Art practice research generally follows a loosely defined path that starts with a question, continues with gathering ideas and information, leads to an idea or hunch, wends through creative processing of play, experimentation and construction, and culminates with a product that leads to another venture down a new path.

(Marshall, 2014, p. 14)

A line of inquiry is the the thread that a student explores through their creative processes, framed as inquiry. These are propelled by one or more inquiry questions or generative statements—initiated by the student’s interests, their ongoing practice, or any encounter that fosters specific curiosity. In art-making as inquiry, students form inquiry questions and generative statements throughout the creative process.

These may bring opportunities to refine and resolve artwork, progressing the development of lines of inquiry and of art-making. Whatever shape their inquiry takes, students can meet the assessment objectives of the course following personal paths while engaging with a variety of artmaking forms and creative strategies.

A line of inquiry can take a simple linear journey or follow a more complex trail. It can even move along a series of paths that grow out of each other or intersect like a web, the branches of a tree or a root system.

This is an SL-only task focused on the student situating in context one of their resolved artworks, chosen from the five they submit for internall assessment. It is externally assessed, worth 20% of your overall grade for the subject.

The study presents curated visual and written evidence to demonstrate the connections between the student’s chosen resolved artwork and their own context(s), and between the chosen artwork and at least two artworks by different artists.

The connections must be informed by research, and the study must demonstrate understanding of the cultural significance of the two artworks by different artists.

Students submit two mandatory files.

• One PDF file of up to 10 screens including visual evidence and supporting written materials. The total word count must not exceed 2,500 words.

• One separate text file listing the sources.

This component is internally assessed by the teacher and externally moderated by the IB at the end of the course. It is worth 40% of your overall grade for the subject.

Resolved artworks

This is an SL-only task focused on the student’s ability to create a coherent body of work. Each student submits five resolved artworks to demonstrate their best achievements in communicating their artistic intentions coherently.

The student provides evidence of synthesis of concept and form, and of their competence in resolving artworks. They also write a rationale to articulate their artistic intentions and the choices that informed the making of their coherent body of artworks.

SL students submit six mandatory files.

• Five image or video files (each up to three minutes long) of artworks—each accompanied by a title and details on medium and size. Two optional supporting image files per artwork can be submitted to show details or additional views.

• One PDF file of up to two screens for the rationale (which must not exceed 700 words).

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This is an SL and HL task focused on the student’s art-making as inquiry. It is externally assessed, worth 40% of your overall grade for the subject.

The student selects and organizes visual evidence of their personal investigations, discoveries and creations, supported by critical reflections, all in a portfolio. They provide curated evidence of their art-making as inquiry in a variety of art-making forms and creative strategies.

The portfolio demonstrates how the student developed and refined their visual language through one or more lines of inquiry and must explicitly include the inquiry questions or generative statements they worked with.

SL students submit two mandatory files.

• One PDF file of up to 15 screens including visual evidence accompanied by written materials. The total word count must not exceed 3,000 words.

• One separate text file listing the sources.

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Assessment objectives provide measurable indicators of success and help to shape learning and teaching. The visual arts objectives are embedded in the creative process to support authentic learning.

At the end of this course, students are expected to provide evidence of how they learned to create, connect and communicate as visual arts practitioners. Students are expected to evidence how, as part of their art-making, they:

• curate visual and written materials, including both developing and resolved artworks, to communicate artistic intentions and present their art-making practice

• investigate art-making forms and creative strategies, as well as meaning and cultural significance of artworks within and across contexts

• generate intentions and artworks through inquiry and the application of creative strategies

• refine artistic intentions and their own art-making through investigation, dialogue and critical reflection as part of inquiry

• resolve artworks to fulfil artistic intentions and convey meaning

• situate their own artworks and art-making, as well as those of other artists, in relation to context(s), audience(s) and communities of artistic practice • synthesize concept and form through creative and curatorial practices to create artworks, communicate artistic intentions and connect with audience(s).

Benedict Cumberbatch: Sol Lewitt's letter to Eva Hesse

https://www.youtube.com/watch?v=VnSMIgsPj5M

https://www.youtube.com/watch?v=64ienfpp5Ls

https://www.youtube.com/watch?v=MxQZV-Hf4ZY

https://www.youtube.com/watch?v=nelinIJySQc