Edexcel GCSE Art & Design Paper 02 - Externally Set Assignment June 2007 Timed Test: 10 hours

1. Edexcel GCSEArt & DesignPaper 02 - Externally Set Assignment June 2007Timed Test: 10 hours

2. This paper should be given to the teacher-examiner for confidential reference AS SOON AS IT IS RECEIVED in the centre in order to prepare for the preparatory supporting studies. • Candidates have an eight week period, prior to the Timed Test, in which to produce preparatory supporting studies. At the beginning of the eight week period the teacher-examiner should distribute this paper to the candidates. • Materials required for examination Nil • Items included with question papers Nil

3. This paper will be handed to you so that you will have eight school weeks to prepare for the ten hour Timed Test. • Instructions are given on page 2 of this paper. • You should study these instructions carefully when you receive this paper. • The Theme for the Externally Set Assignment and some ideas to help you are given on page 3 onwards. • This booklet contains the Theme for the Externally Set Assignment for the following specifications: • 1027/3027 Unendorsed • 1028/3028 Fine Art • 1029/3029 Three Dimensional Design • 1030/3030 Textiles • 1031/3031 Photography • 1032/3032 Graphic Design • Information for Candidates • Your teacher will inform you of the dates and times when you will complete your Externally Set Assignment. • Instructions to Candidates

4. The Externally Set Assignment consists of two parts: • Preparatory Supporting Studies • These are produced in response to the Theme presented on page 3 of this paper. You have eight school weeks before your Timed Test to allow you to think about this Theme and investigate and experiment with ideas in preparation for the Timed Test. The supporting studies you produce during this period are a compulsory part of the Externally Set Assignment. However, your teacher will be able to teach, guide and support you during this planning period. • Timed Test • This consists of ten hours working under examination conditions, producing your own unaided work in response to the Theme. During this time you are expected to take into the Timed Test any Preparatory Supporting Studies which you have produced in the eight week period. Your teacher can help you during this ten hour period with technical problems such as working space, materials and equipment. The work you do in your Timed Test must be your own unaided work. • Your Externally Set Assignment is worth 40% of your total mark. Instructions- Externally Set Assignment

5. The Theme this year is: WRAPS This Theme can be explained in many ways and covers all endorsements. Discuss the Theme with your teacher and make sure that you produce evidence to cover the four Assessment Objectives. Remember that each Assessment Objective is worth 25% of your final mark for this paper. EXPLORING AND DEVELOPING THE THEME

6. AOl: Record observations, experiences and ideas in forms that are appropriate to intentions. AO2: Analyse and evaluate images, objects and artefacts, showing understanding of context. AO3: Develop and explore ideas using media, processes and resources, reviewing, modifying and refining work as it progresses. AO4: Present a personal response, realising intentions and making informed connections with the work of others. The starting points overleaf are suggestions to start you thinking about your ideas. You may work from anyone of the starting points, or you may develop a relevant starting point of your own that explores the Theme 'Wraps'. The four Assessment Objectives are:

7. Leafy wraps fold back to reveal a delicate interior: cabbage, artichoke, leek or lettuce, rose, sweet pea, poppy or primrose. ORGANIC WRAPS

8. Fibrous wraps protect their treasure of hidden fruits, nuts and vegetables: passion fruit, pomegranate, lychee, dates, coconut, brazil nut, horse chestnut, sweet corn or maize. Fleshy wraps surround succulent and exotic interiors: oranges, lemons or limes, strawberries, cherries, redcurrants or blueberries, mango, fig, kiwi fruit, sharon fruit or watermelon. ORGANIC WRAPS

9. ORGANIC WRAPS • Layers and wraps that exist in natural, organic forms. • Wraps as growing, strengthening and nurturing. • Organic decomposition and decay.

10. WRAPS:Folding back to revealFolding over to protect

11. Strong armor or fragile skin… • Consider what qualities wraps might have in different circumstances. • The thin skin wrapping the juicy flesh of a strawberry will soon start to rot.

12. WRAPS as process and growth. Consider the TRANSFORMATIVE QUALITIES.

13. PROTECTIVE WRAPS • Consider the implications of our need to wrap and protect our consumer goods. • View wraps from a POLITICAL or ENVIRONMENTAL point of view!

14. WRAPS as LUXURY and ENTICEMENT!

15. Encased in plastic or polythene sheeting, shrink or bubble wrapped objects, precious artefacts, fragile goods, protected in transit. Semi-transparent protection can reveal, obscure or distort its cargo. Parcels wrapped with brown paper and secured with string. Envelopes, jiffy bags or cardboard tubes. PROTECTIVE WRAPS

16. Chocolates, sweets, cakes and biscuits protected in brightly coloured cellophane and patterned foil. Decorated and wrapped, embellished in gift boxes, bags and packaging. Fishing nets, lobster and crab pots. Caged exotic birds, reptiles and mammals. Egg boxes, bottle carriers and take-away food containers. Shopping bags, supermarket carrier bags and trolleys. All contain, secure and protect. PROTECTIVE WRAPS

17. EXPECTATION!

18. ANTICIPATION!

19. Wrapped in the comfort of a warm bed. Lying against a favourite pillow, tucked up in sheets, blankets, or duvet and surrounded by familiar objects, clothing and possessions. SECURITY WRAPS

20. SECURITY WRAPS • Wrapping up safe and sound. • Wrapping up for comfort. • Wrapping up against the outside world. • Curling up into your own space.

21. WRAPS keeping people inside/outside.IMPLICATIONS?!

22. A parent and child wrapped in an embrace, comforting, strengthening and supporting. Patiently banishing nightmares, both real and imagined. Stone walls, woven fences, a copse or wood protect the natural landscape, identifying boundaries, securing property, maintaining traditions and sustaining the natural environment. Walled cities and castles built to ensure the safety of their inhabitants. SECURITY WRAPS

23. A world wrapped under a blanket of snow! Covering up? Beauty! Concealing? Pristine! Blanketing ? Purifying? White out ! Cleansing?

24. Wrapping to preserve!

25. WRAPS = CULTURAL SIGNIFIERS. • Consider how clothes have been used through history as CULTURAL SIGNIFIERS, showing belonging to RELIGION, CLASS and SOCIETY.

26. Bound bodies, domestic animals or birds, meticulously bandaged, mummified and preserved. Encased in ornamental stone or ceramic tombs, surrounded by significant personal possessions, decorative jars preserving the life force and spirit. Preserved in mausoleums, rock tombs and cemeteries, carved and decorated with image and text. PRESERVATION WRAPS

27. IDENTITY WRAPS • Consider how we create a sense of belonging through the clothes we wear. • Youth and street culture. • Identifiers of TASTES, STYLES and IDEOLOGIES.

28. Eggs, onions, mushrooms, gherkins and peppers, pickled, packed and layered in jars. Soft fruits bottled in syrup or preserved in cans. Dried vegetables, salted meat or fish, condensed and shrink wrapped. Herbs and spices, dried and ground, stored in hessian sacks, pots or jars. Ancient Roman or Greek, feudal Oriental and medieval European body armour. Chain mail, suits of armour, helmets, gauntlets and shields defend and protect from attack PRESERVATION WRAPS

29. Cultural and ceremonial wraps which create a sense of belonging through the clothes people wear, embracing the traditional African and Asian local or religious dress codes. Youth and street culture identify tastes, styles and a sense of belonging. Professions have an identifiable dress code or uniform: armed forces, police, fire, ambulance and rescue services. The medical profession, religious leaders, bankers, rail workers, fishermen and shop assistants. Costumes, hats and clothes drape, ornament and shroud identity. Carnivals and processions evoke a sense of mystery or mayhem as people create new personas through the use of eye masks, face masks and make-up. IDENTITY WRAPS

30. Sandwiches, baguettes and buns carefully enfold their fillings: cold meats, fish, cheeses and salads. Naan bread, pitta pockets, rolls, pies and pasties encase richly spiced meats, vegetables, sauces and garnish. Stuffed cabbage and vine leaves, peppers, tomatoes and mushrooms. Traditional sweetmeats, dates stuffed with nuts, olives encasing pimientos. Pancakes and crepes envelop both sweet and savoury fillings: Peking duck, cucumber strips and plum sauce, sliced fruit, with a sugar dusting, syrup or lemon juice. Tortillas and enchiladas enfold and wrap their contents of hot chilli Tex-Mex foods. EDIBLE WRAPS

31. …or wrapped in your own personal nightmare!

32. The following artists, designers, craftworkers, cultures and movements have produced evidence of work that falls under these general headings. These examples may inspire you as you address the Theme or you may like to discuss alternatives with your teacher.

33. Terry Frost Barbara Hepworth Patrick Heron Piero Manzoni Piet Mondrian Jackson Pollock Mark Rothko Vladimir Tatlin Bryan Wynter Abstract

34. Sir Terry Frost1915-2003 Lace II 1971 Lithograph and mixed media on paper support: 537 x 930 mm http://www.tate.org.uk

35. Dame Barbara Hepworth1903-1975 Barbara Hepworth's studio and garden have been run by the Tate since 1980. Hepworth asked in her will that Trewyn Studios and the adjacent garden, with a group of her sculptures placed as she wished, be permanently open to the public. See Barbara Hepworth Museum and Sculpture Gardenfor visiting information and event details etc Bronze Form (Patmos) 1962-3, cast 1963 Bronze object: 654 x 952 x 241 mm

36. Patrick Heron 1920-1999 The Long Table with Fruit: 1949 The attention to colour in this early still life by Heron reflects his enthusiasm for the work of Bonnard and Matisse.

37. Piero Manzoni (1933-1963) Achrome, c. 1962 Bread rolls and kaolin on panel 7.1/8 x 11 in. (18 x 28 cm.)

38. Piet Mondrian Broadway Boogie Woogie 
1942-43; Oil on canvas, 127 x 127 cm; The Museum of Modern Art, New York

39. Jackson Pollock (1948) "Number 8"

40. Mark Rothko 1957. 253 x 208 cm. Red, White and Maroon Oil on canvas

41. -Vladimir Tatlin-Model for the Monument to the Third International 1920

42. Bryan Wynter1915-1975Mars Ascends 1956 The title of this painting may refer to the rising dominance of the colour Mars red. However, the picture also reflects Wynter’s interest in organic processes and the collective unconscious. For this painting Wynter applied each calligraphic mark in response to the preceding marks. This procedure was based on a scientific theory about the growth of organic forms. In theory, imposing an order derived from nature reduced the role of the artist’s ego in making a picture, and allowed the picture to grow naturally out of the artist’s subconscious.

43. Lewis Batz Howard Hodgkin Ferdinand Leger Laszlo Moholy-Nagy C.R.W. Nevinson John Piper Stanley Spencer Maria Helena Vieira da Silva Rachel Whiteread Egyptian Architecture Exterior

44. Lewis Baltz South Wall, Resources Recovery Systems, 1882 McGaw, Irvine

45. Howard Hodgkin After Corot 1979-82 Private Collection, LA Louver Gallery, Venice, California

46. Ferdinand Leger "Le Port de Trouville"- Lithograph- 1951- Hand Signed in Pen- 20" x 26"

47. Laszlo Moholy-Nagy A19, 1927 ‘Oil on canvas’ 80 x 96 cm

48. Christopher Richard Wynne Nevinson 1889-1946 The Soul of the Soulless City (`New York - an Abstraction') 1920 The skyscrapers and railways of New York epitomised the dynamism of the modern metropolis. This painting, originally titled New York - an Abstraction, shows Nevinson's enthusiastic response, in which the urgency of the city is matched with a modernist style of painting derived from Futurism. However, Nevinson's work did not receive the success for which he had hoped, and his initial excitement gave way to the disillusion indicated by his revised title.

49. John Piper -Coast of Brittany II 1961Gouache and paper collage on paper support: 571 x 781 mm

50. Sir Stanley Spencer 1891-1959 Zacharias and Elizabeth 1913-14 Oil and pencil on canvas support: 1426 x 1428 x 24 mm