The Artist Project - This is a REAL IB Assessment that mean TEST!
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Take out a device pull up your screens for your Artist Project
Take out your Artist Project Art Project and supplies.
Make sure you have at least three people fill out a Critique Discussion Worksheet
Finalize your art project and justify your decision based on the critique discussion of your artwork.
Finalize your 12 Artist Project screens based on the template below.
You MUST include the discussion in your Artist Project Screens!
Critique and Discussion Questions for the Artist to answer:
What is my core idea?
What question am I investigating?
What risks am I taking?
What is unresolved?
Who are your artsist?
Critique and Discussion Questions for the Viewers:
1. Conceptual Clarity
What feels clear?
Where does the idea get confusing?
What feels generic?
2. Alignment
Does this feel connected to their inquiry?
Does it feel like part of a sustained project?
3. Risk + Ambition
Is this interesting to you?
Where could they push further?
The_Quest_for_Knowledge_vs_F-111_Mural_Comparison.pdf
Make one for each artwork:
Make one for each artwork:
Your Name
Your Name
Title of the Artwork
Medium Used: Acrylic on Canvas
Exhibition Text: No more than five sentences.
- New Sketchbook assignment: 100 Figures & 100 faces that we are working on today!
How will you display your Charcoal Portrait for the viewer?
What is the situation you will be displaying?
Does the "situate" change the art?
3 Types of Rhythm you can plan...
3 Types of Rhythm you can plan...
Regular rhythm
Regular rhythm
Flowing rhythm
Flowing rhythm
Progressive rhythm
Progressive rhythm
Alternating rhythm
Alternating rhythm
Random Rhythm
Random Rhythm
3 Ways to take action an make patterns...
repetition which creates patterns through predictability
alternation which creates patterns through contrasting pairs (thick/thin, dark/light)
gradation which creates patterns through a progression of regular steps
WINTER ARTS FESTIVAL SETUP & Critique TOMORROW!
WINTER ARTS FESTIVAL SETUP & Critique TOMORROW!
What do you need?
(2) Finished artworks (2) Exhibition Text (1) Charcoal Drawing (1) Your Name Displayed
Charcoal self portrait or other charcoal portrait ready to hang.
MP1 painting and/or Independent Project ready to hang with text written or typed.
Visual Rhythm Project ready to hang with text written or typed.
shadows of the head and face .pdfDRAWING-PORTRAITS-FACES-AND-FIGURE-Giovanni-Civardi.pdf
Generative Statement: "The gaze between artist, subject, and viewer determines the story a portrait tells.”
Lines of Inquiry:
How does Sherald’s calm, direct gaze from her subjects shift power between viewer and sitter?
What strategies can artists use to control or complicate the viewer’s gaze?
How do lighting, framing, and expression affect the perceived relationship between subject and observer?
Generative Statement: "Portraits do not show who we are they show who we choose to be.”
Lines of Inquiry:
How does Amy Sherald use color, clothing, and pose to construct identity rather than record it?
In what ways can artists manipulate realism and symbolism to express chosen identities rather than likeness?
How do social, cultural, or historical contexts influence how we present or conceal aspects of ourselves in portraiture?
Generative Statement: "Rhythm in portraiture shapes how we move through a face, a body, and a story.”
Lines of Inquiry:
How does Amy Sherald create visual rhythm through patterned clothing, repeated shapes, and controlled color fields?
How can rhythmic repetition guide a viewer’s eye across a portrait to reveal or emphasize meaning?
In what ways can artists disrupt rhythm to create tension, pause, or emotional impact in a figure?
Leonardo da Vinci Drawings to Print.pdf
My underpainting is done now what?
My underpainting is done now what?
What was the main ingredient for your underpainting?
What was the main ingredient for your underpainting?
What's our next main ingredient?
What's our next main ingredient?
Next Week: Meetings with Ms. Z about Artist Inquiry Portfolio & "Figures in an Environment" painting.
Next Week: Meetings with Ms. Z about Artist Inquiry Portfolio & "Figures in an Environment" painting.
AcrylicBasicsColorMixing.pdf"About the Art" you made...
"About the Art" you made...
Explain your purpose: Clearly state the intent behind your experiments and artworks.
Describe your process and challenges: Detail what you tried, what worked, and what didn't. Discuss technical problems you encountered and how you solved them.
Connect to influences: Explain which artists or cultural movements inspired you, what specifically you liked about their work, and how these influences shaped your own artistic decisions.
Show personal and cultural connections: Reflect on how the work is connected to your own life, your attitudes, and broader social or cultural issues.
Evaluate your work: Critically assess the outcomes. What is working well, and what could be improved? How will your reflection guide your future work?.
Make explicit links: Cross-reference pages and connect ideas across different parts of your journal to show how your thinking has developed.
Take all of this information and make at least two google slides with photos of your artwork, process photos and photos of your sketchbook. No good slide templates!
Take all of this information and make at least two google slides with photos of your artwork, process photos and photos of your sketchbook. No good slide templates!
Generative Statement:
Generative Statement:
Artists use the relationship between the figure and their environment to construct narratives that reveal identity, emotion, and the human condition.
Lines of Inquiry:
Lines of Inquiry:
How can the environment function as a character in a narrative artwork?
Students investigate how surroundings—natural, architectural, or symbolic—communicate emotion, mood, or context beyond being a backdrop.
In what ways do artists use the figure-in-environment to express identity or social commentary?
Students explore how placement, context, and symbolism around the figure reveal personal, cultural, or political narratives.
How can composition, color, and spatial relationships between the figure and setting create psychological or emotional depth?
Students experiment with formal elements to amplify narrative tension and the viewer’s emotional engagement.
Option 1 – Storytelling Focus
Option 1 – Storytelling Focus
Generative Statement:
“The spaces we inhabit tell our stories as clearly as our faces do.”
Line of Inquiry:
How can an artist use environment, setting, and atmosphere to reveal emotion, character, or narrative?
Option 2 – Psychological Space
Option 2 – Psychological Space
Generative Statement:
“Every place is a portrait of the person who occupies it.”
Line of Inquiry:
How can setting function as a psychological mirror, reflecting the inner world of a figure?
Option 3 – Presence and Context
Option 3 – Presence and Context
Generative Statement:
“A figure without context is a ghost; space gives them meaning.”
Line of Inquiry:
How does an artist bring a figure to life through interaction with the surrounding environment?
Option 4 – Time and Memory
Option 4 – Time and Memory
Generative Statement:
“Our environments hold the memory of our movements.”
Line of Inquiry:
Week 3 – Sep 26-
Week 3 – Sep 26-
Draw 2 experimental sketches using your reference photo in your sketchbook. Be sure to use two different drawing materials even different paper but it needs to be in our IB sketchbook.
DUE MONDAY:
2 sketches in two different drawing mediums.
Photo references and inspiration references, printed or saved to a school issued device.
ALL your materials and "ground" in class for your identity still life final project.
You will be committing to a STILL LIFE today and the materials you will explore. Each student confirms with Ms. Zuaro on our shared google sheet and print their photo.
Assignment Title: Artist’s Inquiry Portfolio – Topic Exploration
Instructions: Narrative Still Life: Brainstorm potential topics. Identify personal interests. Create exploratory sketches.
Due: Sep 19
Generative Statement: Your personal experience is the only valid source for meaningful art.
Resources: None
Week 2 – Sep 19
Week 2 – Sep 19
Assignment Title: Artist’s Inquiry Portfolio – Topic Exploration
Instructions: Narrative Still Life: Brainstorm potential topics. Identify personal interests. Create exploratory sketches.
Due: Sep 19
Generative Statement: Your personal experience is the only valid source for meaningful art.
Resources: None
Week 0 – Sep 9
Week 0 – Sep 9
Assignment Title: Welcome & Course Overview
Instructions: Introduce yourself to IB Visual Arts. Organize your sketchbook, review materials.
Due: Sep 12
Generative Statement: How much of your humanity are you willing to give up to gain comfort and ease. This is the question we have for AI and tech in the future.
Resources: None
Week 1 – Sep 12
Week 1 – Sep 12
Assignment Title: Welcome & Course Overview
Instructions: Introduce yourself to IB Visual Arts. Organize your sketchbook, review materials.
Due: Sep 12
Generative Statement: Art is only worth doing if it shocks someone, or gets a large emotional response.
Resources: None
Finding Your Personally and Culturally Relevant Starting Point.pdfWeek 4 – Sep 26
Week 4 – Sep 26
Assignment Title: Research & Concept Sketches
Instructions: Research 3 artists or movements. Create 3–5 concept sketches inspired by your research.
Due: Sep 26
Generative Statement: Research is irrelevant; instinct matters more than knowledge in art.
Resources: Leonardo da Vinci – Met (Renaissance)
Prompts for your creation:
Prompts for your creation:
"The embodiment of boredom”
“Happiness wearing a disguise”
“A walking dream”
“Chaos turned into a person”
“Technology come to life”
The "exquisite corpse" (from the French cadavre exquis) is a collaborative creative game originally invented by Surrealist artists in the 1920s. It is a group activity where participants contribute a piece of a larger creation without seeing what the others have done. The final result is an often absurd, surprising, and dream-like composition that taps into the participants' collective unconscious. The classic drawing gameThe game was first adapted visually from a parlor game called "Consequences". How to play:
- Start with a paper. Fold a piece of paper into as many sections as there are players, with each section representing a part of a figure (typically head, torso, and legs).
- Draw the first part. The first player draws a head on the top section of the paper, making sure the neck lines extend slightly into the next section.
- Fold and pass. The first player folds the paper to conceal their drawing and passes it to the next person.
- Draw the next part. The next player uses the few visible lines as a guide to draw the next section (the torso and arms).
- Repeat. Players continue to fold and pass the paper until the figure is complete.
- The reveal. The group unfolds the paper to discover the strange, mismatched creature they have created together.
- Literary: Writers follow a sentence structure, such as "adjective-noun-adverb-verb-adjective-noun," to create a surreal poem or story.
- Film: In 2012, the comedy group Olde English created The Exquisite Corpse Project, a feature film where each writer could only see the last five pages of the script before writing their section.
- Music: Composers John Cage and Lou Harrison created pieces by writing a bar of music and passing it on, with only one or two notes visible to the next person.
- Comics: In 1995, Art Spiegelman and R. Sikoryak co-edited The Narrative Corpse, a comic book with contributions from dozens of artists.
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