In Unit 4, Area of Study 3, students research and compare the practices of at least one historical and at least one contemporary artist. Understanding “practice” as a concept — and the differences between historical and contemporary practice — is essential for this area of study.
KEY TAKEAWAY: An artist’s “practice” encompasses far more than the artworks they produce. It includes their materials, techniques, processes, conceptual concerns, influences, working methods, social context and artistic identity. Comparing practices requires engaging with all of these dimensions.
Artistic practice refers to the totality of an artist’s approach to art making, including:
When comparing the practices of historical and contemporary artists, students should address all of these dimensions, not just the visual appearance of the artworks.
Historical artists are generally understood in VCAA ACP as artists working in a period significantly before the present — typically pre-1960s, though the boundaries are contextual. Historical artists are studied to:
EXAM TIP: When writing about a historical artist, avoid merely describing their biography. Analyse their practice — the choices they made and why. Focus on how their context shaped their art making.
Contemporary artists are generally understood as artists working in the present or recent past (broadly, post-1960s). Contemporary practice is characterised by:
VCAA FOCUS: VCAA expects students to demonstrate knowledge of specific, named historical and contemporary artists, not abstract generalisations. Always support your analysis with specific references to named artworks, materials, techniques and contextual details.
Effective comparison identifies both similarities and differences between practices. Useful comparison frameworks include:
| Dimension | Historical Practice | Contemporary Practice |
|---|---|---|
| Materials | Often traditional (oil, marble, fresco) | Often expanded (found objects, digital, performance) |
| Conceptual focus | Often religious, political or representational | Often personal, social, environmental, identity-based |
| Audience | Often specific patrons or institutions | Often broader, more diverse, sometimes global |
| Cultural context | Shaped by dominant cultural values of their era | Often critiques or interrogates dominant cultural values |
| Documentation | Often limited | Often extensive (artist statements, interviews, catalogues) |
APPLICATION: When comparing, use language that acknowledges complexity: “While both artists engage with questions of identity, Kahlo’s approach is rooted in her personal biography and the political context of post-revolutionary Mexico, whereas Hew’s practice situates identity within the dynamics of the contemporary Australian multicultural experience.”
Primary and secondary sources for researching artists’ practices include:
STUDY HINT: Build a research dossier for each of your selected artists that covers practice, not just artworks. Include quotes from the artist about their intentions, methods and influences. These quotes are powerful evidence in examination responses.
