Quick questions on The world: HSC Visual Arts conceptual framework agency

World and artist. The world shapes what the artist makes, what materials are available, what training is possible, what intentions the artist can pursue. The artist also contributes to remaking the world (Picasso's Guernica became part of the world's interpretation of aerial bombing).

What political and social forces shape the artist and the artwork? War (Picasso's Guernica), revolution (Mexican muralism), civil rights (Faith Ringgold), Indigenous sovereignty (contemporary Aboriginal art).

What cultural systems and religious traditions shape the work? Anmatyerre ceremony (Kngwarreye), Mexicanidad (Kahlo and Rivera), Catholic Iberian Spain (Picasso's early work), British class culture (Banksy).

What patronage and market structures shape the work? The medieval Church, the Renaissance Florentine merchant class, the seventeenth-century Dutch bourgeois market, the twentieth-century gallery-museum system, the twenty-first-century online art market.

What galleries, museums, art schools, biennales, magazines, and dealers shape the work? Where is it shown, bought, taught, written about?

Where in the world is the artist working? London, Bristol, Paddington, Utopia, Sydney's Lavender Bay, Brisbane, Mexico City, New York. Location shapes practice.

The world shapes what the artist makes, what materials are available, what training is possible, what intentions the artist can pursue. The artist also contributes to remaking the world (Picasso's Guernica became part of the world's interpretation of aerial bombing).

The world shapes what artworks can exist (a wall-scale stencil cannot exist without the urban surface; a video installation cannot exist before video technology). The artwork enters the world and is shaped by it (Guernica's reception during the Spanish Civil War).

Audiences are part of the world; they bring the world's frameworks of interpretation to the artwork.