How do artists use research into other practitioners to inform and deepen their own commentary on contemporary society?
Research, analysis and interpretation of artists, artworks and art forms that comment on social and cultural concerns, using analytical frameworks to inform personal art making
How WACE ATAR Visual Arts students research, analyse and interpret artists and artworks that comment on society, applying analytical frameworks so that the research genuinely shapes their own Unit 3 Commentaries body of work rather than sitting as decoration.
Reviewed by: AI editorial process; not yet individually human-reviewed
Have a quick question? Jump to the Q&A page
What this dot point is asking
Unit 3 Commentaries is built around art that says something about social and cultural concerns, and the Art Interpretation organiser asks you to research and analyse other artists who do exactly that. This dot point is not asking for a biography of a famous artist. It is asking you to interrogate how chosen artists, artworks and art forms construct a commentary, to analyse the choices they made, and then to let that analysis feed your own art making. The marks live in the connection: research that changes what you do is worth far more than research that simply fills pages.
Start with selection. The artists you research should connect to the concern driving your own work. If your inquiry is about surveillance in public space, researching an artist who paints landscapes will not help you. SCSA rewards relevance, so choose practitioners whose social or cultural commentary overlaps with yours, even if their media differ from what you intend to use. You can research across art forms too, including installation, photography, printmaking, sculpture and time-based media, because each form carries meaning differently.
Next comes analysis, and this is where an analytical framework matters. Rather than listing what you see, apply structured lenses. The structural frame asks how the artwork is made and how its visual language and signs construct meaning. The subjective frame asks about emotional and psychological response and personal interpretation. The cultural frame asks how time, place, society and audience shape meaning. The postmodern frame asks about appropriation, irony, multiple readings and questioning of conventions. Using these frames stops your writing drifting into mere description.
Then comes interpretation. Analysis identifies the choices an artist made; interpretation explains what those choices mean and what the artist is arguing about society. Imagine an artist who photographs empty suburban swimming pools at dusk in muted blue tones, then prints them at large scale. Structural analysis notes the cool palette, symmetry and absence of figures. Interpretation reads that absence as a comment on isolation inside comfortable, affluent lives. Markers want to see you move from what is there to what it means, supported by visual evidence rather than guesswork.
The final and most important stage is using the research. SCSA wants the analysis to inform your art making. In your documentation, name the specific things you are taking. You might write that you will adopt an artist's restrained palette to suggest emotional distance, or that you will deliberately reject their detached viewpoint and instead place your viewer uncomfortably close. This kind of explicit borrowing or reaction shows the marker a living link between interpretation and production, which is precisely what the Commentaries unit is designed to assess.
Keep your research evidence inside your visual diary or folio, annotated rather than pasted. A marker should be able to trace a clear path from the artist you studied, through your written analysis and interpretation using frameworks, to a decision visible in your own resolved work. That traceable line is what turns competent research into research that actually earns marks in Unit 3.