Exhibition
(Internal Assessment)
Embedded Files
Exhibition:
"Students submit for assessment a selection of resolved artworks from their exhibition. The selected pieces should show evidence of their technical accomplishment during the visual arts course and an understanding of the use of materials, ideas and practices appropriate to visual communication." - The IB Visual Arts Guide
REQUIREMENTS
SL
The INTERNAL ASSESSMENT
4–7 artworks
Exhibition Text for each work (max 500 characters)
Curatorial Rationale explaining the overal exhibition (max 400 words)
Totals 30 points in the assessment
HL
The INTERNAL ASSESSMENT
8-11 artworks
Exhibition Text for each work (max 500 characters)
Curatorial Rationale explaining the overal exhibition (max 700 words)
Totals 30 points in the assessment
ROLE of the VISUAL JOURNAL
You will have a visual journal and that should come with you to class EVERY DAY! It should be the place where you document every thought, idea, sketch, image, influence and concept you have. I can print images for you to include but I also recommend saving those images along the way in your google drive.
At the end of the course, you will use these pages to document your artistic process across your time in the course. IB is looking for you to demonstrate the learner profile traits that collectively make you a global citizen.
In the class you have received (or will receive) a journal, ink pens and drawing pencils with an eraser & sharpener. These are required materials. Do not lose them.
We'll address the Visual Journal more in the Process Portfolio page.
ABOUT YOUR ARTWORKS
This course is unique in a few ways:
It's not like other art courses at this school.
You get to choose the subject, the media, the size and the intensions of your artwork. I will give you fairly loose prompts and we will focus on building a thoughtful portfolio of work demonstrating your growth and understanding of the art-making process and your own development as member of a global society.
You get to drive your own investigation.
2. It's not like other IB courses.
In some IB courses, you can study and do assignments to prepare you for the final assessment. You can listen to lectures and work with partners and complete presentations. And at the end, you will take a test that will document all of the information you've retained over the year or 2.
Not here.
Each artwork IS a part of your final assessment. When it is due - it is DUE! If you miss the deadline for 1 artwork, the rest will pile on top. Stay on top of the assignments. Do not procrasinate in this class. Set time aside and create work to fill the time.
3. You need to be curious.
Everyone is encouraged to follow their own path and express themselves in ways that are personally meaningful. The work created in this class should be indicative of a part of you. Who are you? What interests you? what has shaped the person you've become?
Because each person's path is unique, you have to be curious. You need to wonder and seek answers. As your teacher, I am only one resource available to you. Once you begin asking questions, the work will guide you.
4. You may need to provide your own media.
The school has the standard range of materials for tradtional art-making practices, and at times, we may even be able to provide more novel or unique materials to support your creative journey.
If we do NOT have what you need, please ask Mrs. Carroll first. If the school can provide the material, we will. I can also ask teachers to bring in materials if you are looking for found objects.
If we cannot provide the media that you feel will best support your artistic intentions, you will need to puchase the materials yourself.
5. Document EVERYTHING!!!
We will get into this a bit more in the Process Portfolio page but the key to IB is visually representing your development as an artist and then explaining it in writing.
It is impossible to remember every idea you had or everything that inspired your work. The visual journal is the place to document this information so in addition to having it every day in class, its a good idea to have it in your other IB classes. IB wants to know that the things your learn in English, Biology or Anthropology are contributing to your growth & exploration in yout art course.
6. Make it meaningful.
The work you create should be personal and meaningful. If it doesn't mean anything to you, then why should it be meaningful to anyone else
EXHIBITION & SUBMISSION
The Exhibition takes place in the Spring and should display your best works. Ideally you will create MORE works than you need or choose to display. Your selection process is part of the curation of the work itself.
This year, we will begin hanging the Exhibition on Tuesday, April 1st.
This means that any and all artworks MUST be completed AND matted by that date.
The space available in the school is the Art Gallery across from the main office and on the walls outside of the auditorium. Your space will depend on the works you've created and the needs for their appropriate display. ***If you've created a work that is site specific, like an installation of sorts. be sure to discuss your display needs with me as soon as possible.
MATTING YOUR WORK
Once your work is completed, it needs a mat or a frame. We have a certain stock of mats that can be used, or you can cut your own. The largest an artwork can be is 18" x 24".
PHOTOGRAPHING YOUR WORK
Each time you submit an assignment, you will be required to photograph the final work. Similarly, at the time of exhibition, we will take a good clear photograph of your final work (sometimes things change from the final submission in class and the exhibition). in BOTH cases, it is important to consider the best ways to photograph your work. See the graphic below.
DISPLAYING YOUR WORK
There are 2 ways to think about arranging your work for the exhibition and this is an important part of your score.
CHRONOLOGICAL
Work is arranged approximately in the order that it was produced. This strategy evidences the development of the student skills, which is not assessable in this component, but will establish relationships between sequential works.
Work is grouped along the lines of formal concerns. This could include the media forms that a student has worked in, so that all of their paintings are together in one part of the exhibition, their sculptures in another. Otherwise, work that is concerned primarily with colour and value, for example, might be grouped together, while an interest in texture and pattern is grouped elsewhere, irrespective of when the work was completed.
NARRATIVE
The work is arranged in a way that best communicates an overarching theme that runs through the entire body of work, irrespective of when the work was completed.
Rather than having a single theme running consistently, the student might identify a series of related sub-themes and group these accordingly. Sometimes, this manner of presentation can loosely reflect a chronology within which the work was created, as artists often find that their ideas and concepts evolve as they produce work that is sometimes quite divergent from the original starting point.
SUBMITTING YOUR WORK to the IB
While the Exhibition is an Internal Assessment, certain work needs to be submitted for assessment. I generally handle to submissions to IB to ensure that if there are any issues that arise in the summer, I am available to resolve them.
The submission requires the following:
2 photos of the overall exhibition (gives a visual of the size, scope & context of the exhibit)
1 good photo of each artwork for submission
2 optional detail photos of each artwork
A Title
Dimensions (in centimeters)
Media Description
Exhibition Text (copied & pasted into the IB submission site)
Curatorial Rationale (submitted as a separate pdf)
Further advice for students (directly from the IB) link
When choosing work for the exhibition, select your strongest work that best reflects your achievement against the marking criteria. Your teacher is looking for consistency in the quality of work, so including a weak work may be detrimental to your overall mark.
Once you have selected your body of work, consider your curatorial approach. Does your artwork reflect a strong material practice (that is, focused on visual qualities, exploring the properties of different media and material and the refinement of technical skills) or a strong conceptual practice (that is, communicating ideas, concepts or themes through the use of imagery)? Adopt a curatorial approach that best presents your work as a coherent body of work.
Document your work photographically before you display it, making use of the best lighting available to you.
Once the exhibition is set up and you are satisfied with it, take a number of photographs of the exhibition. Choose the two shots that best reflect the work in the context of the exhibition.
When preparing the documentation of the exhibition for the purpose of moderation, organize the works in the order that you would prefer the audience to view them, based on your curatorial rationale.
EXHIBITION TEXT
Everytime you create an artwork, you need to give it the following information:
Title
Medium
Size (in cm)
When setting up your exhibition, you need to provide additional text to explain the concepts, media use and intensions of each individual work.
This exhibition text is a maximum of 500 characters. That is really not a lot - maybe 3-4 sentences. With this limited space, you need to be concise with what you say and how you say it.
When completed, these can be printed out and included in your exhibition to help your audience appreciate your work more fully.
Mounting printed exhibition text on foam core board can give your exhibition a professional feel.
Below, please find some examples of level 7 exhibition texts as well as questions to consider when creating your pieces
Your Exhibition Text is due to me by
Friday, April 4th
Criteria A: Coherent body of works
Do your works connect? Are you able to articulate how (imagery, style, concept)?
Have you clearly stated your intentions? Do you make connections between works in this element?
Is the media you chose/choose relevant for the idea you want to achieve?
Do you use your media well (for digital - do you create good quality file sizes so that the work is not pixelated, for paint do you ensure that you know how to create tone/dark/light/shape/form as you wish etc)?
Have you shown that you understand and can carry out art processes well (eg registered printmaking, good quality digital (clear edges if deleting etc, not skewed images), good technique in painting - eg ground colour, good quality paint, good composition etc)?
Have you thought through what images you use in your work and what they might communicate? Have you researched what images might symbolise so that you are aware of what the images might mean to different regions/people? Do the images/drawings/symbols
in your work connect clearly with your artist intention statements?
Criteria B: Technical Competence
Are you able to demonstrate clearly that you know well how to use your chosen media?
Have you used the correct tools/format (digital)/media in the correct interaction (e.g. fat over lean rule in oil painting, using a ground colour in all painting, using correct registration in printing, using correct aperture settings for photography, using correct armature for sculpture)
Are you able to show that you are fluent with your chosen media?
Is your use of media consistent across your works (ie high standard for painting, printmaking sculpture, lens based should you choose to use this range).
Do you show confidence (accuracy, fluency, technical competence) in your use of chosen media?
Do you consider the formal qualities of your composition? Do you consider the format of images, negative space, use of the principles/elements of art and design (have you intellectually engaged with these)? Is your composition visually engaging?
Criteria C: Conceptual Qualities:
Does your work show your idea clearly?
Are you able to articulate your idea to others/yourself?
Have you considered the symbolism of your chosen imagery?
Do you use signs/symbols/carefully chosen images?
Have you explored a range of images and their possible interpretation?
Are the images yours? Do you control the quality, pose, meaning, position ?(This is not always necessary, but should be so unless you are deliberately exploring appropriation...). If using people, portraiture, have you considered how body language communicates to your viewer?
Does your actual artwork relate directly to what you have stated you want it to mean (tip: get someone unfamiliar with your work to interpret it).
Have you ensured that whatever images/symbols/signs that you have chosen are not over used in other artwork? Have you developed the image/symbol/sign to clearly connect to YOUR intention?
Criteria D: Curatorial Rationale
How do you want people to view your WHOLE body of work?
What overall themes (imagery, themes, ideas, concepts) exist in your work?
How do your works connect (how do they form a coherent body of works)?
What ideas/messages did you explore?
What special considerations do you need to consider to present a mood/atmosphere that you want for your work?
Are there special background colours/heights/spaces/ hangings/suspension/lights that will help you present your work in a way that you want?
Have you explained your justification of/reasoning for the selection, arrangement and exhibition of your artworks within a designated space?
Has your statement included a reflection on how the exhibition conveys an understanding of the relationship between the artworks and the viewer?
CURATORIAL RATIONALE
"A well-written curatorial statement is your chance to guide the way the audience perceives your exhibition. It represents an opportunity to communicate directly with viewers, and help them recognize your intent and purpose in your body of work, understand your point of view, and generate intrigue and curiosity about the body of work they are about to experience.
When writing the curatorial statement, it is good to keep some general guidelines in mind. The statement has a word limit.
For SL students, it is 400 words.
For HL students, it is 700 words.
If you exceed this, parts of your statement will not be considered in your assessment." - The IB
A Curatorial Rationale and an artist's statement are similar. It is your chance to explain how the artworks connect to effectively communicate your artistic intensions. You get to tell your audience how to consider your work.
When writing your CR, it's recommended to:
explain how the works connect - don't rewrite your exhibition text. Consider the work as a series or a whole. You don't need to address each piece in the CR
write in the present tense. This invites the audience into the work with you.
use vocabulary words!
incorporate the media selections. In addition to your conceptual development, you should also bring attention to your evolution in media exploration.
use your words carefully. Avoid phrases like "In this work, I wanted to..." These 6 works are a waste of your word count. Write what you want to say, and then go back and edit it down to the maximum number for your course.
STRUGGLING TO GET STARTED?
Check out this resource with a series of questions to help guide your thoughts.
Your Curatorial Rationale is due to me by
Friday, April 4th
While it is not required to follow a specific structure, this guide may help you:
ASSESSMENT
EXHIBITION POINTS
A. Coherent body of works 9 points
B. Technical competence 9 points
C. Conceptual qualities 9 points
D. Curatorial practice 3 points
SL & HL = 30 points
A. Coherent body of works
To what extent does the work communicate:
• a coherent collection of works which fulfil stated artistic intentions and communicate clear thematic or stylistic relationships
across individual pieces?
*Candidates who fail to submit the minimum number of artworks cannot achieve a mark higher than 6
0 The work does not reach a standard identified by the descriptors below
1–3 The work shows little coherence through minimal communication of thematic or stylistic relationships across individual pieces. The selection and application of media, processes and techniques and the use of imagery show minimal consideration of intentions.
4–6 The work shows some coherence through adequate communication of thematic or stylistic relationships across individual pieces. Stated intentions are adequately fulfilled through the selection and application of media, processes and techniques and the considered use of imagery.
7–9 The work forms a coherent body of work through effective communication of thematic or stylistic relationships across individual pieces. Stated intentions are consistently and effectively fulfilled through the selection and application of media, processes and techniques and the considered use of imagery.
B. Technical competence
To what extent does the work demonstrate:
• effective application and manipulation of media and materials;
• effective application and manipulation of the formal qualities?
*Candidates who fail to submit the minimum number of artworks cannot achieve a mark higher than 6
0 The work does not reach a standard identified by the descriptors below
1–3 The work demonstrates minimal application and manipulation of media and materials to reach a minimal level of technical competence in the chosen forms and the minimal application and manipulation of the formal qualities.
4–6 The work demonstrates adequate application and manipulation of media and materials to reach an acceptable level of technical competence in the chosen forms and the adequate application and manipulation of the formal qualities.
7–9 The work demonstrates effective application and manipulation of media and materials to reach an assured level of technical competence in the chosen forms and the effective application and manipulation of the formal qualities.
C. Conceptual qualities
To what extent does the work demonstrate:
• effective resolution of imagery, signs and symbols to realize the function, meaning and purpose of the art works, as appropriate
to stated intentions?
*Candidates who fail to submit the minimum number of artworks cannot achieve a mark higher than 6
0 The work does not reach a standard identified by the descriptors below
1–3 The work demonstrates minimal elaboration of ideas, themes or concepts and demonstrates minimal use of imagery, signs or symbols, or the imagery, signs or symbols used are obvious, contrived or superficial. There is minimal communication of artistic intentions.
4–6 The work visually elaborates some ideas, themes or concepts to a point of adequate realization and demonstrates the use of imagery, signs or symbols that result in adequate communication of stated artistic intentions.
7–9 The work visually elaborates ideas, themes or concepts to a sophisticated point of effective realization and demonstrates the subtle use of complex imagery, signs or symbols that result in effective communication of stated artistic intentions.
D. Curatorial practice (SL only)
To what extent does the work demonstrate:
• the selection, arrangement and exhibition of a group of artworks within a designated space?
0 The work does not reach a standard identified by the descriptors below
1 The curatorial rationale partially justifies the selection and arrangement of the exhibited works as appropriate to the student’s stated intentions, or the curatorial rationale may not be an accurate representation of the exhibition.
2 The curatorial rationale mostly justifies the selection and arrangement of the exhibited works, which are presented and arranged in line with the student’s stated intentions in the space made available to the student.
3 The curatorial rationale fully justifies the selection and arrangement of the exhibited works, which are presented and arranged clearly, as appropriate to the student’s stated intentions within the space made available to the student
D. Curatorial practice (HL only)
To what extent does the work demonstrate:
• the justification of the selection, arrangement and
exhibition of a group of artworks within a
designated space?
• reflection on how the exhibition conveys an
understanding of the relationship between the
artworks and the viewer?
0 The work does not reach a standard identified by
the descriptors below
1 • The curatorial rationale partially justifies
the selection and arrangement of the
exhibited works as appropriate to the
student’s stated intentions, or the
curatorial rationale is not an accurate
representation of the exhibition.
• The curatorial rationale conveys little
justification for the relationship between
the artworks and the viewer within the
space made available to the student.
2 • The curatorial rationale mostly justifies
the selection and arrangement of the
exhibited works as appropriate to the
student’s stated intentions.
• The curatorial rationale mostly articulates
the relationship between the artworks
and the viewer within the space made
available to the student.
3 • The curatorial rationale fully justifies the
selection and arrangement of the
exhibited works as appropriate to the
student’s stated intentions.
• The curatorial rationale effectively
articulates the relationship between the
artworks and the viewer within the space
made available to the student.
ADDITIONAL RESOURCES
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