EXHIBITION
IB Visual Arts Expectations/Syllabus
Part 3: Exhibition
Students at SL submit for assessment a selection of resolved artworks from their
exhibition. The selected pieces should show evidence of their technical accomplishment
during the visual arts course and an understanding of the use of materials, ideas and
practices appropriate to visual communication.
•
SL students submit a curatorial rationale that does not exceed 400 words.
•
SL students submit 4–7 artworks.
•
SL students submit exhibition text (stating the title, medium, size and intention) for
each selected artwork.
SL students may submit two photographs of their overall exhibition. These exhibition
photographs provide an understanding of the context of the exhibition and the size and
scope of the works. While the photographs will not be used to assess individual artworks,
they may give the moderator insight into how a candidate has considered the overall
experience of the viewer in their exhibition.
40%
Purpose of internal assessment Internal assessment: is an integral part of the visual arts course and is compulsory for both SL and HL students.
Guidance and authenticity
The SL tasks submitted for internal assessment must be the student’s own work. However, it is not
the intention that students should decide upon a title or topic and be left to work on the internal assessment
task without any further support from the teacher. The teacher should play an important role during both
the planning stage and the period when the student is working on the internally assessed work. It is the
responsibility of the teacher to ensure that students are familiar with:
•
the requirements of the type of work to be internally assessed
•
the assessment criteria; students must understand that the work submitted for assessment must
address these criteria effectively.
Teachers and students must discuss the internally assessed work. Students should be encouraged to initiate
discussions with the teacher to obtain advice and information, and students must not be penalized for
seeking guidance. As part of the learning process, teachers should read and give advice to students on one
draft of the work. The teacher should provide oral or written advice on how the work could be improved,
but must not edit the draft. The next version handed to the teacher must be the final version for submission.
It is the responsibility of teachers to ensure that all students understand the basic meaning and significance
of concepts that relate to academic honesty, especially authenticity and intellectual property. Teachers must
ensure that all student work for assessment is prepared according to the requirements and must explain clearly to students that the internally assessed work must be entirely their own. Where collaboration between students is permitted, it must be clear to all students what the difference is between collaboration and collusion.
All work submitted to the IB for moderation or assessment must be authenticated by a teacher, and must
not include any known instances of suspected or confirmed academic misconduct. Each student must
confirm that the work is his or her authentic work and constitutes the final version of that work. Once a
student has officially submitted the final version of the work it cannot be retracted. The requirement to
confirm the authenticity of work applies to the work of all students, not just the sample work that will be
submitted to the IB for the purpose of moderation.
Authenticity may be checked by discussion with the student on the content of the work, and scrutiny of one
or more of the following:
•
the student’s initial proposal
•
compare the style of the work with work known to be that of the student
•
compare the final submission with the first draft of the work
•
check the references cited by the student and the original sources
•
interview the student in the presence of a third party
•
analyze the work using a web-based plagiarism detection service such as www.turnitin.com.
Assessment
Internal assessment
It is the responsibility of supervisors to ensure that all candidates understand the basic meaning and
significance of concepts that relate to academic honesty, especially authenticity and intellectual property.
Supervisors must ensure that all student work for assessment is prepared according to the requirements
and must explain clearly to candidates that any work submitted for assessment must be entirely their own
work.
The same piece of work cannot be submitted to meet the requirements of an assessed component and the
extended essay.
For further guidance on this issue and the procedures for confirming authenticity please refer to the IB
publication
Academic honesty and the relevant articles in the General regulations: Diploma Programme, as well as the
Handbook of procedures for the Diploma Programme
Time allocation
Internal assessment is an integral part of the visual arts course, contributing 40% to the final assessment in
the SL and the HL courses. This weighting should be reflected in the time that is allocated to teaching the
knowledge, skills and understanding required to undertake the work, as well as the total time allocated to
carry out the work. This should include:
•
time for the teacher to explain to students the requirements of the internal assessment
•
class time for students to work on the internal assessment component and ask questions
•
time for consultation between the teacher and each student
•
time to review and monitor progress, and to check authenticity.
Requirements and recommendations
It is important for the integrity of the moderation process that the internal assessment by the teacher
is based on the same evidence as that available to the moderator. Teachers should therefore base their
assessment of the selected artworks and supporting documentation for the exhibition task on the digital,
on-screen versions of the submitted work.
Using assessment criteria for internal assessment
For internal assessment, a number of assessment criteria have been identified. Each assessment criterion has level descriptors describing specific achievement levels, together with an appropriate range of marks. The level descriptors concentrate on positive achievement, although for the lower levels failure to achieve may be included in the description.
Teachers must judge the internally assessed work at SL and at HL against the criteria using the level descriptors.
•
The same assessment criteria are provided for SL and HL students, with some additional criteria for
HL only.
•
The aim is to find, for each criterion, the descriptor that conveys most accurately the level attained
by the student, using the best-fit model. A best-fit approach means that compensation should be
made when a piece of work matches different aspects of a criterion at different levels. The mark
awarded
should be one that most fairly reflects the balance of achievement against the criterion. It is
not necessary for every single aspect of a level descriptor to be met for that mark to be awarded.
When assessing a student’s work, teachers should read the level descriptors for each criterion until
they reach a descriptor that most appropriately describes the level of the work being assessed. If a
piece of work seems to fall between two descriptors, both descriptors should be read again and the
one that more appropriately describes the student’s work should be chosen.
•
Where there are two or more marks available within a level, teachers should award the upper marks
if the student’s work demonstrates the qualities described to a great extent; the work may be close
to achieving marks in the level above. Teachers should award the lower marks if the student’s work
demonstrates the qualities described to a lesser extent; the work may be close to achieving marks in
the level below.
•
Only whole numbers should be recorded; partial marks (fractions and decimals) are not acceptable.
•
Teachers should not think in terms of a pass or fail boundary, but should concentrate on identifying
the appropriate descriptor for each assessment criterion.
•
The highest level descriptors do not imply faultless performance but should be achievable by a
student. Teachers should not hesitate to use the extremes if they are appropriate descriptions of the
work being assessed.
•
A student who attains a high achievement level in relation to one criterion will not necessarily
attain high achievement levels in relation to the other criteria. Similarly, a student who attains a low
achievement level for one criterion will not necessarily attain low achievement levels for the other
criteria. Teachers should not assume that the overall assessment of the students will produce any
particular distribution of marks.
•
It is strongly recommended that the assessment criteria be made available to students.
Internal assessment details—SL and HL
Part 3: Exhibition
Weighting: 40%
Students at SL and HL submit for assessment a selection of resolved artworks for their exhibition. The
selected pieces should show evidence of their technical accomplishment during the visual arts course
and an understanding of the use of materials, ideas and practices to realize their intentions. Students also
evidence the decision-making process which underpins the selection of this connected and cohesive body
of work for an audience in the form of a curatorial rationale.
During the course students will have learned the skills and techniques necessary to produce their own
independent artwork in a variety of media. In order to prepare for assessment in this component, students
will select the required number of pieces to best match the task requirements and demonstrate their
highest achievement. Students at SL select 4–7 artworks for submission while students at HL select 8–11
artworks for submission.
The final presentation of the work is assessed in the context of the presentation as a whole (including the
accompanying text) by the teacher against the task assessment criteria.
Preparation process
In preparation for this task within the core syllabus students at SL and HL must have had experience of the
following.
Visual arts in context
Visual arts methods
Communicating visual
arts
Curatorial
practice
Developing an informed
response to work and
exhibitions they have seen
and experienced.
Beginning to formulate
personal intentions for
creating and displaying
their own artworks.
Evaluating how
their ongoing work
communicates meaning
and purpose.
Considering the nature of
“exhibition” and thinking
about the process of
selection and the potential
impact of their work on
different audiences.
Selecting and presenting
resolved works for
exhibition. Explaining the
ways in which the works
are connected.
Discussing how artistic
judgments impact the
overall presentation.
Visual
arts
journal
Recording their experiences and learning, together with impressions, reflections and any
relevant research, in the visual arts journal.
Students then undertake the process outlined below for assessment.
Task details
For the exhibition task students at SL and HL should select and present their own original resolved artworks
which best evidences:
•
technical competence
•
appropriate use of materials, techniques, processes
•
resolution, communicating the stated intentions of the pieces
•
cohesiveness
•
breadth and depth
•
consideration for the overall experience of the viewer (through exhibition, display or presentation).
Students will be assessed on their technical accomplishment, the conceptual strength of their work and
the resolution of their stated intentions. To support their selected resolved artworks, students at SL and HL
should also submit:
•
exhibition text which states the title, medium, size and a brief outline of the original intentions of each
selected artwork
•
two photographs of their overall exhibition. While the photographs will not be used to assess
individual artworks, they may give the moderator insight into how a student has considered the overall
experience of the viewer in their exhibition. Only the selected artworks submitted for assessment
should appear in the exhibition photographs.
Students at SL should also develop a curatorial rationale which accompanies their original artworks (400
words maximum). This rationale explains the intentions of the student and how they have considered the
presentation of work using curatorial methodologies
Using the visual arts journal in this task
All students should use their visual arts journal to record their intentions for their original artworks
and to reflect on the process of resolving them. Students will select, adapt and present what they
have recorded in their journal as the basis for material submitted for the curatorial rationale. Students
could also use their visual arts journal to plan their exhibitions, using floor plans of available spaces
to decide which artworks they will display where. They might consider where the audience will enter
from and how they might order the works. Students may wish to consider what relationships need to
be established between works and their placement within the exhibition, along with consideration of
the exhibition environment and factors which may affect the way in which their work is experienced.
Structuring the exhibition
It is expected that work developed for the exhibition will overlap or have grown from initial or in-depth
investigations within part 1: comparative study and part 2: process portfolio.
Work developed for the exhibition will have been carefully supported and facilitated by both teacher-
directed learning activities and independent studies by the student. In preparing for this task students will
need to have engaged with a variety of skills, techniques and processes that will have enabled them to
manipulate materials, media, techniques and processes in order to discover strengths and work towards
technical excellence.
Art-making forms
Having worked within a range of art-making forms for part 2: process portfolio, students at both SL and
HL may submit work created in any art-making form for part 3: exhibition. The submitted pieces should be
selected by the student from their total body of resolved works and should represent their most successful
achievements against the assessment criteria. They should be presented in a manner suitable for an
audience.
Exhibition text (500 characters maximum per artwork)
Each submitted artwork should be supported by exhibition text which outlines the title, medium and size
of the artwork. The exhibition text should also include a brief outline of the original intentions of the work
(500 characters maximum per artwork). The exhibition text should contain reference to any sources which
have influenced the individual piece. Students should indicate if objects are self-made, found or purchased
within the “medium” section of the exhibition text, where applicable. Where students are deliberately
appropriating another artist’s image as a valid part of their art-making intentions, the exhibition text must
acknowledge the source of the original image.
Collective pieces
Students are required to submit individual artworks for assessment. Where students wish to submit portions
of work in the form of one collective piece (such as diptych, triptych, polyptych or series), this must be
clearly stated as part of the title of the submitted piece in the exhibition text, presented in parentheses. For
example: Title of the piece (diptych). The requirements for capturing and submitting collective pieces is the
same as with other standard submissions, however students deciding to submit collective pieces need to be
aware that there is a compromise in the size an image can be viewed when submitted as part of a collective
piece which may prevent examiners from taking details that cannot be seen into account.
Collective pieces
that are presented without the appropriate exhibition text will be considered as distinct artworks and could
lead to a student exceeding the maximum number of pieces.
The role of the teacher
While the student is working on the assessment task the teacher should discuss each student’s choice of
selected artworks for submission. It is important that the selected pieces are the student’s own choice.
Teachers should read and give advice to students on one draft of the supporting documents. The teacher
should provide oral or written advice on how the supporting documents could be improved, but should not
edit them. The next version handed to the teacher must be the final version for submission. Teachers should
also ensure that students accurately complete and submit the exhibition text for each of their submitted
pieces.
Structuring the curatorial rationale
The curatorial rationale requires SL and HL students to explain why specific artworks have been chosen
and presented in a particular format. It provides students with an opportunity to explain any challenges,
triumphs, innovations or issues that have impacted upon the selection and presentation of the artworks.
Students should use the curatorial rationale to explain the context in which particular artworks were made
and presented in order to connect the work with the viewer. In addition to this, students at HL should also
explain how the arrangement and presentation of artworks contributes to the audience’s ability to interpret
and understand the intentions and meanings within the artworks exhibited.
SL students may find the following questions helpful when approaching this task. This structure is for
guidance only and is neither prescriptive nor restrictive.
•
What are you hoping to achieve by presenting this body of work? What impact will this body of work
have on your audience? What are the concepts and understandings you initially intend to convey?
•
How have particular issues, motifs or ideas been explored, or particular materials or techniques used?
•
What themes can be identified in the work, or what experiences have influenced it?
•
How does the way you have exhibited your artwork contribute to the meanings you are trying to
convey to an audience?
Academic honesty
Artworks presented for assessment will have been made or constructed by the student. For instance,
a piece of fashion design cannot be presented for assessment in realized form if the student did not
create it themselves. Where the student has not created the realized piece themselves, they would
still be able to submit the design of the piece as an artwork for assessment in the exhibition, but the
realized piece cannot be included. Where a student has taken found objects and created art with
them this is considered as constructed by the student. Students should identify if objects are self-
made, found or purchased under the “medium” section when compiling the exhibition text for each
of their submitted pieces. When the student is aware that another person’s work, ideas or images have
influenced their selected pieces for exhibition the source must be included as a bibliography reference
within the exhibition text, following the protocol of the referencing style chosen by the school.
Formal requirements of the task—SL
•
SL students submit a curatorial rationale that does not exceed 400 words.
•
SL students submit 4–7 artworks.
•
SL students submit exhibition text (stating the title, medium and size of the artwork) for each selected
artwork.
SL students may submit two photographs of their overall exhibition. They will not be assessed or used to
assess the individual artworks.
Submitting assessment work
Students may choose to capture and submit individual artworks for assessment in a variety of ways,
depending on the nature of the artwork and the resources available. The work should ideally be captured
in whatever electronic means is most appropriate for the selected art-making form. A two-dimensional
artwork, for example, might be best captured through a still photograph, while a three-dimensional artwork
might be best captured through a short video recording. Lens-based, electronic or screen-based artwork
such as animation, however, might call for more unusual file types. Please note that time-based submissions
such as these are limited to a maximum duration of five minutes. Clarification on the acceptable file types for
capturing the assessment materials can be found in the
Handbook of procedures for the Diploma Programme
.
Additional supporting photographs
Whatever the chosen means of capturing each individual artwork, students are permitted to submit
up to two additional photographs in support of each submitted artwork. These additional supporting
photographs or screenshots are intended to enable students to provide an enhanced sense of scale
or specific detail to the submitted artwork. These additional photographs are optional. Photographs
of 2D objects should be taken prior to any mounting or framing. Clarification on how to submit the
supporting photographs and the accepted file types can be found in the
Handbook of procedures for the
Diploma Programme
.
I
Unless it is impossible, schools are advised to submit two photographs of each student’s overall exhibition.
These exhibition photographs provide an understanding of the context of the exhibition and the size and
scope of the works. While the photographs will not be used to assess individual artworks, they may give the
moderator insight into how a student has considered the overall experience of the viewer in their exhibition.
Only the selected artworks submitted for assessment should appear in the exhibition photographs.
The procedure for submitting work for assessment can be found in the
Handbook of procedures for the Diploma Programme
. Students are required to indicate the number of artworks submitted. Where submitted
materials exceed the prescribed limits examiners are instructed to base their assessment solely on the
materials that appear within the lim
RXHIBITION CRITERIA, ETC: Go to Page 66 in pdf.
