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Author Topic: The Art of Bullshitting: Section 1  (Read 6008 times)  Share 

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beatroot

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The Art of Bullshitting: Section 1
« on: March 17, 2018, 11:42:14 am »
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Section 1 consists of unseen artworks. These works can range from a painting, mixed media, installation and so much more! (excl. time based forms. NESA is yet to discover a way to include films in Section 1). Though each question is either 5, 8 or 12 marks, making it a total of 25 marks! How does one study for Section 1? How does one structure their response? How does one ace Section 1 gracefully? Welcome to ‘The Art of Bullshitting’ series. In this ‘TAOB’ guide, we'll be tackling Section 1.
 
PREPARATION:
 
Depending on your study habits, you might either do a gazillion practice papers and get it marked by your teacher OR do one question the day before and hope that you get a good mark (this was me!) The first method is definitely a good way of acing Section 1 as this allows for good practice, exposure to different works and feedback from your teachers. Ensure you are developing your vocabulary as this shows sophistication. Avoid using words such as ‘happy’ or ‘sad’ or ‘boring’. Use words like ‘joyful’ or ‘melancholy’ or ‘banal’ instead. Pretend that you’re an Extension 2 English student writing their major ;)
 
However, the second method should only be done if you’ve been analysing works for a long time and are fully confident with your art theory!
 
Whatever method you use, always do this in timed conditions. I loved the 45 minutes allocated for Section 1 because this meant less time for doubts and more time for bullshit. Your thoughts flow more smoothly when under timed conditions. You begin with one thing, keep adding other things and end up with a somewhat plausible interpretation. For example, if you end up getting Marcel Duchamp’s ‘Fountain’ and get asked how it creates a relationship with the audience, you can say:
 
Quote
Duchamp successfully creates a relationship with the audience by using a found object of the urinal, which was obviously made during the industrial revolution. The industrial world that involved manual labour of thousands of people was now being celebrated through art. Therefore creating an intimate and possibly a personal experience between the audience and the work

Sounds completely bullshit, right? But doesn’t it make so much sense? You just have to keep on adding random things and make sure they connect with one another.
 
STRUCTURE:
 
Refrain from making an introduction and a conclusion for Section 1, UNLESS you’re answering the third question and you have enough time. In question 1 and 2, you don’t have time to make a complete essay. Go straight into your analysis. A great way of starting your analysis is by using this foolproof method:
 
“In this (medium of work) called (name of work) (year of work) by the (nationality of artist) (artist’s name), it appears to be a (small summary of what the work looks like).
 
For example:
 
“In this found object artwork called ‘Fountain’ (1917) by the French artist Marcel Duchamp, it appears to be an upside down urinal, signed under the alias ‘R. Mutt’”
 
By using this structure, you’ve already acknowledged all significant aspects of the work. Since you’ve recognised all parts of the work, you’re able to link them back to the question easily, even in the small time limit. Once you’ve done with the introductory sentence, you may move onto other parts of your analysis. It’s all about adding enough bullshit statements, with evidence of course, to get top marks for Section 1. “But what if my bullshit is wrong?”. There’s no such thing as wrong bullshit in Visual Arts. This subject is practically made with bullshit. It’s just all about making the bullshit make sense and plausible and it’s your responsibility to connect it with the question.
 
THREE TYPES OF QUESTIONS:
 
There are three questions provided in Section 1, each question representing the ‘iconic trio’ of Visual Arts. The ‘frames’, ‘practice’ and the ‘conceptual framework’. You’ve known this trio since the very start of your Visual Arts studies. To know the difference between a frames, practice and CF question, these are the distinct features of each:
 
A frames question typically asks about one specific frame. It is rare for the question to ask about the subjective frame UNLESS it also asks for the structural and cultural frames.
 
A practice question can go two ways: material and conceptual practice. Material practice refers to the choice of materials and how it evokes a message. Whilst conceptual practice is how the artist gathered their thoughts and ideas in the first place. When you think about it, practice is pretty much an extension of the cultural and structural frame.
 
A conceptual framework question is probably the easiest out of the three as all you have to do is link every factor with the work’s audience and society’s response. Just keep on linking back the work to society and you should be sweet. A CF question usually mentions the impact of the work on the audience or how the work creates a relationship with the audience.
 
During reading time, ensure that you distinguish which question is what so that you’re not wasting your writing time.
 
APPROACH:
 
Imagine this: You’re in the exam room. All your pens are laid out. The exam supervisor says that you may start reading. What’s the first thing you do?
 
After picking out your essay question for Section 2, go back to Section 1 and figure out what each question is asking. Is it asking how the work presents an aspect of the postmodern frame? Is it asking how the work presents motion? Is it asking how the work illustrates the notion of the sublime? Once you’ve determined if a question is a ‘frames’, ‘practice’ or a ‘conceptual framework’ question, move onto the plates booklet.
 
Make connections between the given plates and their question. Ensure you provide evidence to get full marks. It doesn’t matter if it will take one or five sentences to get to your point, just keep on making connections until you’ve proven your point.
 
Let’s say you’re given a structural frame question and it’s asking how the futurist painting work presents motion, you can say: “the swift paced brushstrokes is evident of the influence of the futurist movement whereby artist presents motion in a typical manner”
 
DON’T KNOW THE PERIOD OF THE WORK? NOT A PROBLEM:
 
At one point during your high school life, you probably would’ve made a timeline of art periods throughout time. It’s okay if you cannot remember the timeline of art periods. I remember making one back in Year 10 and I haven’t looked at it ever since. If you think a work is cubist (but is actually futurist), then prove your damn point. What aspect of the work makes you think the work is cubist? It doesn’t matter if you get the art period wrong. The markers care about your capacity to build an argument. I did,  in fact, thought a futurist work was cubist. However, my argument felt plausible and got 4/5 from my teacher. There’s no such thing as right and wrong in Visual Arts ;)
 
MORE BULLSHIT
 
Still unclear on how your analysis is supposed to look like? Check out these bullshit statements I’ve made in Year 12:
 
Specifically, how does Bicycle Wheel (Marcel Duchamp) make a comment on society and the art establishment? (Conceptual Framework)
 
Quote
Bicycle Wheel is a readymade by Marcel Duchamp in 1916. Through this artwork, Duchamp questions the notion of what can and cannot be considered as art. The Bicycle Wheels involves a wheel mounted on a stool. Duchamp cleverly makes a connection between the stool, the object displaying the wheel, and a pedestal, where sculptures are typically mounted on. The Bicycle Wheel is an example of anti-art establishment and questions the traditional skill of sculpting. Sculptures do not necessarily have to be made in the conventional way in order to be regarded as art. The artwork also comments on industrialization and normalises its place in the art world.

Discuss how Anselm Kiefer broke from tradition in his use of materials and unconventional combinations of media (Practice)
 
Quote
Keifer’s works involves the traditional art making practice of painting. However, he challenges traditional painting by altering the surface of the painting by adding substances such as tar and lead. The appropriation of these substances adds further meaning to the artwork. For example, the use of lead in Lilit’s Tochter represents the German militarism that was a factor contributing to the events of the Second World War, a topic that is seen prominent in most of Kiefer’s works. By using unconventional combinations of media, he allows for a deeper narrative for his work just through material practice alone.

How does John Olsen depict the Australian landscape in his work? (Frames- specifically structural)

Quote
In this oil on composition board called ‘Sydney Sun’ (1965) by the Australian artist John Olsen, it appears to be an abstract depiction of the Australian land. The painting consists of freeform lines and vibrant yellow colours, capturing Olsen’s innovative approach to the landscape.  Audience interaction is key to fully understanding and connecting with the artwork. The lines create a sense of adventure in the as it leads the audience to multiple destinations and views. The audience is drawn to explore this area and see it from Olsen’s perspective. The paintbrush is an extension of the artist’s body, creating flowy brushstrokes and creating a visual illustration of energy and movement, capturing the uniqueness of the Australian landscape. John Olsen not only captures the energy and movement of the Australian land, but Sydney Sun is also a visual documentary of the land, expressing the hidden, outback side of the Australia and bringing attention to it to his audience. From this, John Olsen captures the hidden, vibrant Australian landscape to his viewers.

'The Art of Bullshitting' series: Section 2
« Last Edit: July 25, 2019, 01:12:49 pm by beatroot »
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AlanMate

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Re: The Art of Bullshitting: Section 1
« Reply #1 on: March 17, 2018, 11:49:08 am »
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hahah this has helped me

elysepopplewell

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Re: The Art of Bullshitting: Section 1
« Reply #2 on: March 18, 2018, 08:55:57 am »
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ANOTHER FANTASTIC GUIDE BEA!!!!!

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