an informed understanding of the cultural significance of the selected artworks, objects and artifacts within the specific context in which they were created.
At the highest level of achievement, 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.
Fine Art is not created in a vacuum. It is a representation of artists' interaction with the world. What is happening in the world impacts what they produce, what it looks like, what it says. Below you can see a timeline that demonstrates connections between the art movements and the rest of the world. There is a suggestion that popular culture, science, politics etc reflect the work that the artists produce. Have a look and see if you can find connections.
This is another timeline that shows the connections between movements. There are elements of the artwork that are connected, as something important, like reductive use of line, or the introduction of spray paint) can lead to new possibilities of expression. For more informaiton on this time line click here
This is a inforgraphic by that shows how the movements fit together in chronologically and key players within each movement.
Images:
https://datadesign.wordpress.com/2016/01/26/timeline-of-modern-art/
https://drawingninja.com/resoure/896601/art-movement-diagram-from-good-ol-keith-wiley-art-tips-misc-art-movement-diagram-from-good-ol-keith-wiley.jpg
https://i.pinimg.com/originals/b4/85/4a/b4854a81d3843c058c4fae0a68304f2b.jpg
This video shows how the concept of beauty has changed a lot of time, it is not static. Where do those ideas come from? Where are the images from? Art. The wo
You need to make connections between WHAT we can see and WHY
When doing your research you need to find things that are important and relevant, not everything will be. It is your job to make these connections and find research that is relevant and valuable.
.... so .....
What is happening in the artist's world?
Financial circumstances (personal & local)
Love?
Fame?
Children?
Where are they living?
Is this where they were born?
How old are they?
Is this piece early or late in their career?
How did they feel about the world that they were living in?
What is their relationship to the subject?
Can you find a quote from the artist about this or other work?
What is happening in the wider world?
Had there been a war?
Is there political unrest?
Is there political success?
issues and events?
What are the important the socio-economic factors to them?
What about a quote from an art critic or art curator?
What movement is the artist a part of?
What is important in the movement?
What does this movements' work tend to look like?
What ideas underpin the movement?
How does the situation the artist found themselves in affect what they are making art about?
How did the art critics and audience respond to the artwork at the time? End with summary of significance of this artwork. else is in this movement?
What was before this movement?
What was after this movement?
Use Graphic Organisers to show the connections between what is "on the canvas" and what is outside of it. Question How did the wider world, and the artist's experience impact the work that was produced?
another example
another example
another example
another example
The decade preceding the creation of Horn’s Finger Gloves (1960s) saw plenty of socially and politically rooted movements advocating for women’s rights, and the art world did nothing but reflect this trend. The Feminist Art Movement (refereed to as FAM) saw its peak during the 1970s when Horn was creating her most renown body sculptures. The aims of this movement included the production of art that depicted realistically women’s daily lives -especially in domestic scenarios- as well as to alter both the production and reception of contemporary art. The body of work produced by women adhering to the FAM did not comprise only paintings to sculptures, but saw an intensification of collaborative installations and performance art pieces. The year preceding the production of Horn’s Finger Gloves saw the publishing of Linda Nochlin’s controversial essay Why Have There Been No Great Women Artists? Horn produced the majority of her work in the time frame of the FAM which is referred to as the First Wave of Feminist Art, in which women artists adopted radical and sometimes unsettling approaches to art making, exploring women’s femininity through depictions of female nudes, female genitalia and menstrual blood. Horn seems to explore the relationship between the human body and the space around it without using gender disparity as a means to achieve recognition and approval from viewers. Her body sculptures seem to never exploit female nudity in order to draw spectatorial attention to her work, but almost engage in a scientific exploration of the relationship between man and the environment in which he lives in. Also, the industrial nature of her work makes it adaptable both to men and women.
In this portion of my CS, which was awarded full marks (I achieved a level 7 with 100% overall in VA HL), I referred to the various social and cultural changes that were occurring in the 1960s-70s, but I always reconnected them back to the original piece, showing how these had an impact on the piece itself. I highlighted in red above the areas where I have done this. Notice also how I explored the social and cultural conventions of Feminist Art in the 1960s-70s (the sentence in teal green) and then illustrated how Horn interpreted these social and cultural trends, deviating from them when producing her works.