Timeframe

The timeframe for the Assessment Activity will be affected by the teaching and learning programme. You should give guidance and check progress on:

• gathering visual material
• researching established practice
• developing concepts and imagery
• planning, developing, and producing an artist’s book.

The final artwork could be completed in approximately 10 hours of class time, but this timeframe can be adjusted for the learning needs of your students.

Your students will need to submit a resolved artist’s book, with supporting evidence showing research and development.

Your teaching and learning programme will need to include time for students to explore ideas and generate their skills with established processes, materials, and techniques associated with artist’s books, and the art discipline of their choice.

Teaching and learning programme

Note: The emphasis of the assessment is to use key conventions of established practice to produce a significant resolved artwork.

This Assessment Activity could be taught concurrently with other Visual Arts Achievement Standards. Note that the resolved artwork for this Achievement Standard cannot be used as evidence for Achievement Standard 91915.

This Assessment Activity allows the student to engage in learning that connects to local contexts, and to demonstrate an understanding of connections that can exist between people, places, and objects. Students should investigate established practice from traditional, contemporary, and emerging Aotearoa New Zealand and international landscape artwork. They should use this to produce an artist’s book (paper-based or digital) informed by appropriate practical or digital moving image conventions.

This Assessment Activity has been written so students or teachers can select the artmaking conventions used in the artist’s book, for example, printmaking, painting, or photography.

With your class:

• Decide what discipline your students will use in their artmaking and explore the appropriate processes, materials, and techniques related to this discipline (for example, printmaking, water colour, mixed media). Spend time with your class exploring and refining these processes, materials, and techniques.
• Explore text elements such as:
  • letters, symbols, characters, and numbers
  • found poetry, data, or other sources
  • text that relates to the site or speaks to what the student would like to communicate about the site — this will inform subsequent artmaking
  • whakataukī, poems, karakia, letters, documents, diagrams, and data.

Established art conventions

Teachers should:

• provide examples that show how works are created in relation to specific sites, places, or concepts. Examples should also include techniques for combining text and image to help students with their proposal.
• facilitate students to use Visual Art processes, materials, and techniques to develop their imagery and text and clarify their ideas
• facilitate students to identify and analyse key conventions of the appropriate established practice and how these can be used to add meaning
• support students to share ideas and support iterative decision-making.

Students will need to understand different ways of sequencing images and how this influences the way they are perceived. Teachers should explore the idea of intention and how this can be represented in an artist’s book through choices in image placement, order, and relationship.

For example, students might sequence images:

• temporally (time of day, seasonal)
• spatially (placement within the space)
• thematically (image, colour, tonal progression)
• linked through prose (supporting whakataukī, poetry).

Site selection

The ‘Before you start’ section of the Assessment Activity outlines the steps your students could follow during the teaching and learning programme. You can adjust these steps to suit your programme and the needs of your class.

As part of this section, students will need to select a site that they can visit to record imagery, photograph or film, and collect objects. Ideally, this would be a local, easily accessible, physical site. For students overseas or with accessibility issues, a site could be researched online, such as virtual marae like Rongomaraeroa (Te Papa). If an online site is used, teachers should monitor carefully for plagiarism copyright and sourcing their own original imagery.

If you organise a class fieldtrip to a site, you will need to follow your school’s guidelines with appropriate permissions and safety measures.

To develop good practice around cultural safety, teachers should ensure that students have full understanding as to the relevant tikanga and cultural milieu by accessing appropriate expertise.

Teachers should also help students develop good practice around referencing and attribution of third-party content images included in their work, and guide students on how to conduct themselves visiting public spaces.

Helpful resources

New Zealand site specific or place-based artists:

• Brown, Warwick (1998). Ian Scott.
• Godman, Llyod (1989). Last Rivers Song: Photographs of the Clutha and Kawarau.
• Hotere, Ralph and Cullbert, Bill (1991). Aramoana Pathway to the Sea.
• Kahukiwa, Robyn (1985). Ko Hikurangi Te Maunga Ko Waiapu Te Awa Ko Ngāti Porou Te Iwi.
• Noble, Anne (1982). The Wanganui: Photographs if a river.
• Shepard, Michael (1991). A corner of some Foreign Field that is forever New Zealand.
• Webb, Boyd (1997). Wakatipu.

New Zealand layered text art/artists:

• James Smith, Peter (2018). 'Longitude'.
• McCahon, Colin (1969). 'Victory over Death'.
• Robertson, Natalie (1998). 'Te Kooti Road’ - The prophets'.

Examples of artists' books (Aotearoa New Zealand):

• Hartill, Toni (2018). Mementoes of a Lost Forest.
• Janus Press (2016). Silences Between — Moeraki Conversations.
• Loney, Alan (2009). Max Gimblett — Searchings.
• Tuwhare, Hone (2007). Twelve poems — interpreted by seven Dunedin printmakers.
• Walker, Celia (2019). Footfall, solar plate and digital prints.

Examples of artists' books (international):

• Cavalieri, Angela (2005). Inri.
• Milojevic, Milan (2000). Borges bestiary.
• Osowski, Francis and Leonie (2004). Gladiator Queen.

Artists working in digital media:

• Yang Fudong.
• William Kentridge.
• Nathan Pohio.
• Lisa Reihana.
• Rachel Rakena.
• AES+F.
• Chinese shadow puppetry.
• Tacita Dean.
• Yang Yongliang.