SOVA 2008 Last Practise Test Example Answers

Section A – Structured Questions

1.       1. Self Portrait by Affandi  [Fig 1]  Oil on Canvas  126x97 cm  Singapore Art Museum

a)      Describe the character of the artist from his self portrait 

  

By looking at Affandi’s Self Portrait we can tell this is a very emotional man.  He painted the picture by squeezing pure paint from a bottle and using both rough brushes and his fingers in a frenzy of activity to create his portrait.  We can tell that he is old by his whitened hair and his receding hair line.  We can also tell that he is gruff or somewhat depressed.  The lines around his eyes and his mouth all sag and tend to be pulled downwards and his eyebrows are furrowed.  He seems like he might be agitated or angry as he chose to paint his face in mainly reds and yellows.  He also chose to paint his eyes half open. They are looking at his, but not with a clear gaze.  Maybe he is puzzled by the world and what he sees, so he does not want to see it fully.  He also tends to think of himself as a sort of low life or someone who is not well put together; with his wild unruly hair and his two large white teeth jutting out from his mouth.  For all his emotion and rebellious painting techniques, we also know that the artist is still influenced strongly by tradition and the culture of fine art as he chose to paint his portrait using a very traditional portrait layout, with his face and shoulders, looking out at the viewer.  Although the brushwork is more extreme, it is very similar in colour choice and set up to Van Gogh’s own Self Portraits.

c)       How does the artist use colour and brushwork in this painting?

The artist uses pure colours of an analogous colour scheme (green to red) blending them in a frenzied way with a brushstroke or his fingers.  He chooses to paint using mostly curving squiggled lines vertically around his face and more circular finer lines in his face.  He painted his face in mostly reds and oranges using swirls and circular lines with create a simulated texture of rough coarse skin.  His hair too is painted in white in yellow as well as his scraggly beard with shows texture of thin coarse hair.  His choice of red for the face contrasts with the green background and creates emphasis on his face.

d)      In what ways could a portrait photograph be more effective than a painting like this?

This was painted in 1975, so I am not sure in 1975 a portrait photograph would be more effective.  I think Affandi’s focus was to show his emotions and his feelings rather than realistically portray his features.  However, these days, portrait photography is rather sophisticated and so there are a few ways it could be more effective at showing his emotions.  Firstly, we would be able to capture his face in more digital detail, showing all his wrinkles and blemishes.  We would be able to read his emotions and the history of his life from the lines and creases in his face.  We would also be able to see his eyes in detail.  Eyes are very expressive and are able to show the person’s thoughts and feelings in a second.  A photo would also come in real colour which could me more interesting than the artist’s limited palette.  Also with today’s technology and photoshop we could change and alter the colours to add more emotion.  Lastly, a photo would only take a few minutes thus save the artist time.  And it can be easily reproduced not limited to one canvas.

2.    2.  Juicy Salif (Lemon Squeezer) by Philippe Starck 1990 [Fig 2] Cast Aluminium Height 29.5 cm

a)      Describe the appearance of this design object

The Juicy Salif is an aluminum lemon squeezer designed to resemble a spider.  It has quite minimalistic in design and stands as tall as two kitchen glasses.  The top is created in an oval-ish almond shape, rounded at top and tapering down to a point.  Simlar to an almond it has straight un-interupted grooves from the top of the almond down to the point, presumably to lead the lemon juice from the lemon down to the glass.  The almond shape top is supported by a tripod of three spindly legs that jut out in a jagged way, akin to a chicken leg.  Like the almond, the legs too start off rather sturdy and siphon off to a narrow delicate point, with all three creating the shape of an implied triangle in which a glass is to be placed.  The outer finish of the whole design is shiny silver chrome and to be honest, it looks more like an alien space craft than a lemon squeezer.

b)      Is the function of this design object more important than its appearance?

I do not think the function of the design is more important than its appearance.  For one thing, if it was designed for function alone, than we would not be studying it in O-Level Art.  It is its design that has made it famous, not its functionality, because let’s be honest, its functionality is flawed.  A regular juicer has a rounded tip but with  a pointed apex.  The rounded part is essential for the lemon to curve itself over, but the point is needed to give the lemon an anchor on top, something to hold the lemon in place while the squeezer twists it around to squeeze out the juice.  Using this model, I fear the lemon would shift and slide around the top and may slip out of ones hands spilling juice everywhere.  Furthermore, when one is squeezing a lemon one must push down with considerable force.  A regular juicer is placed flat on the floor.  This one however, is balanced precariously high on quite delicate legs.  I fear after a few forceful juicings the legs will no doubt snap.  So although the design is super cool and I would buy it just to have it look cool in my kitchen, unless it came with a life time guarantee, I do not think it would succeed as a functional lemon squeezer.

                c) What is the significance of this object in a wider context of culture and society?

That we have become so interested in the design of an object as opposed to its functionality shows that as a society we are becoming more wealthy and more educated.  We have surpassed using items just for pure functionality, we want more, not only do we want function, but we want creativity, we want aesthetically pleasing.  This also shows that as a culture, we are spending more time in the kitchen, or rather our guests are spending more time in the kitchen so we are looking for cool new gadgets to display to impress.   We are also more interested in our health, as we are focusing on squeezing fresh juice as opposed to buying packaged juice from the store.  So there is a strive in our culture to make our food, to prepare our own juice, knowing that this is healthier for us.  Sadly, it also shows us that we are a society that is easily done in by slick shiny marketing.  We think this creative spider/alien lemon juicer is awesome and we need to have it in our kitchen.  Yet we have no idea if it works as well as or better than a regular old traditional one.  Yet its appearance grabs us and we must have it.  So we have become a more shallow society that is interested more in appearances than in quality and functionality.

 Section B – Structured Comparison Questions

2.       The Unique Forms of Continuity of Space by Umberto Boccioni 1913 [Fig 3a] Cast Bronze 39x60x30cm Trustees of the Tate Gallery, London

Rush Hour by Nyoman Nuarta 1992 [Fig 3b] Brass and copper 360x53x143 cm Singapore Art Museum

a)      Compare the different ways these works suggest movement.

Unique Forms of Continuity is a bronze sculpture portraying a large muscular figure walking.  The figures legs are placed far apart with the back leg just touching the ground and the front knee bent as if frozen in the act of preparing for the next step.  The figure’s arms are raised up even with it’s shoulders and curved in front of its body, like it might be walking fast or even preparing to break into a faster pace.  The backs of the figures legs recede into space in waves, resembling clothing that is being blown back by the wind or the speed of the figures movement.  The figure also thrusts his chest forward as if he is determined to move and struggling against resistance such as wind.

Rush Hour is also a bronze sculpture that shows one figure in a stop motion view, rushing on a bicycle down hill. The artist actually made the same figure 5 times in sequence akin to a sports photographer taking multiple shots of a winning goal.  The figure on the bike is hunched over the handle bars, holding on tightly with his face turned up facing into the wind.  His hair is being blown back behind his head.  The artist added fine horizontal lines behind the figure to suggest the fast pace as well as added extra lines within the spokes of the wheel to give the illusion of the speed of the spinning wheel.

b)      How do the artists integrate the figure with the surrounding space?

Both figures are currently housed in a museum so the surrounding space becomes rather irrelevant in its effect on the sculpture.  In Unique Forms of Continuity the figure is a tall strong muscular figure.  It is created in a Art Deco type of heavy style where the facial features are not defined and the figure has a rather geometric appearance.  The artist infringed on the negative space around the sculpture by having the cloth-like remnants curl out away from the figure.  This creates a graceful line down the back of the sculpture.  The artist also placed the sculpture on two rectangular platforms, elevating the piece above the general height of museum goers.  This allows the viewer to stand near the piece and walk around it, but it will always be towering over them, creating a sense of power and emphasis.

For the Rush Hour sculpture, the figure is depicted as a skinny young boy with long lean limbs.  The artist placed the sculpture on a solid platform with a slant providing the viewer with the idea that the figure is rushing down hill.  The artist used jagged thin lines of copper jutting out from the rushing figure to blur the figure and give an appearance of speed.  The artist also added thin and thicker lines within the spokes of the wheels to create n effect of fastly spinning wheels.  The artist created many spaces among the figures in the sculpture of negative space, allowing the figure to view through to the other side.  This creates a rather delicate ethereal quality to the work and helps with the suggestion that time if fleeting and this bicycler has past by our eyes so fast they are just a blur.

c)       Do you think the materials in each work are effective for this subject?

The materials for each work are effective and they are give each sculpture its own personality.  Unique Forms of Continuity was created in 1913 at the beginning of the Art Deco era.  Although it is cast in bronze it is heavily polished in order to appear almost as gold.  The heaviness to the figure matches the strong solidness of the copper material.  It also gives it a timeless feel, as if the figure is marching on throughout eternity.  The geometric heaviness of the figure and the material is contrasted by the lightly flowing fabric on the legs of the figure.  That the bronze was able to be so skilfully cast as to suggest the delicate movement of a wind blown pant leg is very impressive and speaks to the popularity of the piece and the ensuing style of the Art Deco period. 

In contrast, Rush Hour used similar materials; bronze and copper but with a different patina, choosing to create a dark textured sculpture.  However, this is just as effective as the artist was attempting to re-create the idea of a stop motion film and trying to emphasize the excitement and speed of the down hill ride.  The brass and copper provides a stability and a strong support to the sculpture which is very delicately rendered, almost as fine as a spider web in some parts, like the spokes of the wheels.  The black colour is also effective as it speaks to the intent.  It creates an outline, a blurred figure whizzing by.  If the figure was carved in gold or wood, it would not have the same delicate thinness and stability that was needed. Also the colour and texture of another material would interrupt the clean clear silhouette.  

SOVA 2008 Last Practise Test....

Section A – Structured Questions

1.       Self Portrait by Affandi  [Fig 1]  Oil on Canvas  126x97 cm  Singapore Art Museum

a)      Describe the character of the artist from his self portrait

b)      How does the artist use colour and brushwork in this painting?

c)       In what ways could a portrait photograph be more effective than a painting like this?

Figure 1

2.       Juicy Salif (Lemon Squeezer) by Philippe Starck 1990 [Fig 2] Cast Aluminium Height 29.5 cm

a.       Describe the appearance of this design object

b.      Is the function of this design object more important than its appearance?

c.       What is the significance of this object in a wider context of culture and society?

Figure 2

Section B – Structured Comparison Questions

3.       The Unique Forms of Continuity of Space by Umberto Boccioni 1913 [Fig 3a] Cast Bronze 39x60x30cm Trustees of the Tate Gallery, London

Rush Hour by Nyoman Nuarta 1992 [Fig 3b] Brass and copper 360x53x143 cm Singapore Art Museum

a)      Compare the different ways these works suggest movement

b)      How do the artists integrate the figure with the surrounding space?

c)       Do you think the materials in each work are effective for this subject?

Figure 3a



Figure 3b



4.       Herons by Chen Wen His 1990 [Fig 4a] Chinese Inks 157x297cm Singapore Art Museum

Reptiles by M.C.Escher 1943 [Fig 4b] Lithograph 33x38cm

a)      Describe the different portrayals of animals in these works.

b)      How do the artists treat space and depth in these works.

c)       Explain why you think one work is more effective than the other.

Figure 4b

Figure 4b

SOVA 2009 Example Answers

NOTE: These are not the definitive answers.  And you may have different.  But they can serve as a good example.

1.       Over Mother's Head by Ng Eng Teng, 1990 [Fig 1]  Bronze Casting Singapore Art Museum

Figure 1

Figure 1 (back view)

(a)   Describe the subject matter of this work                                                                     

Over Mother’s Head by Ng Eng Teng is a bronze sculpture depicting a mother seated in a cross legged position holding a baby over her head.  She had no defining characteristics such as hair to identify her as a specific person, so it can be assumed she is meant to be a representation of a mother in general.  She is holding her face with her left hand, however its more in an exclamation of wonder or happiness than a heavy thinking pose.  Her right hand is held just above her head with her palm flat facing up.  On her palm her baby balances precariously with his legs and arms pointing upwards in a pose of being thrown in the air or squirming.  It can also be associated with poses of happiness or triumph. The pose suggests a contented or happy mother playing with her child. The baby is a boy which may also suggest an idea of superiority or accomplishment as in Asia a boy child is more desired than a girl child.  If a woman produces a boy then she has succeeded for the family.  A very interesting dynamic of this sculpture is when it is turned around the mother’s back side takes on a very definite representation of a phallic shape.  This reminds the viewer that the mother alone is not responsible for the creation of the baby.  The phallic shape also takes the place of the mother back, therefore suggesting that the man, the father is the real support of the family, perhaps not always visible but always behind the mother providing support.

(b)   Comment on the treatment of the human form by Ng Eng Teng.                               

The style of the sculpture is rather stylized in that the mother’s legs are very large and bulbous and her body is straight and conical.  The sculpture was created with bronze.  Instead of creating a smooth patina, the sculptor chose to create a rough textured surface out of the bronze suggesting there was some banging and moulding of the bronze into place. It also gives a more touchable appeal to the sculpture creating a more life-life appearance. The mother is seated cross legs with her right leg wrapped under her left.  The legs are so rounded and full, there is no detail  for the knees and /or muscle tone.  There is a line on the top of the left leg that suggests clothing but also suggests an organic-ness, as if the legs are bananas being peeled. There is no depiction of traditional women’s characteristics on her body such as breasts.  Her facial features are rendered very simply with a large pointed nose on a very circular round head.  Her hands are quite large and are supported by large forearms which suggest a more practical hardworking life than one lived in luxury.  Although the body language suggests that the mother and baby are engaged in an enjoyable activity, the mother’s face looks downcast, almost worried.  The back side of the woman is also bulbous, but as in the front where clothing was suggested, there is no clothing.  The rounded cheeks of the mother’s backside are very obvious.  However the mother’s back also is a very clear representation of a phallic symbol.  From the front of the sculpture it looks like the mother has a strange point emerging from the back of her head, but when one turns it around, one realizes it is the tip of an uncircumcised phallic entity pointing up to reach for the mother’s hand.

(c)   What is the significance of this object in the wider context of culture and society?   

This object discusses the importance of the mother and child.  The theme of mother and child has been a major theme in art.   However usually the mother and child are portrayed with the child supported by the mother, resting in her arms.  This is a strong Christian theme with artists such a Da Vinci portraying this scene for display in home and churches throughout Europe.  That this sculpture choses to portray a mother holding her child over her head shows a change in society’s ideas of motherhood.  Instead of a baby being someone that needs to be sheltered and supported within the bosom of the mother, it is now seen in some cultures as a trophy to prove one’s fertility and one’s worth.  The phallic symbol at the back of the culture pulls the idea of mother and child back to reality.  The much used theme Madonna and child seem to revere the idea of immaculate conception, but this sculpture shows that today’s society is more open to the realization of regular conception.  Today’s society accepts that both man and woman are needed to create a baby.  However, that the full figure of the mother is portrayed and only the phallic symbol of the man tells a somewhat disturbing vision that society may be developing, that the man is only as good as his prowess and his identity is irrelevant.  This could be in support of the popular conception that man do not view themselves as relevant nor necessary to be present during the upbringing of the children and tend to exit themselves at an early stage moving onto another sexual but not emotional relationship, thus becoming a nameless donor of life.

2.       Let’s Go to a Paradise of Glorious Tulips by Yayoi Kusama 2009 [Fig 2] Mixed Media (Steel, Fibre, Reinforced Polymer, Urethane Paint, Plants) Orchard Central Roof



Figure 2



Figure 2  (alternate view)

(a)   Describe the appearance of this work                        

                                               

Let’s Go to a Paradise of Glorious Tulip is a inventive imaginative installation work on the roof of Orchard Central.  The brightly coloured polka dot figures evoke an idea of childlike simplicity and playtime fun.  The installation is encased within an organic amoeba shaped border.  It consists of one girl figure standing up with arms outstretched near the middle of the installation, three medium sized dogs that seem to be barking playfully at each other closer to the perimeter of the border creating a large implied triangle and three large flower-like figures that create a line down the middle of the installation with the girl. The height of the dogs and the flowers also create a diagonal line leading up from the ground to the girl, who is the tallest, giving her emphasis.  All the figures are painted in bright pure colours of pink, sky blue and yellow reminiscent of childhood dolls.  They are also all covered in different sizes of polka dots. The bright colours, polka dots and simplified creatures makes one think of a young girl’s birthday party, rather than a serious work of art.

(b)   Discuss the treatment of form, colour and space in this work.       

                           

The forms in  this work are very childlike and simple.  The girl figure in the center, although a 3D form seems very flat .  She is standing with her legs apart  and her arms reaching out like a childhood doll.  Her hair is flat to her head with plain pony tails sticking out.  She looks like a child’s drawing come to life.  The flowers are over sized and representations of flowers as opposed to real flowers that exist in nature.  Their stems are twisted. The one flower closest in the picture has many stamens pointing out, almost reaching for the grass, or like a fly swatter for one of the dogs to devour.  The dogs are also simply designed being representations of a mutt-type.  They are portrayed as if stopped mid jump with their tails sticking up like they are wagging.  The colours are pure colour, there is no shading or toning on the figures.  The colours chosen are rather ‘girly’ colours of pink, purple, sky blue and yellow. They suggest fun, frivolity and playfulness.  There are contrasting polka dots of different colours over everything. The only object with two different colours and sizes of polka dots is the girl’s dress adding further emphasis.  

(c)   Explain how effectively the artist has used polka dots to create a unique vision?    

Polka dots are by their very nature, child like.  The very first thing a child learns to draw well is a circle.  Then with bright colours, he colours it in and soon covers the page in polka dots.  The polka dots the artist has used are all perfect geometric circles.  They are all coloured in one bright colour each, with no toning or shading creating a 2D effect.  They are all coloured in a contrasting colour with their background to give them emphasis.  They are meant to evoke a child-like style.  However, they are too perfect.  They are all created with a perfect geometric form and well placed equally apart in a consistent pattern.  This suggests uniformity and regularity, as if the figures have been tagged by a computer program.  Although it is meant to suggest child-like simplicity, it instead suggests the opposite; sophisticated industrial manipulation.  If it was really intended to create a child-like world the circles would be un-even and placed randomly with different colours.  Instead it looks like it was manufactured in a factory and placed here to remind the world of a happy childhood that no-one could possibly remember.  The dots serve then as a warning to the viewer , to emphasize the impossibility of the scene and un-real expectations of child-hood memories it is commenting on.  

Section B: Structured Comparison Questions

Answer all of the parts (a-c) of each question you choose.

3.       City Life by Gerhard Richter, 2000 [Fig 3a] Oil on Photograph

City Vista by Thomas Yeo, 1983 [Fig 3b]  Collage





Figure 3a






Figure 3b



(a)   Compare the composition and subject matter of these works.                                  

Both works are abstract and refer to a similar subject matter; the city.  However, City Life is created with oil paint over a realistic photograph and City Vista is created as a collage. 

City Life is horizontally balanced with strips of oil paint and sliced photo remnants depicting a street filled with colonial office buildings along the river.  The buildings are reflected clearly in the smooth surface of the river.  A bridge crosses the river on the right side of the work.  The artist has added paint colours in shades of green and yellow to suggest flames, suggesting that this part of the city may have been since the time the photo was taken burnt down.  The artist creates a rhythm of vertical lined texture in the background to contrast with the horizontal photo.  The background is painted in tones of red starting with white and then gradually darkening to black on the right side.

In City Vista, the artist places strips of colourful peach, yellow and white paper vertically across the canvas, reaching from the bottom and the top and being torn close to the middle.  The background which is exposed in the middle of the work is a bright sky blue.  There are also small squares of white and reddish tones that suggest a city scene.  A thin blue line crosses horizontally across the work about an inch from the bottom.

(b)   How has the artists used materials and colours in both works?                                

In City Vista, the colours are very pale and non-threatening.  The artist used strips of paper pasted vertically downwards to create an impression of large buidlings.  He then created some white and reddish tinged papers of various shapes and placed them in the middle, overlapping each other to give depth.  The majority of the paper used has a yellowish/peach tint which contrasts with the bright sky blue of the background seen through the gaps in the middle of the collage. This creates emphasis, leading the viewer’s eyes to the middle of the work.  It also gives an impression of hanging cloth and curtains, and the city vista is seen in the distance through the open window.

In City Life, the colours used are very dramatic. It seems like the artist juxtaposed two photographs together, ripping the top one into horizontal strips.  The back is unclear actually, if it is a photograph of a wood wall or an oil painting meant to resemble the same thing. The texture of the wood and the clearing at the right side tend to suggest the photograph. The artist used long smooth brushstrokes over the top photograph of a city on a river to further accentuate the river and the sky.  The artist also used an analogous colour scheme of yellow and green tones to create an impression of flames which contrasts starkly with the dark reddish tones of the wooden background.                                        

(c)   In your opinion, which of these two works is more effective?  Give reasons for your choice.                                                                                                                         

In my opinion, City Life is more effective as a work of art.  City Vista is quite non-threatening and passive, which in my opinion, equals non-interesting.  There seems to be not a lot of thought or work put into the piece.  The idea of a city vista is difficult to determine and recognize, which would make most viewers confused.  Even if one was to notice that it looks like an open window with flying curtains and the city in the distance, it is not clear enough and the colours not emotional or passionate enough to really engage the viewer.

City Vista caught my attention at once with its bright colours and bold strokes.  I was curious and wanted to decipher its meaning.  As I looked at it further I noticed it was based on a photograph of buidlings on a river.  I could not understand how the artist could get the background lines to blend seamlessly with the horizontal top strips without any appearance of stopping brushstrokes.   To this day, I am not sure if it is overlapping photos or a well painted background and that makes me curious, so City Visa still holds my attention.  Further, the added ‘flames’ add tension and excitement.

   4.      Hospital Series by Zeng Fanzhi  1994 [Fig 4a]  Oil on Canvas

Execution by Yue Minjun  1995  [Fig 4b] Oil on Canvas

Figure 4a





Figure 4b



(a)   Compare the treatment of subject matter presented in these two works.    

              

Both pictures depict Chinese figures in a very controversial situation suggesting a new brave rebellious attitude among Chinese artists.  In Hospital Series,  the focal point centers on a young man, clothed in a sort of gray uniform, seated on the edge of a brown plastic sofa.  His arms are clasped around his knee and he looks rather pensive as if he is not at all happy. He is in a waiting room, presumably a hospital as suggested by the title.  There is a man beside him on the couch, slouched over, half lying on the sofa, with his head over his arm. Red paint suggesting blood drips all over his back. There is a crowd behind the couch pushing a man in a gurney portrayed in varying degrees of detail realism till they become purely human forms of solid colour in the distance.  In the forefront of the picture there is  a roll of bandages, some blood soaked rages and a glass beaker.  On the front at the left side by the man’s foot is what appears to be a plastic bag full of blood.  The subject matter is a rather a horrific view of an overcrowded, un-sanitary hospital waiting room. This suggests a comment on declining health care and the importance or non-importance of human life and health.

In Execution, four Chinese boys have stripped off their clothes and are standing in a line, execution style.  They are standing in front of a dark red Chinese  wall, reminiscent t of those that encircle the Forbidden City in Beijing.  Four boys in white t-shirts and black pants are holding their arms out as if they are carrying rifles and aiming them at the boys in line.  The boys in line are wearing unreal exaggerated expressions of hilarity, as if they are laughing hysterically.  There is a boy at the far right of the picture facing the viewer.  He is wearing a t-shirt of a comical creature sitting by a yellow river.  He is also wearing the same absurd expression.  The intensity of the laughing expression of the boys and the horrific connotations of the scene creates a puzzlement to the viewer, suggesting the old maxim, “I don’t know whether to laugh or to cry”.

(b)   How does each artist make use of form, composition and colour?   

                   

Both artist’s focus on the human form in a semi realistic  stylized way.  Both also understand the dynamics of composition design using a sophisticated planning of line and shape to create emphasis within thei  composition.

In Hospital Series, the artist has placed the man, the focal point on the left. He is drawn in a slightly larger size than the rest of the figures and although he is wearing sunglasses and his eyes are shaded, he is looking out at the viewer.  The heads of the crowd behind him create an implied line leading  up to the figure just behind .  Then the man on the gurney creates a  diagonal line down to the edge of the page.  When combined with the line created by the slouching man on the sofa, this creates a large implied triangle  thus formally balancing the composition.  The artist has  chosen to depict most of the figures in shades of grey and red, expect directly behind the man, the artist has used green to add form to the patients shoulders.  Also the artist has used turquoise on the man’s shoulders to further add emphasis.            

Execution is also formally balanced with the implied diagonal line from the rifles to the laughing  unclothed men. And from the angle of their feet, back to the firing range.  The artist has also created an interesting emphasis on the first man in line with all the other men turning their faces in his direction.  The laughing men at the forefront, thought to the emphasis is in fact not.  His titled head creates a direct implied line straight to the first target man.  The artist makes much use of shading and shadows to add drama to this scene.  The figures are coloured in pale shades of white and skin tone with black pants.  This contrasts strongly with the bright flatness of the red imperial wall with yellow border at the back.                       

(c)   What do these works suggest about the culture that is depicted?       

                      

Hospital Series make a social commentary about the decline of health care.  The comment being made is that the ill are not looked after efficiently and the waiting rooms of hospitals are over crowded.  Hospitals are unsanitary and health-care staff are overworked and understaffed. Workers do not have enough time to dispose of their rubbish, before moving on and people are left to bleed to death in the waiting room.  This suggests the culture is unhappy with their current situation and they do not trust the government who are supposed to be looking after their welfare. It suggests discontent and distrust.  The man’s expression in the forefront, with his lips pursed  and his brows furrowed.  The fact that is his wearing his sunglasses and holding onto his knees, seems to clearly reflect the artist’s attitude of irreverence to the governing party and annoyance that things have been able to get so badly.

That boys play such a horrific game as firing line in the Execution and laugh hysterically at how seriously they do play it, forcing those due to be shot to undress is a disturbing comment on the irreverence towards the governing party and the history of the country.  Furthermore, it suggests a strong rebellious attitude on part of the artist.  Instead of upholding cultural traditions, he chooses to mimic and poke fun at the seriousness of the Chinese Imperial might, making a joke out of death and the power of the government to inflict death upon its citizens.
Both paintings show a decided change in the culture of China.  In the past, the government was greatly feared and most people would never speak out critically in any instance.  This pictures show a growing discontent and a growing freedom of expression among the Chinese culture.

SOVA HINTS: Art Vocab

When we are referring to something boring, or seemingly old, like its something you’ve seen it before and you think it’s a lame idea, you can say it’s cliché. “The painting seems very cliché.”

When we refer to men’s gentialia; the actual stuff or the idea /representation of it, we can say ‘phallic’.  As in “The sculpture suggests a phallic shape”.  Some people think that really tall towers are 'phallic symbols'.  (google it to get the idea)

When you are asked to describe subject matter, you are asked to discuss the story presented by the work.  You know the story from the objects, people, landscape, clothing, lighting, colours, etc that the artist choose to use.  For example, if the painting is full of herons, then the subject matter is going to be herons, perhaps wildlife, or feeding time;  wild herons near a pond all crowding around a small opening in the grasses to try to catch fish.  If the herons are geometric representations of a heron, without real faces, then the identity of each particular heron is not important, just the fact that they are all herons, so the joining of many herons becomes a part of the subject matter…… and so on…….

When are you asked to describe the composition, this is when you use your knowledge of the elements and principles.  You are to explain how different elements are put together to create the work.  

NOTE: Whenever you are asked to describe, imagine you are talking to a blind man and you must describe in HIGH SPECIFIC detail exactly what you see, so he/she can re-draw the picture exactly.  Of course make sure you throw in some opinions and art vocab just for fun…..and higher marks.

When you are asked about the theme; they are referring to a general idea.  When we study SOVA we studied 4 major themes.  (actually, we did.. remember at the beginning of the year when i showed you all those slides and asked you (shock!) to do written assignments, like we visited the art galleries….that um…. not many of you did….yeah……)  They are Self Relationships, Culture and Society, Space and Structure and Ideas and Imagination.  As you can see, themes are general ideas that we can use to classify something.  So we can say “the theme of school is education.”  (I will try to post the theme questions and answers we did earlier in the year to jolt your remembering…key word: try.)

When you are asked about social commentary; they are referring to what comment is being made about society.  How does the art work detail some social idea or issue that is relevant to the time the art work is made.  There may be more than one comment being made as society, as we know, is very complex these days. 

When you are asked about tone; they are referring to shading and depth in a painting, how the artist uses light effects, tints, shades, highlights to create 3D  forms or effects of texture.  Also, when you are talking about tone if you use the word depth, for example, “the tone added by the artist creates depth” it just makes you sound smart.   

SOVA 2009 (Practise Test)

TO BE AWESOME TRY THIS:   Find a quiet place for 2 hours.  Set a timer (a silent timer with an alarm at the end that maybe you can see so you can stay on track) .  And try to answer the questions in the EXACT same time you would get on during the exam. 

Then when you are done, look it over and see how you did.   Change and upgrade some of your answers if you wish. 

If you’re totally awesome (which, let’s face it, you are), you may want to do it again.  Or choose one of the older tests we have already done.

Answer three questions.

One from Section A, one from Section B and one additional question from either section.

Section A: Structured Questions

Answer all of the parts (a-c) of each question you choose.

1.       Over Mother's Head by Ng Eng Teng, 1990 [Fig 1]  Bronze Casting Singapore Art Museum

a.       Describe the subject matter of this work

b.      Comment on the treatment of the human form by Ng Eng Teng

c.       What is the significance of this object in the wider context of culture and society?

Figure 1

Figure 1 (back view)

2.       Let’s Go to a Paradise of Glorious Tulips by Yayoi Kusama 2009 [Fig 2] Mixed Media (Steel, Fibre, Reinforced Polymer, Urethane Paint, Plants) Orchard Central Roof

a.       Describe the appearance of this work.

b.      Discuss the treatment of form, colour and space in this work.

c.       Explain how effectively the artist has used polka dots to create a unique vision?



Figure 2



Figure 2  (alternate view)

Section B: Structured Comparison Questions

Answer all of the parts (a-c) of each question you choose.

3.       City Life by Gerhard Richter, 2000 [Fig 3a] Oil on Photograph

City Vista by Thomas Yeo, 1983 [Fig 3b]  Collage

a.       Compare the composition and subject matter of these works.

b.      How has the artist used materials and colours in both works?

c.       In your opinion, which of these two works is more effective?  Give reasons for your choice.



Figure 3a



Figure 3b

        4.      Hospital Series by Zeng Fanzhi  1994 [Fig 4a]  Oil on Canvas

Execution by Yue Minjun  1995  [Fig 4b] Oil on Canvas

a.       Compare the treatment of subject matter presented in these two works.

b.      How does each artist make use of form, composition and colour?

c.       What do these works suggest about the culture that is depicted?



Figure 4a





Figure 4b