Visual arts

Whakapiri at ute Whenua - Translation = remain close to the land.

Potted plants represent the individualisation of Maori land title under the 1865 "native land act" which attempted to destroy the communal basis of Maori life.

The red used in Cotton?s paintings is coined "Museum Red" referring to the colour museum staff painted whakairo (carvings) at the beginning of the 20th century.

Soil in the pot plants represents land and the plant represents Maori people. The potted plant also represents how the European use them in the garden.

Appropriation = when you use imagery and symbols from other cultures, artwork, arts and other times.

He used brown red colours in this painting.

Flags = European origin

Palisades for protection from Maori origins

Maori Sentence - The writing at the top left hand corner "Whakapiri at ute Whenua" is the title and is also used in Shane Cotton's painting (as shown). This sentence or phrase means "Remain close to the land" 

Subject Matter: Three of four pots are drawn smaller in the background to the right and left of the bigger pot. Inside these three pots are flags and also a palisade. The dominant image is a plant or flax drawn in the middle of the painting, filling the page. This plant draws most of our attention to the detail and unique shape of it. The title of this painting standards for "Remain close to the land". 

Composition: The main idea of the pot plant has been drawn much bigger and bolder and fills the page. Three smaller pots are drawn beside this larger pot to show different ideas and repetition.

Colour and media used: Shane Cotton uses sepia and earth tones to make this art work look older. The background colour is much lighter than the objects, doing this draws more attention and boldness to the objects.

Palisades - Palisades are made out of wood and twines. They are/were used to show boundaries and territory during battles and are now found around Marae and in some museums. They were also once used as shields or shelters.

Pots - Are a European example. Today pots anywhere but mainly in gardens or indoors to hold plants

Flags - Are used to symbolise different things. They are used to show groups, countries and nationalities.

Shane Cotton has appropriated the sentence "Whakapiri at ute Whenua" which means "remain close to the land" Shane has included this into his art as it's the title and the words mean something to Cotton.

Whakapiri Atu Te Whenua (Remain close to the land) 1993 oil on canvas 1780x1600mm Shane Cotton

Great use of Negative and Positive space 

Within this painting Shane Cotton used a lot of symbolism. But it clearly shows that the central motif, the plant - symbolises a family/sacred tree. Here Shane Cotton's composition is symmetrical. The painting is based around the central motif and has a line of symmetry within that.

The media Cotton has used in this painting is very similar to "Artificial Curiosities" in a way that it has that aged feeling. By him using oil on canvas he can achieve the look with great power making the painting look like a piece of history.

Here are two examples of European origin that Shane Cotton has used in this painting. The use of the jugs clearly shows us the confinement showing the ivy overgrowing the pot. Also the use of flags symbolising Europeans. Object like those can be found in the household. I believe the two different types of flags symbolises silhouettes of flags. Natural flags like the New Zealand flag and painted flags used on castles or carnivals.

Here are two examples of Maori origin Cotton has included in this painting. The Pa fences demonstrate Maori tradition and culture. The script is hard to pick out but it's written in Maori symbolising their written language which was appropriated from the English and the Maori way.

Within the painting Whakapiri Atu Te Whenua Shane Cotton included the use of flags. He displayed two different types of flags. Natural and pained flags both symbolising certain things. I found this picture that shows the natural flags in its original source. Being mounted for the Olympics. Shane Cotton used a pattern linking the flags he used with countries flags = ownership

Part of the painting included Maori script although it was hard to pick out it still symbolised the Maori language. Kia Kaha is a Maori clothing firm which links to a pattern of symbolising Maori something.

Ivy was shown overgrowing the pot. Shane Cotton used this to show the confinement of the plant. Ivy can spread very rapidly taking over gates, fences, and even houses as shown in this picture. This pattern shows the confinement of the land.

Shane Cotton appropriated his painting by showing Maori script and using the plants to symbolise something. This effect clearly shows the viewer with knowledge of the Maori ways. By showing a piece of Maori language it gives us that effect of the beliefs of Maori and how the Maori go about life. By Cotton using a central motif, being the use of the large plant in the pot it symbolises a sacred tree, the famility tree, the Maori Whanau.

He also appropriate how the European used jugs and pots, also how they used flags to symbolise a certain country or group. By Shane Cotton placing the plant inside the pot it shows us how the Maori and European integrated. He combined two aspects from different sides showing us that the sacred tree (plant) wouldn't survive without a pot.

To fulfil the quantitative expectations of the three credit weighting for this standard the sample would need to present at least four pages at the level of performance demonstrated in page one.

Assessment judgements are made on the basis of accurate use of language and relevance of ideas, with errors in spelling and grammar not being factor in the assessment for this standard.

Appropriate terminology such as positive, negative, pattern, palette and symbols are used to discuss art works. The inconsistent use of spelling and grammar is often a characteristic of responses in this grade range, although in this sample, these do not interfere with the intended meaning of the written responses.

The drawings make limited contribution to the investigation although these are justified, when used to clarify a specific aspect of the art works, such as the relationship between positive and negative elements in Kowhaiwhai.

The written responses are sufficiently sustained to meet the expectations of the three credit weighting for this standard.

The depth of sustained discussion about two phases of the work of Shane Cotton is approaching the level of analysis required for Merit. Had this level of response been sustained in the discussion of Dick Frizzell, the sample may have been placed within the Merit grade range. The version three criteria require that both Maori and European contexts are investigated with sufficient depth to inform an analysis of art works in both contexts.

The description of complementary colours on page two demonstrates the correct use of more sophisticated art terminology and concepts, which is a feature more commonly found in Merit level responses.

The use of lines and explicit guiding questions relating to a specific art work has the potential to restrict the responses of more able learners, while ensuring that less able students generate sufficient responses. The variety of response templates in this sample ensures that more limited learners generate appropriate and relevant information. Teachers need to ensure that the nature of the assessment tools used are appropriate to the learning context and culture of the school.

The sample clearly reflects the bi-cultural intention of the version three achievement criteria, with the compare and contrast template providing a well structured opportunity, for learners to demonstrate their understanding of art and art works in relation to cultural contexts.

The essay format in itself is not a requirement of the standard and successful responses can take the form of annotated images or bullet point notes.

The comparison table on page nine of this sample is another useful strategy to inform an analysis of art works in relation to contexts and each other. However, an analysis goes beyond listing the features of the work and needs to describe how and why particular features have been used for specific purposes.

Appropriate quotes have been identified and acknowledged. These have been used to clarify aspects of the artwork and artists intentions.

Working beyond the constraints of a generic template, with answers moving onto additional blank pages, is a recurring feature of Excellence responses to this standard. The inclusion of this additional information reflects a level of engagement often associated with the depth of understanding required for Excellence.

Although not an explicit requirement of the standard, the sentence structures, spelling and grammar are frequently more sophisticated in Excellence level responses.

The second and third templates: "Understanding Art in Context", and "Looking for Meaning in Artwork", provide opportunity for the level of rich description required for Excellence.

While the response to Dick Frizzell is not operating at the same level as the earlier investigation, the sustained discussion of Maori and European features in the work of Shane Cotton is at a very high level. In itself it is sufficient to show understanding of the relationships between Maori and European contexts.