1

Practice Exam 1
STUDENT NUMBER

Letter

Figures
Words

ART
Written examination
Day, Date 2012
Reading time: 15 minutes
Writing time: 1 hour 30 minutes

QUESTION AND ANSWER BOOK

Section
A
B
C

Structure of book
Number of questions
Number of questions to
be answered
5
5
2
2
2
2

Number of marks
25
25
25
Total: 75

Students are permitted to bring into the examination room: pens, pencils, highlighters, erasers, sharpeners
and rulers.
Students are NOT permitted to bring into the examination room: blank sheets of paper and/or white out
liquid and/or liquid/tape.
No calculator is allowed in the exam.
Materials supplied
Question and answer book of 16 pages with a detachable insert for Section A Questions 3 and 4 and
Section B Questions 6 and 7 in the centrefold.
Additional space is available at the end of the book if you need extra paper to complete an answer.
Instructions
Detach the insert from the centre of this book during reading time.
Write your student number in the space provided above on this page.
All written responses must be in English.
At the end of the examination
You may keep the colour insert.
Students are NOT permitted to bring mobile phones and/or any other unauthorised electronic devices
into the examination room.

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SECTION A
Instructions for Section A
Answer all questions in pen in the spaces provided

Question 1
How is space used is a formal element in the first artwork illustrated opposite?
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3 marks

Question 2
How is balance used is a formal element in the second artwork illustrated opposite.
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3 marks
SECTION A - continued

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Artwork for Section A Question1

Giorgio de Chirico, Mystery and Melancholy of a Street, oil on canvas, 1914.

Artwork for Section A Question 2

Jacques-Louis David, The Oath of Horatii, oil on canvas, 1784, 330 x 425 cm.

SECTION A continued: TURN OVER

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Question 3
Refer to page 1 of the insert. Use visual analysis to compare the two artworks
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6 Marks

SECTION A -continued

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Question 4
Refer to page 1 of the insert. Compare the meanings and messages in the two artworks.
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5 Marks

SECTION A continued
TURN OVER

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Question 5
Use the Contemporary Analytical Framework to interpret the work illustrated opposite in terms of its
Presentation/materials
Content/subject matter
Your interpretation must include reference to the artwork illustrated and to the commentary that describes it.
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8 marks
SECTION A Question 5 - continued

82" by 25" by 25".

Marc Quinn, Self, 1991, blood/stainless steel, Perspex, refrigeration equipment,
Commentary
Quinn's self-portrait, Self, is his signature piece in the art world. A frozen sculpture of the artists head made
from 4.5 litres of his own blood, taken from his body over a period of 5 months. This he first did in his late
20s in 1991, and continues to do it every 5 years. In an interview in 2000, reflecting on the iconic artwork,
he remarked, Well, I think its a great sculpture. Im really happy with it. I think it is inevitable that you
have one piece people focus in on. But thats really good because it gets people into the work.
The work is carefully maintained in a refrigeration unit.
The artist makes a new version of Self every five years.
END OF SECTION A
TURN OVER SECTION B

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SECTION B
Instructions for Section B
Answer all questions in pen in the spaces provided
Question 6
Refer to pages 2 and 3 of the insert. Discuss the different ways Tom Roberts and Clinton Nain have
responded to the theme of the white settlement of Australia. Your interpretation must include reference to
the cultural analytical framework
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SECTION B Question 6 continued

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Insert for Section A Questions 3 and 4 and
Section B Questions 6 and 7
Please remove from the centre of this book during reading time.
SECTION A
Artworks for Section A questions 3 and 4

Peter Booth, Painting, oil on canvas, 1977, 182.5x304cm

JMW Turner, The Fighting Temeraire, oil on canvas, 1842, 36 x 48 cm

END OF SECTION A
TURN OVER

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SECTION B
Artworks for Section B Question 6

152.0 x 460.0 cm.

Clinton Nain, aeiou they still hang you, bitumen, synthetic polymer house paint and pencil on canvas,
2006,

Clinton Nain was born in 1971, in Carlton, Victoria, of the Meriam Mer, Erub, Ugar peoples
of the Torres Strait and the Ku Ku people of far North Queensland
Since obtaining his Bachelor of Fine Art (Painting) at the Victorian College of the Arts
(1992-94) and Master of Fine Art (Research) at the College of Fine Arts, University of New
South Wales (2001-03), Clinton Nain has established a significant place in the critical
debates of contemporary Australian art.
Nain's work confronts the continuing injustices suffered by the Indigenous peoples of
Australia. His powerful symbolism evokes the wounds of dispossession - of country, culture
and language - which lie at the heart of those who once were masters of their own destinies.

SECTION B Question 6 - continued

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122.4 x 183.3 cm
Tom Roberts, Shearing the Rams, 1888-90, oil on canvas

Born in England, where his parents were newspaper editors, Roberts emigrated with his
family to Australia in 1869. Settling in Melbourne, he studied art under Louis Buvelot
and befriended others who were to become prominent artists, notably Frederick
McCubbin. He returned to England for three years of full-time art study from 1881 to
1884.
The paintings of the artists, such as Roberts associated with Australian Impressionism,
are some of the most well-known and loved images in the history of Australian art.
They are well represented in major public collections around Australia and they have
been seen in many major touring exhibitions.
While many factors have contributed to the popularity of Shearing the Rams, the
distinctly Australian quality of the image is often cited by audiences as a key to its
appeal. The painting reflects the nationalistic spirit of the time in which it was made,
and has played a significant role in defining Australian identity since. Its role as a
signifier of national identity has seen it both celebrated and critiqued in contemporary
culture

SECTION B continued
TURN OVER

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SECTION B
Artwork for Section B Question 7

Rachel Whiteread, House, sculpture (cast concrete in the shape of a full size, three-storey terrace house),
London, 1993.
The illustration shows an artwork by British artist Rachel Whiteread. It is a full sized cast, in concrete, of the
interior of a London terrace house. The rest of the houses in the street had been demolished in readiness for
a new building project. Whiteread cast her sculpture in situ, 193 Grove Road, East London. In describing the
process of creating this sculpture, the artist said: House remained in Gove Rd East London for about 4
months until the local council demolished it, against the artists wishes.

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16 marks

SECTION B continued
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Question 7
Refer to page 4 of the insert. In your response refer to the artwork illustrated as well as to both the
commentaries below.
Imagine that it is 1993 and you are an art expert advising the local council about whether or not House
should remain as a permanent exhibition at the location indicated in the explanation below the image.
Do you think House should be destroyed or preserved on its current location as a permanent exhibition.
Give reasons for your point of view.
Commentary 1: We were right to demolish House. It was blocking council land and its not a real sculpture
anyway. Serious artists make sculptures from ideas in their heads which they then create out of wood,
marble or bronze. Whiteread didnt have any ideas and she didnt use technical skill to create anything. All
she did was pour concrete into a house and then remove its walls.
Commentary 2: They should not demolish it. House is one of the most beautiful and heart breaking
sculptures of this century. Anyone who has ever cleared out the house of someone who has died will
understand its power as an artwork. By casting the lived-in spaces of a real house, Whiteread revealed the
sad ordinariness of life. But House also reveals the ghosts that remain in spaces once people leave. As the
artist said of this artwork: I was fascinated by the personal environment of the people who had previously
lived in the house and documented it all before I destroyed it. It was like exploring the inside of a body,
removing its vital organs.
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9 marks

END OF SECTION B
TURN OVER

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SECTION C
Instructions for Section C
Answer all questions in pen in the spaces provided
Question 8
Use one analytical framework to compare and contrast two artworks that you have studied this year.
One artwork must have been produced before 1970 and the other artwork must have been produced after
1970.

Analytical framework: ___________________________________________________________________

Artwork 1: Artists name ________________________________________________________________

Specify title of artwork and approximate date ________________________________________________

Artwork 2: Artists name ________________________________________________________________

Specify title of artwork and approximate date ________________________________________________

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15 marks
SECTION C continued TURN OVER

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Question 9
Discuss two or more different viewpoints about an art issue that you have studied in Unit 4.
Identify the art issue that you have studied
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Identify the artworks that you have studied in relation to the art issue, including artist, title and date.
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END OF QUESTION AND ANSWER BOOK

10 marks

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Extra space for responses
Clearly number all responses in this space
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