessels, furniture, a building
Religious function – tells a religious story or is an object of devotion.
Historical narrative function - tells a story of an event in history
Commemorative function – made to honour someone (like a statue of a famous person)
Political function - serves a political purpose, such as propaganda.
Symbolic function – symbolizes certain beliefs or ideas without representing them.
Decorative Function - used to adorn the body, a room, a building etc.
Ritual function – used as part of a ritual or ceremony, or has magical powers.
Shock function – intended to shock or upset the viewer
Cultural Significance
When investigating cultural significance, you will need to consider the impact this piece had on the people it was made BY and FOR.
Example Questions could be:
When was the piece made? Where was the piece made?
Patronage of the work (who paid for it, how and why)
Political circumstances when the work was made
Religious circumstances when the work was made
Philosophical movements of the time
Other major forms of cultural expression from the same period
Contemporary scientific and geographic knowledge
The original setting of the work
The original use of the work
You will want to consider the findings of your research and consider questions specific to your pieces.
A framework that may be helpful (and can be directly inserted into your slides) is the McFee model for analysis.
Media Significance
The media an artist uses to create their work is significant to their overall concept, the materials available at the time and the impact they want to impart on the viewer.
One example of the significance of the media choice can be recognized in the piece below.
"When asked why he chose to paint Campbell’s soup cans, Warhol offered a deadpan reply: “I used to have the same lunch every day, for twenty years, I guess, the same thing over and over again.” That daily meal is the subject of this work consisting of thirty-two canvases—one for each of the flavors then sold by Campbell’s—using a combination of projection, tracing, painting, and stamping. Repeating the nearly identical image, the canvases at once stress the uniformity and ubiquity of the product’s packaging and subvert the idea of painting as a medium of invention and originality." - MOMA, read more here
Additionally, the artist chose the artmaking process of screen printing because the process would allow him to replicate the EXACT same object, repeatedly in the same way that a factory processes the product, cans and labels. Warhol also was able to distance himself from the creation of the piece by utilizing helpers to aide in the screen printing process, further removing himself from the creation of the product in the same way that manufacturing companies do with the foods we consume.
Conceptual Significance
What was the artist intending to do with this work?
Does the work need an explanation to be fully understood?
Is there a backstory to the work?
How does the world in which the work was created affect it's meaning or understanding?
One well-known artwork that has a strong conceptual significance is "Fountain" by Marcel Duchamp. Created in 1917, it's a readymade sculpture—a standard porcelain urinal, signed with the pseudonym "R. Mutt." Duchamp submitted it to an art exhibition, challenging traditional ideas of art and questioning the role of the artist. "Fountain" is often cited as a seminal work in the development of conceptual art, as it emphasizes the idea or concept behind the artwork rather than its traditional aesthetic qualities. This piece continues to provoke discussions about the nature of art, authorship, and the boundaries of artistic expression.
Fountain, Marcel Duchamp, 1917
PART 4 - Compare & Connect
Criteria D Top Descriptor: At the highest level of achievement, the work critically analyses the connections, similarities and differences between the selected pieces. These connections are logical and coherent, showing a thorough understanding of how the pieces compare. (6 points)
This should go without saying, BUT... do not attempt this section until ALL other sections of planning are complete. If you haven't done the research or the analysis, you will not be able to see the similarities and differences btween the works.
In the planning doc, be sure to:
address the cultural contexts
assess the formal qualities
consider the function & purpose
compare the media, conceptual & cultural significance
explain your points rather than just listing them
In the final presentation, you will use charts, tables, drawing diagrams to help support your statements. I'll explain more about the visual representation in the slides later.
PART 5 - Presentation and Subject-Specific Language
Criteria E Top Descriptor: The work clearly and coherently conveys information which results in a visually creative and legible study that enhances the impact of the work and the reader’s understanding. Subject-specific language is used accurately and appropriately throughout. (6 points)
This score relates to the clarity with which you are able to communicate your ideas both visually and in written form. Your claims should be supported by evidence and "appropriate subject-specific language." This means using your visual art vocabulary and using your terminology correctly.
Example: If you want to say that an object "pops" in a painting, you need to think about what exactly makes that item standout.
Is it a bright color? Maybe you'll say that the object's color is "intense," or "extremely saturated."
Is it different from all of the objects around it? You could say that it "bears a significant contrast from its background."
Is it larger than the other elements in the artwork? Note the difference in scale by saying something like "the artist's use of scale to emphasize this element, captures the audience's attention."
I am providing you with some vocabulary and analysis resources which we can use throughout the course, so make sure sure to use these when you are writing about the work. It is also STRONGLY RECOMMENDED that you highlight the vocabulary words you use throughout your analysis.
All images MUST BE CITED AT THE SOURCE! You will need to submit a citations page, so all works (minus your own) should be noted on that page, but this page doesn't count in your overall page count.
PART 6 - Making Connections to Own Art-making Practice
Criteria E Top Descriptor: The work provides a consistent and insightful evaluation on the outcomes of the investigation. The student effectively analyses and evaluates the extent to which their own art-making and pieces have been influenced by artworks, objects and artifacts examined in the comparative study, making informed and meaningful connections throughout (12 points)
FOR HL 2's ONLY!!!
HL 2's will create an additional 3-5 slides reflecting on their own artmaking processes & products and comparing them to the works studied in the analysis.
They expect that you will touch on all areas in both visual and written form:
Cultural Context
Formal Qualities
Function & Purpose
Materials, Concepts & Cultural Significance
All artworks of your own should be labeled/cited as such.
I will ask you to make one artwork specifically in an effort to connect to the Comparative Study artists, but you CAN write this section incorporating multiple works from your exhibition, as long as you cite them correctly.
STRUCTURING the STUDY
I will give you a template for the slides and here is a breakdown provided by IB. These are suggested resources. If you find that the order/organization of your information would be better in a different arrangement, that is your call.
INTRODUCTION (1 slide)
ARTWORK & THEIR CONTEXTS (3-5 slides per artwork)
Artwork #1 - Description/Theme
Artwork #1 - Formal Qualities
Artwork #1 - Cultural Significance & Function/Purpose
Artwork #2 - Description/Theme
Artwork #2 - Formal Qualities
Artwork #2 - Cultural Significance & Function/Purpose
Artwork #3 - Description/Theme
Artwork #3 - Formal Qualities
Artwork #3 - Cultural Significance & Function/Purpose
COMPARE & CONNECT (3-5 slides)
Description / Theme
Formal Qualities
Cultural Significance & Function/Purpose
CONNECTING TO OWN ART-MAKING (3-5 slides) - HL ONLY
INTRODUCTION
(1 slide)
Introduce all 3 artworks (with citations) and explain the thematic or conceptual connection within the works that you plan to discuss.
Remember that you are comparing the ARTWORK and not the ARTIST.
ARTWORK & THEIR
CONTEXTS
(3 - 5 slides per artwork)
Summarize what you've found out from various sources about the artworks, objects, and artifacts you've chosen. Describe how you've used different theories and methods to analyze and understand these works.
Areas of investigation might include:
analysis of the cultural contexts of the selected pieces
identification of the formal qualities of the selected pieces (elements such as shape/form, space, tone, colour, line, texture and principles such as balance, rhythm, proportion, emphasis, pattern, variety)
interpretation of the function and purpose of the selected pieces (such as the meanings of motifs, signs and symbols used in the work)
evaluation of the material, conceptual and cultural significance of the pieces and the cultural contexts in which they were created.
This section also looks to see if you are visually communicating the evidence you use to support your claims. If you select a work that appears to a dynamic traingular compositional structure, use tools in slides to dar over the image you place in the slide to fully represent your claim.
COMPARE & CONNECT
(3 - 5 slides total)
Present your comparisons of the different pieces, clearly identifying links between them. These comparisons might include:
comparing the cultural contexts of the selected pieces
comparing the formal qualities of the selected pieces
comparing the function and purpose of the selected pieces
comparing the material, conceptual and cultural significance of the pieces.
When visualizing this info, there are a few ways to do it but I will give you the formats that are most often successful. Hint: Avoid Venn Diagrams - they don't fill the page or give ample room to fully explain your conclusions.
Example #1:
This is the format that most students prefer. Here you compare the Theme, Formal Qualities & Cultural Context of Artworks #1 & #2 on one slide, then do the same on the next slide for Artworks #1 & #3, and again for #2 & #3.
Items that are similar go in the center column and those that are different go on the outer columns.
A small visual of each artwork is provided and each section has a subtitle.
The layout is clear and straightforward.
Example #2:
This format compares all 3 works, but each slide refers to a different category: Theme, Formal Qualities and Cultural Context.
The subject within the category is given a subtitle and the artworks are provided for visual reference.
Again, a straighforward layout, but some people find it difficult to address all 3 works within a single paragraph.
Example #3:
This format uses a rectangle graphic organizer. It can be useful for at a glance references but doesn't offer much room for explanation of your claims.
This student has highlighted vocabulary words by bolding them which can be helpful to demonstrate your understanding of art-specific language.
This example does not include visuals of the artworks (which I usually recommend), but instead labels each section and uses color to delineate each artwork and their overlap.
Example #4:
While this format does use the Venn diagram, it only uses it to compare and contrast the formal qualities. Other similarities are explained in paragraph format.
The student compares all three works on one slide. Typically students find they need more than 1 lides for all of the required comparisons but this example went into greater depth in individual pages and used this slide as a summarization.
Again, the artworks are not represented visually. This is not required but is helpful.
Notice that the student has a lot of text on the screen, so their background is clean and clear - not busy - which makes reading the information easier.
CONNECTING TO OWN
ART-MAKING (HL 2 ONLY)
(3 - 5 slides)
Reflect on your research outcomes and the extent to which your own art-making practices and pieces have subsequently been influenced by artworks, objects, artifacts and their creators examined in the comparative study. These influences and personal connections, which should be evidenced in both visual and written forms, might include:
cultural context
formal qualities
function and purpose
materials, conceptual and cultural significance.
When referring to your own artwork and practices, you must be sure to identify and acknowledge your own artworks with the same rigorous attention to detail as with images from other sources.
I will require you to make 1 artwork specifically influenced by the artworks in your Comparative Study.
When creating this section of the CS, you may refer to other works you've made over the course of the class. When explaining your connections between your work and the other work, be sure to use the same consideration and practices used in the rest of the study.
See the examples provided at the bottom of this page.
--> Include a reference list of sources used during the study.
--> In-text referencing is required throughout the comparative study. CITE AT THE SOURCE!
--> Every image used within the comparative study must be appropriately referenced to acknowledge the title, artist, date (where this information is known) and the source, following the protocol of the referencing style chosen by the school.
--> Every image used within the comparative study must be appropriately referenced to acknowledge the
Title
Artist
Date (where this information is known) and
Source
--> Use standard MLA format.
PRESENTATION TIPS:
Your name should not appear anywhere in your presentation and you should not have a title slide. Just go right into the introduction of the works and your focus.
When selecting your font, don't go larger than 12 pt for the body text or smaller than 10 pt. (Captions can be 8 pt) This is relative depending on your selected font style.
Use a maximum of 2 font styles throughout. Also, consider using a san serif font as opposed to a serif font. Avoid cursive fonts, comic sans and papyrus fonts.
Be thoughtful about the background you select. Plain white is boring, but also be careful not to make the background so busy that it detracts from the subject matter.
Give each slide a title to tell the reader what you'll be discussing on each slide. This should be roughly 18 pt maximum.
Crop images to focus your audience's attention when describing specifics.
You can use Canva, but Google Slides is preferred.
Your slides should look DESIGNED and should visually COHESIVE.
ASSESSMENT
COMPARATIVE STUDY POINTS
A. Identification and analysis of formal qualities 6 points
B. Analysis and understanding of function and purpose 6 points
C. Analysis and evaluation of cultural significance 6 points
D. Making comparisons and connections 6 points
E. Presentation and subject-specific language 6 points
F. (HL only) Making connections to own art-making practice 12 points
SL = 30 points HL = 42 points
A. Identification and analysis of formal qualities
To what extent does the work demonstrate:
• informed identification and analysis of the formal qualities of the selected artworks, objects and artifacts?
0 The work does not reach a standard identified by the descriptors below
1–2 The work provides an outline of the formal qualities of the selected pieces but this is limited, superficial or relies heavily on personal opinion.
3–4 The work provides a largely descriptive account of the identified formal qualities of the selected pieces. There is some evidence of informed analysis, but this is underdeveloped.
5–6 The work provides a consistent, insightful and informed identification and analysis of the formal qualities of the selected pieces.
B. Analysis and understanding of function and purpose
To what extent does the work demonstrate:
• informed analysis and understanding of the function and purpose of the selected artworks, objects and artifacts within the cultural context in which they were created?
*Candidates who do not examine and compare at least three artworks by at least two different artists from at least two contrasting cultural contexts will not be awarded a mark higher than 2 in this criterion.*
0 The work does not reach a standard identified by the descriptors below
1–2 The work provides an outline of the function and purpose of the selected pieces, but this is limited, superficial or relies heavily on personal opinion
3–4 The work provides a largely descriptive account of the function and purpose of the selected pieces from at least two contrasting cultural contexts. There is some evidence of informed analysis and understanding, but these are not fully developed.
5–6 The work provides a consistent, insightful and informed analysis and demonstrates thorough understanding of the function and purpose of the selected pieces from at least two contrasting cultural contexts.
C. Analysis and evaluation of cultural significance
To what extent does the work demonstrate:
• informed analysis and evaluation of the cultural significance of the selected artworks, objects and artifacts within the specific context in which they were created (such as the cultural, sociopolitical and historical significance of the works, with respect to the original audience and purpose, as well as to a contemporary audience)?
0 The work does not reach a standard identified by the descriptors below
1–2 The work provides an outline of the material, conceptual and cultural significance of the selected pieces, but this is limited, superficial or relies heavily on personal opinion.
3–4 The work provides a largely descriptive account of the material, conceptual and cultural significance of the selected pieces from at least two contrasting cultural contexts. There is some evidence of informed analysis and evaluation, but these are not fully developed.
5–6 The work provides a consistently insightful and informed analysis and thorough evaluation of the material, conceptual and cultural significance of the selected pieces from at least two contrasting cultural contexts
D. Making comparisons and connections
To what extent does the work demonstrate:
• effective critical analysis and discussion of the connections, similarities and differences between the selected artworks, objects and artifacts?
0 The work does not reach a standard identified by the descriptors below
1–2 The work outlines connections, similarities and differences between the selected pieces, with little analysis. These connections are largely superficial or inappropriate and demonstrate a basic understanding of how the pieces compare and contrast.
3–4 The work analyses and describes the connections, similarities and differences between the selected pieces, with some critical analysis. The connections are logical and coherent and demonstrate an adequate understanding of how the pieces compare and contrast.
5–6 The work critically analyses and discusses the connections, similarities and differences between the selected pieces. These connections are logical and coherent, showing a thorough understanding of how the pieces compare and contrast
E. Presentation and subject-specific language
To what extent does the work demonstrate:
• ensure that information is conveyed clearly and coherently in a visually appropriate and legible manner, supported by the consistent use of appropriate subject-specific language?
0 The work does not reach a standard identified by the descriptors below
1–2 The work is limited or inconsistent in conveying information clearly or in a visually appropriate manner. The work contains some appropriate subject-specific language, but this is limited
3–4 The work clearly and coherently conveys information, in a visually appropriate and legible manner, with some consistent use of appropriate subject-specific language.
5–6 The work clearly and coherently conveys information which results in a visually creative and legible study that enhances the impact of the work and the reader’s understanding. Subject-specific language is used accurately and appropriately throughout.
F. Making connections to own art-making practice
To what extent does the work demonstrate:
•analyse and evaluate the outcomes of the comparative study investigation and on how this has influenced the student’s own development as an artist, identifying connections between one or more of the selected works and the student’s own art-making processes and practices?
0 The work does not reach a standard identified by the descriptors below
1–3 The work outlines the outcomes of the investigation in a limited way. There are few or only superficial connections to their own art-making practice.
4–6 The work provides some analysis of the outcomes of the investigation. The student describes the extent to which their own art-making and pieces have been influenced by artworks, objects and artifacts examined in the comparative study, making inconsistent or incomplete connections.
7–9 The work provides an analysis of the outcomes of the investigation. The student explains the extent to which their own art-making and pieces have been influenced by artworks, objects and artifacts examined in the comparative study, making adequate connections.
10-12 The work provides a consistent and insightful evaluation on the outcomes of the investigation. The student effectively analyses and evaluates the extent to which their own art-making and pieces have been influenced by artworks, objects and artifacts examined in the comparative study, making informed and meaningful connections throughout.
ADDITIONAL RESOURCES
The Ultimate Guide to Mastering the IB Art Comparative Study (HL&SL)
IB Art Comparative Study Pt. 2 - the criteria
IB Comparative Study - Criteria D
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