VISUAL ARTS PAPER 2
GRADE 12
NATIONAL SENIOR CERTIFICATE
SEPTEMBER 2016

INSTRUCTIONS AND INFORMATION

1. This question paper consists of TWO sections.
   TOPIC 1: SOURCEBOOK/WORKBOOK/JOURNAL
   TOPIC 2: THE ARTWORK
2. Answer ALL questions in TOPIC 1 and TOPIC 2.
3. This examination must be introduced and facilitated by your Visual Arts teacher.
4. In this examination you will be expected to demonstrate the following skills:
   
   • Independently and creatively apply advanced approaches to generating ideas in response to a project brief.
   • Demonstrate an advanced degree of technical skill in the use of a range of materials and techniques.
   • Create imaginative and innovative artworks, using a personal, expressive visual language.
   • Solve visual and conceptual problems in the creation of imaginative and innovative artwork, using a personal, expressive visual language.
   • Effectively manage time and the working process and present own work in a professional manner that enhances the expressive and conceptual impact of the work.
5. Your preparatory visual arts practical examination for Grade 12 represents the culmination of your Visual Arts studies this year.
   Your creativity, originality and skills will be highly displayed. It is hoped that you will enjoy creating this artwork and that it will be fresh and original, and represent personal experience.
6. Read the ADDENDUM with information about your working process at the end of this question paper.

TOPIC 1: SOURCE BOOK/WORK BOOK/JOURNAL (Conceptualised by the development and realisation of creative ideas)
The source book forms an important part of this examination. You may work on it both at school and at home. It provides insight into the way you form thoughts/ideas/views/opinions and alternatives you have investigated, as well as other processes leading to the final work. Your sourcebook should communicate your thought processes.
You should visually tell the ‘story’ of how your artwork was CONCEIVED, DEVELOPED and PRODUCED through drawing, experimentation and writing. It should reflect your INDIVIDUALITY and CREATIVITY as a Visual Arts learner.
This source book MUST be clearly marked as examination work and presented separately from your year work sourcebook.

The source book is part of your creative journey into developing the final work and should reflect your own original images to develop your own interpretation.
The following is merely a guideline of things you could include in your sourcebook:

[50]

TOPIC 2: THE ARTWORK (The making of creative artworks, the management of the process and presentation, following safe practice)
The examination work must be done in the presence of the Visual Arts teacher within the confines of the art room, using a minimum of 6 hours and a maximum of 24 hours.

GENERAL GUIDELINES

1. You are required to produce ONE artwork in the practical discipline that you have chosen this year.
2. Your work may be presented as a single piece, or possibly in the form of a diptych, triptych or a series of works that read as one artwork.
3. You may NOT take the artwork out of the examination venue. This is regarded as an examination irregularity.
4. You may discuss the question paper with your Visual Arts teacher prior to the start of the examination, but no discussion of work may occur during the examination period.
5. There are no restrictions on size, but the artwork must be manageable and durable in terms of transportation to an examination centre, if required by the province.
6. Remember the importance of art elements and principles such as line, shape, colour, texture, tone, space, rhythm/movement, balance, harmony, proportion, gradation, variety and composition.
7. There are no specific prescriptions regarding the style of the work. It can be naturalistic, expressionistic, decorative, abstract, conceptual, et cetera.
8. Select imaginative subject matter, themes, symbols and metaphors to create an expressive, emotional, conceptual or perceptual artwork.
9. You may incorporate other media to create mixed media work in any of the practical disciplines. [50]

This theme is meant to inspire you and is open to a wide range of interpretation within your specific discipline. Your interpretation should be the culmination of the creative process you embarked on in Grade 10.

Dictionary definitions:

This theme can be descriptive, symbolic, or more metaphorical. Using your research material, find an original and creative solution to create a truly individual/personal interpretation of Resistance, Reconciliation and Reconstruction.
Painters, sculptors, graphic artists, photographers, poets, musicians, actors and politicians have explored and interpreted this theme in their own way, devices and time.
Study and explore the following pictures as reference for inspiration. Consider the meanings and synonyms of the words; resistance, reconciliation and reconstruction as given above and then interpret ALL or ONE of these words as you would understand it through your own experience, ideas and feelings.

RESISTANCE …

FIGURE 1: W.B. Miko, Gender Masses, 1997, acrylic and charcoal on canvas.

Miko depicts a plight of African women, and more specifically the huge hunger crisis in Zambia in the 1990s, where food aid was donated by the West arrived well after this crisis had passed.

FIGURE 2: D. Sihlali, Forced Removals, Nding Street, Pimville, 1974, watercolour.

Sihlali depicts moving figures, building rubble and ruins of buildings to illustrate the chaos that developed as the demolition of homes got underway – a result of the Group Areas Act during apartheid in South Africa.

FIGURE 3: South African Student Press Union, Stop Apartheid Killings, poster.

This protest poster alludes to the brutal killings of four men by the local police in Eastern Cape on June 27, 1983.

FIGURE 4: Picasso, Massacre in Korea, 1951, oil on canvas.

Picasso painted this work, which has a strong link to Goya’s The Third of May 1808, as a protest against the United States intervention in Korea.

RECONCILIATION …

FIGURE 5: Sandile Goje, Peace in our Hands, 1996, linocut.

Goje depicts a bird depositing an olive branch into a pair of large cupped hands. The work was made in 1996, the year in which South Africa adopted the final version of its new Constitution, and as a reflection of peace finally achieved after centuries of conflict.

Related Items

FIGURE 6: Credo Vusamazulu Mutwa, The Judgment of the Kings, 1983, oil.

This work shows an assembly of powerful leaders. Among them is Shaka, Napoleon, Idi Amin, Sotho Queen Mantatise and Fidel Castro. Summoned by God in a new world after he has ended the old in seven terrible wars, they are called to account for their roles in promoting war while in power.

FIGURE 7: Ndabenhle William Zulu, Reconciliation for Progress, 1996, linocut.

Zulu depicts two people at a table, both whom wear a single large hat. While these figures represent the negotiators, the product of their work together, the new South Africa, is symbolised by the child seated infront of them.

FIGURE 8: Unknown photographer, Truth and Reconcialiation Commission, 1996.
People came together to air their past apartheid experiences so as to heal themselves and the nation at large.

RECONSTRUCTION …

FIGURE 9: Willem Boshoff, Seven Pillars of Justice, 1997, wood and metal.

Boshoff comments on legal system in South Africa after the country had adopted a new constitution in 1996. Using African lead wood, to suggest the idea of strength and unshakable permanence, each wooden section represents a specific judicial maxim.

FIGURE 10: Abrie Fourie, Waymark/Wanton, 1999–2000, installation of film in light box.

Here the monument, seen across open landscape and set against a sky at sunset, is no longer the robust icon of apartheid, but a faded blue-print for a discredited ideology.

FIGURE 11: Brett Murray, Empire, 1997, mixed media.
Murray outlines the shapes of a linocut by Pierneef in metal, to which he adds references like a jar of earth in order to make a statement about Afrikaner claims of the land.

FIGURE 12: Cecil Skotnes and Hamilton Budaza, Freedom, 1995, handcoloured engraved wood panels.

This coloured wood panel work was created by two artists from vastly different backgrounds. It is a mediation of another order – between past and present, between life subjugated and life unshackled, between the scars of the past and hope for the future, between apartheid and democracy. The central panel showing a figure reaching for the sky, partly in praise and partly in aspiration, is by Skotnes, and the rest by Budaza. Heralding and saluting the new dawn in 1994, it embraces and exudes the African renaissance.
Now reflect on your own interpretation of Resistance, Reconciliation and Reconstruction!

TOTAL: 100

ASSESSMENT CRITERIA
MARKERS WILL USE THESE CRITERIA FOR ASSESSMENT.
TOPIC 1: SOURCE BOOK

TOPIC 2: THE ARTWORK

FINAL MARK: TOPIC 1 (50) + TOPIC 2 (50) = 100

ASSESSMENT CRITERIA FOR PRACTICAL WORK (FET)

ADDENDUM
TOPIC 1: SOURCE BOOK/WORK BOOK/JOURNAL

• There are no specific guidelines for the size, format, layout and ‘look and feel’ of the sourcebook.
• The source book must document and show the process from the beginning to the end.
• A clear link between the final the visual/written information in the sourcebook and artwork must be evident.

TOPIC 2: THE ARTWORK

As this is an examination, THE CANDIDATE IS NOT ALLOWED TO REMOVE THE ARTWORK FROM THE EXAMINATION ROOM. No work may leave the examination venue.
The candidate is encouraged to produce an artwork based on the medium he/she has investigated/explored/chosen in his Grade 12 year.
A successful artwork is a combination of concept and realisation. Emphasis should be placed on aesthetic qualities and energy of the artwork.
The candidate is free to choose any style that he has experimented with in his/her matric year. These may include naturalism, expressionism, stylisation, abstraction, symbolism etc.
In all digital/multimedia/new media work, concept development and realisation must play an important role.

DARKROOM PHOTOGRAPHY

• Produce a set of at least 5 related photographs.
• The candidate must do all the development of both the film and negatives at school under supervision of the teacher/invigilator.
• Place all contact sheets, test strips and records of the processes in the sourcebook.
• Give careful consideration to the presentation of the work.

DIGITAL PHOTOGRAPHY

• Produce a set of at least 5 related photographs.
• The digital size must be at least A4 in size.
• Place the digital images on a disk (CD) and insert the disc into the front of the sourcebook.
• Submit the sourcebook with supporting information, with the final artwork(s).
  
  • Program used e.g. Adobe Photoshop 7.
  • All digital software procedures.
  • Tools used to manipulate his/her images.
• Give careful consideration to the presentation of this work.