Critical Investigation

Exploring artists in the PP in support of own development

Process Portfolio

Criterion B Critical investigation

To what extent does the portfolio demonstrate the students critical investigation of artist, artworks and artistic genres, communicating a growing awareness of how this investigation influences and impacts upon their own developing art-making practices and intentions?

Look at relevant artists

Explore artworks relevant to students own art making! This could be in terms of medium, style or technique! Make it critical rather than biographical ( we dont need to know about Van Goghs ear)- deconstruct the work, pick it apart, why is it interesting to you? How has it influenced your ideas/process/ development?

It is very helpful to observe how other artists develop ideas through material (making) and conceptual (thinking) processes.  Whenever possible go see actual artwork yourself, in museums and galleries, in studios, not just on the internet. The physical presence of a work tells us much more about process than a photograph of it.

Exhibition Visits are great for stimulating this response, especially when the student discovers artists and makes genuine connections with the work encountered.

This is the Criterion with largest number of zero marks, indicating that a number of students either neglected to investigate any artist’s art-making practices, or just presented biographical information about artists.

These students often failed to provide any evidence of some critical investigation into the works of other artists that related in meaningful and significant ways to their own art-making practices. It is essential is that the works that are explored are relevant to the students art-making, in terms of the medium, the style or the technique. The investigation needs to be critical rather than biographical or historical , candidates need to deconstruct the work, thus analyze and interpret it.

It has proved of value to include reflections or critiques of exhibitions when these stimulate some material or conceptual connection to the students own practices. Students who created artist copies with clear intentions at comprehending an aspect of artist work or process were clearly focused as investigation. In the best cases, critical investigations were not used for the purpose of appropriation, but as an opportunity to explore another’s technical or conceptual practice In support of own art-making practice.- adapted from the subject report 2017

Visual Journal Assignment

How does this artist influence my work? PP crit B pdf

  • Why did you look at this artist, what interests you about her work?
  • Have the ideas or concepts explored been of particular interest to you, why?
  • Have the techniques or materials used by this artist influenced you and how?
  • Has the artists style impacted your work in any way?
  • How do you feel you have responded to this artists influence in your own work?

Assessment Clarification: students must not try to address this criterion by reusing content from their comparative study component or work from their extended essay. However, it could be another work by the same artist!

Student example

In the slide below Zeida reflects on how an artist she studied directly impacted her work. This is the PP, not the CS, and yes, students can and should include slides that explore these influences, but not use the same material that is in the CS. ( ie. you could explore a different artwork by the same artist)

Activity:   Design a PP screen that investigates an artist's influence on your work

Choose an artist whose work has directly inspired you. This could be an artist of whom you have investigated an artwork for your CS, but do not use the same content that is in your CS screen. Design a portfolio screen that shows clear connections between their work and your own practice. Consider any formal, stylistic influences and material and conceptual influences. Consider how the artists' process may have impacted your own.

  • Demonstrate, using visual examples, how the artists’ way of working has influenced your handling of techniques and materials.
  • Discuss the influence of the artists’ ideas and subject matter on your own thinking process.
  • Discuss the way in which your work differs from this artist.
  • Make sure you reference all images and sources.

See the connections between all 3 course components

Throughout your course, reflect on how your studio work, from which you will select and curate your final Exhibition, is supported and informed by the other two components, the Process Portfolio and the Comparative Study. Although these three components are assessed individually, they are also very much intertwined, with your artistic interests being the guiding force.

You can reflect on these relationships in the Process Portfolio too!

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