Studio Arts GA

201
Assess
Rep
2011

GENER
In the 2011 S
the year. Som
exhibiting ar
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exams detac
requirements
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Question 1
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the artwork.
which the ma
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charcoal and
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shapes of the
3 Exam
11
sment
port

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Studio Arts ex
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ssue this year
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IC INFOR
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OMMEN
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and to respond
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one artwork fr
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artwork. Some
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e artist used te
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canvas. The m
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URRICULUM A

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years, few stu
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4
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ith which it w
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AND ASSESSME
Studi
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study.
knowledge an
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udents discuss
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question abou
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and applied th
te
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5
14
how material
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m paper was in
as made, and
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rk was made. O
manipulate ma
practices in re
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ll done. For ex
e stated under
he canvas, pre
with pencil and
When finished
have drawn th
and cut the ne
ENT AUTHORIT
io Arts: G
t art exhibition
t in the proced
VCE Studio Ar
nd understand
ell, but many
mple, many stu
sed aesthetic q
t is often the f
lyse. Student
ut artists, artwo
r each questio
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ls and techniqu
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students need
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aterials. Unit 3
elation to part
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the image of
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e image onto
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TY 2012
GA 3: Exa
ns they had vi
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qualities, style
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ing or factual
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ues had been
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ticular art form
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ork number 1 w
the artwork in
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address all
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Studio Arts GA
201
Assess
Rep
and detailed
placed on the
been lifted ca
repeated to m

Many studen
acrylic paint,
was made by
how Margare
information t

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The artist
canvas ove
coats of ge
would hav
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realistic sh
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one. Fine b
Question 2
Marks
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Question 2 re
the artwork.
the vehicle o
climate chan
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discussing th
for students t
artwork, prop

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Max Dupa
gentle por
his view of
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always be
Question 3
Marks
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Question 3 re
create aesthe
form, shape,
and principle
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one part of th

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an art elemen
write about c
Students who

3 Exam
11
sment
port
way. The lino
e lino, and the
arefully from
make an editio
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, and it is put t
y sewing; this
et Dodd colou
that accompan
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when making h
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esso, a calcium
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crack. The artis
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2
equired studen
In works of ar
f communicat
nge meaning o
ses to artwork
he idea commu
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posed ideas an
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ain, a renowned
rtrait gives the v
f the world; tha
phy and art it is
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4 5
equired studen
etic qualities in
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es of art, toget
nts think that a
he multiplicity
ng is an extrac
nt has been us
colour as an ar
o responded in
o would then h
e lino and pape
the lino and w
on of 75 prints
monstrate a de
through a prin
technique wa
ured her ceram
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ple of a high-s
his canvas woul
r using pliers an
carbonate fille
etched onto the
ound, painting
he worked towar
st would have pa
have been used
1 2
7 2
nts to select on
rt, ideas and m
tion between t
f the work wa
ks 4 and 5. We
unicated. Goo
rior knowledg
nd employed a
ple of a good r
d modernist pho
viewer an insigh
at he looks at th
hard not to vie
ns and this juxta
2
13
nts to select on
n the artwork.
ound and ligh
ther with the a
art elements in
y of the artwor
ct from a high-
sed to create th
rt element but
n this way did
have been roll
er would have
when dry been
s.
etailed underst
nting press, no
s seldom men
mic car (artwor
ork indicated i
scoring respon
ld have first bui
nd secured it us
er which preven
canvas using p
the sky first and
rds the surface
ainted in many
d for detail.
2 3
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ne artwork fro
meanings are t
the artist and t
as very appare
eaker response
od responses id
ge of an artist
art language.
response (artw
otographer, who
ht into a photog
he world with a p
ew the world in
aposition demo
3 4
16 2
ne artwork fro
The VCE Stu
t. Aesthetic qu
application of
n isolation con
rks aesthetic.
-scoring respo
he aesthetic qu
t do not then d
d not answer th
Published: 8
led with black
e been put thro
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tanding of art-
ot a linen pres
ntioned by stud
rk number 3).
it was glazed e
nse (artwork n
ilt a wooden fra
sing staples and
nts bleeding of t
pencil or charco
d the girls last.
he would have
layers, waiting
4
19
om the insert a
the concepts, c
the viewer. M
ent, and some
es simply desc
dentified symb
or artwork as
work number 5
o saw beauty in
graphers mind
photographic a
a certain way.
nstrates this.
4 5
23 14
om the insert a
udio Arts Study
ualities in an a
materials and
nstitute aesthe
.
onse (artwork
ualities of war
discuss how co
he question fu
March 2012
k oil-based ink
ough a printin
ed with earth-c
-making proce
s. Kristin Lee
dents. A varie
This was par
earthenware.
number 4) that
ame called a st
d rabbit-skin glu
the paint and gi
oal and then he
He would also
used a thinning
g for each one to
5
14
and discuss th
content and in
Many students
responses wer
cribed what co
bolism, metap
marks were a
5).
n the unnoticed,
d. The camera h
and aesthetic vi
Jill White has e
6
14
and discuss ho
dy Design lists
artwork are de
d technique, to
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number 4). Th
rmth, beauty a
olour has been
ully and could
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ety of incorrec
rticularly disap
t addresses all
tretcher. He wo
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ives a smooth w
would have beg
o have worked fr
g oil such as lin
o partially dry
6 A
9
he ideas and m
ntention of the
wrote about a
re very good.
ould be seen in
phor and narra
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, was beautifully
held parallel to D
iew. Once a pho
explored that th
7 8
7 5
ow two art ele
art elements
eveloped by th
o elicit a respo
but do not und
he student has
and harmony.
n used to creat
d not be award
e paper would
paper would th
ercolour. The
not etched or
rment (artwork
ct answers wer
ppointing as th
l criteria.
ould then have
uld have applie
working surface
gun to paint fro
from light to dar
nseed oil so tha
before beginnin
Average
3.4
meanings comm
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artwork numbe
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n the artwork
ative. It was n
ow a student r
ly captured by J
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otographer lear
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ements had be
as: line, colou
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erstand that th
s discussed ho
Most student
te aesthetic qu
ded full marks
d have been
hen have
process was
painted with
k number 8)
re given for
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stretched the
ed 2 or 3 thin
e. The image
om the
rk to create his
t the painting
ng the next
municated in
e artwork is
er 10 as the
ome very
, rather than
ot necessary
read the
Jill White. This
demonstrates
rns the skills of
tographer will
e
een used to
ur, texture,
g the elements
viewer.
hey are only
ow colour as
ts are able to
ualities.
.

2

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Studio Arts GA
201
Assess
Rep
Analogous
bright, dee
generate b
Question 4
Marks
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This question
another artist
many studen
some underst
Unit 3, Area
consideration
with appropr
refers to the o
original when
some underst

The followin

Moral rights

Legislation
artwork. T
right of int
Originality

The art wo
stemmed fr
Copyright law

The Austra
Australia c
circumstan
breached.
Question 5
Marks
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This question
to preserve o
question and
curator and th

For example
oil paint wou
mixed with a
and that the p
carefully to e
wedges.

In artwork nu
flaws and wa
trunk attache
the same reas

3 Exam
11
sment
port
s colours contra
eply saturated c
beauty and harm
0
3
n was about ap
ts artwork. S
nts were able to
tanding of arti
of Study 3 of
ns that may ar
riation and ori
original, authe
n it takes a co
tanding of thi
ng is an examp
of artists
n was passed in
These rights inc
tegrity, that the
orld holds origi
from their indiv
w
alian copyright
copyright law l
nces. Although p

0 1
3 3
n asked studen
or conserve the
d gave innovat
he public.
, in artwork nu
uld not rot the
a suitable med
painting, when
ensure that the
umber 9 the sc
as of an accep
ed to the left le
son has not de
ast with the com
colours to evoke
mony.
1 2
9 1
ppropriation a
Students were
o define copy
ists moral rig
f the study des
rise from the u
ginality, copy
entic, individu
oncept or idea
s meaning we
ple of a high-s
n December 200
lude a right of
e artwork may n
inality very high
idual, creative
t law of 1968 pr
lasts 70 years af
people will alw
2
6
nts to select an
e artwork in a
tive and appro
umber 4 the a
canvas and th
dium such as li
n fully dry, wa
e canvas was n
culptor would
table grain an
eg of the figur
etached the rig

mplementary co
e warmth and h
2 3
6 20
and understand
asked to defin
right law and
ghts enshrined
sign states, St
use of other ar
yright law, lice
ual, unique, fir
and reworks i
ere awarded so
scoring respon
00 awarding ar
attribution, tha
not be used in a
h in their priori
and innovative
rotects artists fr
fter the artists
ways do what th
3
12 1
n artwork from
a public gallery
opriate answer
artist would en
hat the colours
inseed oil. Th
as protected w
not dented. If
d choose the b
nd quality to al
re to strengthe
ght knee and t
Published: 8
olours to add va
harmony. Millai
4
22
ding the conse
ne the terms m
mention the A
d in this Act bu
tudents identif
rtists work in
ensing agreem
rst and genuin
it to create a n
ome marks.
nse to Questio
rtists moral righ
at the artwork m
a way that is pre
ities. Originality
mind. The first
rom having thei
death but the c
hey want the Cop
4 5
16 17
m the insert an
y. Many stude
rs to propose t
nsure that the c
s were perman
he artist could
with a non-yel
the canvas be
lock of marbl
llow fine deta
en the lower p
the left hand o
March 2012
ariety and hold
is has focused m
5
17
equences of o
moral rights,
Australian Cop
ut nearly all st
fy and review
the making o
ments and the m
ne form of som
new meaning.
on 4.
hts effective imm
may not be false
ejudicial to the
ty can be define
t or initial piece
ir work exploite
copyright licens
opyright Act offe
6
15
nd discuss wh
ents were able
the responsibil
canvas was pr
nent, not fugit
ensure that th
llowing varnis
ecame slack, th
e carefully in
ail. The sculpto
part of the scul
of the figure.
the interest of t
mainly on the se
6 A
14
ne artist maki
originality
pyright Act 19
truggled to de
w the issues, le
of new artwork
moral rights o
mething. Appr
Students who
mediately upon
ely attributed to
artists reputat
ed as being an a
e of something c
ed, plagarised o
se may be sold b
fers legal regres
7 8
13 8
hat the artist, c
e to apply thei
lities and actio
roperly prepar
tive, and had b
here was no bi
sh. The artist w
he artist woul
order to ascer
or designed th
lpture so that i
the viewer. Mill
election of colo
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ing a new artw
and copyrigh
968. Most stu
efine the word
gal obligation
k, including a
of artists. Orig
ropriation can
o showed that
the creation of
someone else,
tion or honour i
artists own wor
can be referred
or used without
before this unde
ss for artists if c
8 9
8 5
curator and pu
r knowledge t
ons of the arti
red and sealed
been finely gr
itumen in the d
would store th
d tighten the s
rtain that it wa
he artwork wit
it would not b
lais uses
our in order to
work from
ht law, and
dents had
d originality.
ns and ethical
familiarity
ginality in art
n be seen as
they had
f a new
as well as the
in any way.
rk which has
d to as original.
t permission. In
er certain
copyright is
Average
5
ublic could do
to this
ist, the
d so that the
round and
dark colours
he painting
stretcher with
as without
th a tree
break, and for

3




Studio Arts GA
201
Assess
Rep
Kristin Leek
material, and
feathers and

Most student
running, carr
to the gallery

Responses ab
put an oil pai
information a
artwork unde

The followin

The artist
the artwor
the artwor
the linocut
As the artw
no more th
the temper
as at 67%
The public
bags into t
from hand
of conserv
gallery spa
Question 6
Marks
%
This question
the presentat
and did not r
were basic; f
concerning th
art space. Stu
in the prepar
exhibition sp
Some studen
exhibition. T
discussion ne
The followin
The Bruns
generate r
hold educa
feature exh
gallery an
on canvas
diagnosed
to consult
light must
degrees ce
artist to en
viewers, h
3 Exam
11
sment
port
, in artwork nu
d make sure th
grass plumes
ts understood
rying bags, eat
y was a good w
bout the curato
inting or a ma
about tempera
er discussion.
ng is an examp
could use arch
rk in a frame un
rk was placed b
t was prolonged
work is on pape
han 50. They wo
rature in the ga
mould grows.
c wouldnt cons
the gallery in ca
ds can cause dam
vation specified
ace.
0 1 2
3 2 3
n 6 asked stud
tion of the artw
refer to a speci
for example, s
hat some resp
udents need to
ation, present
paces in their c
nts wrote abou
The question d
eeded to focus
ng is an examp
swick Street Ga
revenue through
ational tours fo
hibition for Sea
d the walls wer
of small boys i
d with ADHD). T
with the artist a
be less than 15
entregrade + or
nsure the artwo
owever in the R
umber 8, coul
he scarlet dye w
were securely
that the publi
ting, drinking
way of ensurin
or or artist we
arble sculpture
ature, humidity

ple of a high-s
ival quality ma
nder glass to en
beneath mount c
d. They could li
er it is in the hig
ould also use tu
allery was 20-22
White, cotton g
sume food or dr
ase they caused
mage marks to
by the gallery a
2 3 4
3 5 7
dents to identif
works. Studen
ific exhibition
some artwork
onses appeare
o examine a va
ation and con
current year o
ut the role of th
did not ask abo
s on the curato
ple of a high-s
llery is a comm
h the sale of art
r schools like a
an OCarroll an
re painted white
in cages represe
The lighting in
as to how brigh
50 lux. Tempera
r - 2 degrees an
orks look their b
Ritalin exhibitio
ld ensure that
was permanen
y attached to t
c could help p
g or using flash
ng that the art
ere, on the wh
e in a solander
y and lux leve
scoring respon
terials to produ
nsure that dama
card the artist c
iase with the cu
ghly sensitive to
ungsten or halo
2 degrees and th
gloves would be
rink in the galle
d accidental dam
appear on pap
and not take ph
5 6
8 10
fy and discuss
nts who had stu
n had difficulty
ks were hung o
ed to have bee
ariety of exhib
servation of a
f study.
he curator in g
out the role of
ors or artists
scoring respon
mercial gallery a
t and the hiring
a public gallery
nd his collection
e. On the walls
enting the socia
the room was b
ht the lights cou
ature was also c
nd RH of 50% +
best to maximise
on it was silent.
Published: 8
her cotton or
nt, lightfast an
the fabric of th
preserve an art
h photography
tworks were lo
hole, well done
r box. Weaker
els, which wer
nse for Questi
uce their linocu
age from pests a
could specify th
urator to ensure
o light category
gen light globe
hat the humidity
used by the cur
ery space in cas
mage to the art
er and hand-co
hotographs of th
7 8 9
11 10 1
s the role of an
udied generic
y fitting their
on walls and o
en prepared fro
bition spaces a
artworks. It is
general instead
f the curator bu
s intention for
nse.
and is therefore
g of exhibition sp
y as its main aud
n of artwork ca
were 13 simila
al response to y
bright to match
uld go without c
controlled in th
+ or - 5%. The c
e sales. Around
The exhibition
March 2012
silk thread wa
nd sympatheti
he costume.
twork in a pub
y. Others sugg
ooked after pr
e, although it i
r responses ten
re inappropria
on 5 (artwork
ut such as cotton
and rodents as w
at the material
e that the public
y and the curato
es as they have n
ty (controlled by
rator when han
se it spilt and da
twork. They cou
oloured linocuts
he artwork or b
9 10 11
0 9 6
n art space, th
information a
general inform
other artworks
om notes rath
and review th
a requirement
d of the curato
ut their intenti
the exhibition
e run as a busin
pace. The galle
dience are art b
alled Ritalin. T
r artworks diffe
young boys with
the brightness
causing damage
e room using a
curator would h
d the gallery sof
did not only ai
as of sufficien
c to the silk. S
blic gallery by
gested that ma
roperly.
is highly unlik
nded to be rot
ate for the con
k number 2).
n rag paper for
well as high lig
should be acid
c gallery follow
or would need t
no UV output. T
y a thermo-hyd
ndling the artwo
amaged the wor
uld not touch th
s. The public sh
bring any harmf
12 13
7 4
he intention of
about the Nati
mation to the
s were put in g
er than a visit
e methods and
t that students
ors intention
ion for a spec
n.
ness. The gallery
ery does not rec
buyers. Earlier
The exhibition w
fering in size. Th
h ADHD. (Rital
of the photogra
e to the artwork
n air-condition
have set up the
ft acoustic musi
im to sell the ar
nt strength to h
She would ens
y not touching
aking a financi
kely that a cur
te-learned lists
nservation of th
longevity. They
ght levels was m
d-free to ensure
wed conservation
to place it unde
The curator wo
drograph) was 5
ork.
rk. They wouldn
e artworks as p
hould adhere to
ful or sharp obj
14 15
2 3
f the artist or c
ional Gallery
question. Man
glass boxes. I
t to an art galle
d consideratio
s visit at least t
in relation to
ific exhibition
rys main purpo
ceive governmen
this year the ga
was in the large
he artworks wer
lin is a drug giv
aphs. The curat
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ner to maintain
exhibition with
ic was playing t
rt but promote a
hold the
sure that the
g it and by not
ial donation
rator would
s of
he particular
y could place
minimised. If
that the life of
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uld ensure that
50 + or - 5%
nt carry large
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the standards
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Average
7.7
curator and
of Victoria
ny responses
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a temp. of 20
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4
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Studio Arts GA
201
Assess
Rep
feeling. Th
the expres
Question 7
Marks
%
This question
used to devel
how they had
rarely mentio
asked. Simpl
development
Study 3 in th
Reference to
qualities and
again not dea
important to
group of artw
marks.
The elements
the visual lan
successfully
rhythm, varie
will have dev
requirement
The followin
elements of t
style and aes

Artwork 1,
Artwork 2,
Macleod u
Painting M
aesthetic t
paintings a
characteri
bottom rig
are multip
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and cold. T
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figurativel
Question 8
Marks
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Question 8 re
artistic influe
depth, the tim
artists and ar
students did t
influences ac
communicati
3 Exam
11
sment
port
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0 1
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n asked studen
lop aesthetic q
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t. Teachers an
he study design
the principles
d style, and it
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state again th
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s of art, such a
nguage of art.
organised into
ety and unity.
veloped an app
to employ ap
ng is an examp
texture, colour
thetic quality
, Euan Macleod
, Euan Macleod
uses extreme tex
Mountains cre
to his painting.
all contain figu
istics. He focuse
ght corner in P
ple figures all pa
been but still us
The tones are m
ed his style throu
ly.
0 1 2
9 3 5
equired an ana
ences and the
me period and
rtworks that m
this very well
cting upon it. T
ion of ideas an
hts were bright,
ys in cages. Thi
2
9
nts to analyse
qualities and s
o develop aest
ssed. Students
out or describin
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n.
s of art and co
would be to th
by many stude
at style is un
students chose
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propriate art v
ppropriate art l
ple of a high-s
r and shape, a
of the work d
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d Self Portrait;
xtural effects an
eate warmth in t
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ures in a landsca
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Painting Mounta
ainted in cool c
ses thick blobs
more blended an
ughout the year
2 3 4
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alysis of one a
communicatio
d/or culture in
may have influ
l, and it was cl
They relished
nd meaning. S
,, the room was
is created a very
3 4
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two artworks
style. Most stu
thetic qualities
s are reminded
ng art elemen
ould do well to
omposition, am
he students a
ents. This issu
nderstood to b
e not to addres
r, texture, tone
t of the vocabu
on may refere
nts are fully co
vocabulary wi
language and
scoring respon
and uses appro
discussed.
ountains, 2009
; head like a ho
nd a figurative p
the work as he p
hich he applies p
ape that have b
nt with many of
ains. In Self P
colour swimmin
and scrapings
nd the colours m
rs making sligh
5 6
7 10
artwork to sho
on of ideas an
which the artw
enced its crea
lear that these
the opportuni
Some students
Published: 8
s quiet and the w
ry successful atm
5
12
with referenc
udents made s
s and style. Th
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ts does not ad
o research and
mong other th
advantage to d
ue has been ad
be the persona
ss this part of
e, form, shape
ulary of visua
ence things suc
onversant with
ith which to w
terminology
nse to Questio
opriate art lang
9
ole 1998-99
painting style in
paints the refle
paint in gestura
been slightly abs
his figures pain
Portrait: head li
ng around in the
of paint to crea
more subdued a
ht variations and
7 8 9
11 8 8
ow how it refle
nd meaning. T
work was mad
ation and the id
e students thor
ity to discuss
s who had not
March 2012
walls were whit
mosphere.
6 7
13 8
ce to art eleme
some reference
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tions carefully
ddress aestheti
d understand th
ings, is fully j
do this in their
dressed in pre
al and distingu
the question a
e, movement, s
al art. The mea
ch as: emphas
h art elements
write about art.
.
on 7. The respo
guage to analy
n his work to ac
ection of light on
al motions usin
stracted so that
nted sketchily a
ike a hole the a
e black ocean. H
ate texture arou
and dark. The tw
d he has becom
9 10 11
8 7 4
ected the artis
his was an op
de, the lifestyl
deas and mean
roughly under
an artwork at
studied an art
te. The room ha
8
10
ents and how t
e to art elemen
thetic qualitie
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ic qualities an
his key knowl
justified under
r responses. Th
evious Assessm
uishing charac
and consequen
sound and ligh
ans by which t
sis, balance, h
and how they
. In this way t
onse makes a
yse how these
chieve moveme
n the mountains
ng a scraper is
t they are merel
s though they a
aesthetic is mor
His use of textu
und the rocks bu
wo artworks ar
me more relaxed
12 13
6 3
sts historical
pportunity for
le of the artist
nings embedd
rstood the con
length and wr
tist or artwork
ad a cold feeling
9 10
5 5
the art elemen
nts but did no
s and style w
hey answer th
d style or exp
ledge in Unit
r the term aes
he concept of
ment Reports,
cteristics of an
ntly were awa
ht, are the bas
the art elemen
armony, prop
y can be organ
they will fulfil
clear referenc
e elements con
nt. The colours
s creating a me
s especially dist
ly human shape
are moving like
re eerie and dis
ure is more limi
ut it is a work th
re clearly by Ma
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14 15
2 2
and cultural c
the student to
t, context and
ded in the wor
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k wrote about
g that matched
Average
4.6
nts had been
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were very
he question
lain their
3, Area of
sthetic
f style was
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sic units of
nts are
ortion,
nised, they
l the
ce to the art
ntribute to the
s he uses in
ellow, relaxed
tinctive and his
es with no
the man in the
turbed as there
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acleod as he
e warmly and
Average
6.6
context,
discuss, in
culture,
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ly about the
an artwork in

5
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Studio Arts GA
201
Assess
Rep
the detachabl
context, artis
To write abo
or indicators
dates and per
an artwork re
artwork was
Madrid or M
are not studie
circumstance
Artistic influ
of the surrou
concepts and
for students w
but in far too
ideas and tec
The followin
Stephen H
conveying
Montparna
born (255)
Embarkati
oil paintin
life within
Dead 188
dark and m
meaning of
image was
figures wh
deep low k
production
produce h
Stephen H
artificial m
current 21
we have av

3 Exam
11
sment
port
le insert and w
stic influences
out an artwork
such as c.165
riods of time;
equires an und
made. Some s
Mexico City; su
ed in isolation
es at a particul
uences refers
unding artistic
d techniques o
was to identify
o many cases s
chniques of oth
ng is an extrac
Haleys lightjet d
g suburban citys
asse. Haley us
) and die (107)
ion for Cythera
ng conveying cup
the photograph
85 into every wi
mysterious islan
of life and death
s facing toward
hich were all fac
key colours in th
n was in contra
is images unlik
Haleys diptic of
man-made struc
1st century lifes
vailable to us.
were not awar
s or the commu
s historical c
50 or mid-17th
some student
derstanding of
students had a
uch a response
n but are studi
lar point in tim
s to the artwor
context when
f each artwork
fy the connecti
students had n
her artists.
ct from a high-
diptic prints H
scapes. Haleys
sed the symbolic
every minute w
a 1717 and use
upids and lovers
h. In There Ha
indow of the off
nd emphasised
h was also show
ds the viewer as
cing away from
he image which
ast to his artistic
ke Haley whose p
f lightjet images
ctures and high
tyle and the con
ded high mark
unication of id
ontext require
h century. It is
ts attempted to
f the social, po
a good grasp o
e is not an ana
ed as part of a
me.
rks and artists
n the work was
k. Most artwo
ions between
no understandi
-scoring respo
Here and There
s portrayal of a
c binary of life a
within the world
d digital media
s frolicking con
Haley used a sim
ffice block. The
the artists idea
wn in the images
they entered th
m the viewer sym
h contrasted wit
c influence from
photographs w
s conveyed the s
-rise buildings.
ncept that too m
Published: 8
ks if they wer
deas and mean
es the student
s very difficul
o do so but wi
olitical, religio
of this, but oth
alysis of an art
a wider movem
that have infl
s made. These
orks are influe
one artwork a
ing of how the
onse to Questi
conveyed his in
suburban office
and death in hi
d. In Here he a
a to insert it into
nveyed ideas of
milar technique
low key toned p
a that our curre
s through the p
he world while i
mbolizing a disc
th the high key
m Gursky who of
were sourced fro
suburban, indu
He also presen
many people exi
March 2012
e unable to fu
ning.
to locate the a
lt to discuss hi
th little succe
ous and artisti
hers could only
tworks cultur
ment and are s
luenced the ar
e influences ca
nced by other
and another. S
e artwork they
on 8.
nfluence from A
e block linked t
is photographs
appropriated Je
o every office bl
love and reprod
to inset Arnold
painting convey
ent rate of repro
lacement of the
in There the sp
connection to lif
vibrancy of the
often used helic
om internet ima
ustrialised world
nted the social
ist within today
ully address th
artwork in tim
istorical conte
ss. To underst
ic climate of th
y say that the
ral context. It
seen as a respo
rtwork under d
an be seen in
r artworks and
uccessful resp
y had studied
Andreas Gursky
to Gurskys 199
to portray the n
ean Watteaus o
lock window wi
duction and am
Boecklins pain
yed a solitary fig
oduction isnt s
e people. In He
sparsly populate
ife. This disconn
e tonal palette of
opters and larg
ages.
d in which we li
issue of the gre
ys society for th
he historical an
me. This means
ext without ref
tand the cultur
he times in wh
artwork was m
is important t
onse to a parti
discussion and
the subject ma
d in this questi
ponses did thi
had been influ
ys enormous im
93 photograph
number of peop
oil painting Th
ithin the image.
mplified the mes
nting The Islan
gure travelling
sustainable. His
ere every figure
ed office block
nection was am
of Here. Haley
ge scale produc
ive and our dep
eed and sustaina
he amount of re
nd cultural
s using dates
ference to
ral context of
hich the
made in
that artworks
icular set of
d the impact
atter,
ion the task
s very well,
uenced by the
mages
Paris
ple who are
he
. The frivolous
ssage of new
nd of the
alone to a
s symbolic
e within the
included
mplified by the
ys method of
ctions to
pendence on
ability of our
esources which

6
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