AP Portfolio - Concentration
The following is taken from the AP Studio Art Course Description:
Section II: Concentration
Rationale
A concentration is a body of related works that demonstrate a student’s commitment to the thoughtful investigation of a specific visual idea. It is NOT a selection of a variety of works produced as solutions to class projects or a collection of works with differing intents. Students should be encouraged to explore a personal, central interest as intensively as possible and are free to work with any idea in any medium that addresses three-dimensional design issues. The concentration should grow out of the student’s idea and demonstrate growth and discovery through a number of conceptually related works. In this section, the evaluators are interested not only in the work presented but also in visual evidence of the student’s thinking, selected method of working, and development of the work over time.
Requirements
For this section, 12 images must be submitted, some of which may be details or second views. All images should be labeled with dimensions (height 3 width 3 depth) and material. The Digital Submission Web application incorporates space to include this information. Regardless of the content of the concentration, the works should be unified by an underlying idea that has visual and/or conceptual coherence. The choices of technique, medium, style, form, subject and content are made by the student, in consultation with the teacher. The Web application for development and submission of the Quality, Concentration and Breadth sections of the 3-D Design Portfolio is available in early February.
The Concentration section includes spaces for a written commentary, which must accompany the work in this section, describing what the concentration is and how it evolved. Students are asked to respond to the following:
Although the responses themselves are not scored as pieces of writing, they provide critical information for evaluating the artwork. Thus, they should be well written. Students should be encouraged to formulate their responses to the first question early in the year, as they define the direction their concentration will take. Responses should be concise; the space available for them in the Web application is generous, but the number of characters that can be typed is limited. Responses should be focused on the information requested.
Examples of Concentrations
A concentration should consist of a group of works that share a concept — for example, an in-depth study of a particular visual problem or a variety of ways of handling an interesting subject. Some concentrations involve sequential works, such as a series of studies that lead to, and are followed by, more finished works. If a student uses subject matter as the basis of a concentration, the work should show the development of a visual language appropriate for that subject. The investigation of a medium in and of itself, without a strong underlying visual idea, generally does not constitute a successful concentration. Students should not submit group projects, collaborations, and/or documentation of projects that merely require an extended period of time to complete.
The list of possible concentration topics is infinite. Following are examples of concentrations. They are intended only to provide a sense of range and should not necessarily be considered “better” ideas.
• A series of three-dimensional works that begins with representational
interpretations and evolves into abstraction
• A series of site-specific works that affect existing form or space
• Abstractions developed from natural or mechanical objects
• Wheel-thrown and hand-built clay objects that allude to human and animal forms
• The use of multiples/modules to create and disrupt three-dimensional space
• A series of sculptures that explores the relationship between interior and exterior space
Because the range of possible concentrations is so wide, the number of works the student creates should be dictated by the focus of the investigation. The chosen visual idea should be explored to the greatest possible extent. In many cases, students will produce more than 12 works and select from among them the works that best represent the process of investigation. If a student has works that are not as well resolved as others but that help show the evolution of thinking and of the work, the student should consider including them. The choice of works to submit should be made to present the concentration as clearly as possible. Students may submit second views of some works, for a total of 12 images. It is not necessary to submit images of 12 different works.
When preparing to upload the Concentration (Section II) images, the student should give some thought to the sequence of the images on the Web page. There is no 3-d design Portfolio required order; rather, the images should be organized to best show the development of the concentration. In most cases, this would be chronological.
Students may not submit images of the same work that they submit for Breadth.
Submitting images of the same work for Concentration (Section II) and Breadth (Section III) may negatively affect a student’s score.
Examples of Concentrations:
•A series exploring cultural intersections
•A series about ritual and self-portraits
•A series about weaving with nontraditional and traditional materials that evolve into objects
•A series of animal- or plant-inspired forms that evolve into formal objects
•A series of wire figures in various environments
•A series about changing the function of common objects
•A series exploring rhythm and movement with common materials
•A series giving human qualities to common objects
•A series using elements of the urban landscape as a basis for three-dimensional design
•A series of abstractions from natural objects
•A series using multiples to create formal three-dimensional design
•A series of personal icons
•A series of enlarged common objects constructed from unusual materials
•A series of interpretive busts or figure studies that emphasize expression and/or abstraction
•A series of architectural models for homes, public buildings, or monuments
•A series of assemblages that juxtapose the coarse and refined qualities of a material
•A series of multiples/modules to create compositions that reflect psychological or narrative events
•A series of sculptures that explore the relationship between interior and exterior space
•A series of personal or family history communicated through the content and style of narrative assemblage
•A series of figures exploring aspects of self
•A series of sculptures and installation pieces centered around cultural views of women and their bodies
•A series of assemblages that juxtapose the coarse and refined qualities of a material
•A series of multiples/modules to create compositions that reflect psychological or narrative events
•A series of sculptures that explore the relationship between interior and exterior space
•A series of personal or family history communicated through the content and style of narrative assemblage
•A series of figures exploring aspects of self
•A series of sculptures and installation pieces centered around cultural views of women and their bodies
•A series of sculptures reinterpreting themes and deities from world religions
•A series of self-portrait busts
•A series of welded metal sculptures that investigate formal design elements
•A series of clay sculptural teapots.
•Sculptures using roller coasters as an inspiration.
•The skeleton structure of a house under construction.
•Sculptures made from nails.
•Lidded ceramic vases.
•Sculptural forms using weaving as a starting point.
•Ceramic dishes and bowls with wood or metal components.
•Ceramic animals.
•Sculptures using musical instruments as an inspiration.
Section II: Concentration
Rationale
A concentration is a body of related works that demonstrate a student’s commitment to the thoughtful investigation of a specific visual idea. It is NOT a selection of a variety of works produced as solutions to class projects or a collection of works with differing intents. Students should be encouraged to explore a personal, central interest as intensively as possible and are free to work with any idea in any medium that addresses three-dimensional design issues. The concentration should grow out of the student’s idea and demonstrate growth and discovery through a number of conceptually related works. In this section, the evaluators are interested not only in the work presented but also in visual evidence of the student’s thinking, selected method of working, and development of the work over time.
Requirements
For this section, 12 images must be submitted, some of which may be details or second views. All images should be labeled with dimensions (height 3 width 3 depth) and material. The Digital Submission Web application incorporates space to include this information. Regardless of the content of the concentration, the works should be unified by an underlying idea that has visual and/or conceptual coherence. The choices of technique, medium, style, form, subject and content are made by the student, in consultation with the teacher. The Web application for development and submission of the Quality, Concentration and Breadth sections of the 3-D Design Portfolio is available in early February.
The Concentration section includes spaces for a written commentary, which must accompany the work in this section, describing what the concentration is and how it evolved. Students are asked to respond to the following:
- Clearly and simply state the central idea of your concentration.
- Explain how the work in your concentration demonstrates your intent and the exploration of your idea . You may refer to specific images as examples.
Although the responses themselves are not scored as pieces of writing, they provide critical information for evaluating the artwork. Thus, they should be well written. Students should be encouraged to formulate their responses to the first question early in the year, as they define the direction their concentration will take. Responses should be concise; the space available for them in the Web application is generous, but the number of characters that can be typed is limited. Responses should be focused on the information requested.
Examples of Concentrations
A concentration should consist of a group of works that share a concept — for example, an in-depth study of a particular visual problem or a variety of ways of handling an interesting subject. Some concentrations involve sequential works, such as a series of studies that lead to, and are followed by, more finished works. If a student uses subject matter as the basis of a concentration, the work should show the development of a visual language appropriate for that subject. The investigation of a medium in and of itself, without a strong underlying visual idea, generally does not constitute a successful concentration. Students should not submit group projects, collaborations, and/or documentation of projects that merely require an extended period of time to complete.
The list of possible concentration topics is infinite. Following are examples of concentrations. They are intended only to provide a sense of range and should not necessarily be considered “better” ideas.
• A series of three-dimensional works that begins with representational
interpretations and evolves into abstraction
• A series of site-specific works that affect existing form or space
• Abstractions developed from natural or mechanical objects
• Wheel-thrown and hand-built clay objects that allude to human and animal forms
• The use of multiples/modules to create and disrupt three-dimensional space
• A series of sculptures that explores the relationship between interior and exterior space
Because the range of possible concentrations is so wide, the number of works the student creates should be dictated by the focus of the investigation. The chosen visual idea should be explored to the greatest possible extent. In many cases, students will produce more than 12 works and select from among them the works that best represent the process of investigation. If a student has works that are not as well resolved as others but that help show the evolution of thinking and of the work, the student should consider including them. The choice of works to submit should be made to present the concentration as clearly as possible. Students may submit second views of some works, for a total of 12 images. It is not necessary to submit images of 12 different works.
When preparing to upload the Concentration (Section II) images, the student should give some thought to the sequence of the images on the Web page. There is no 3-d design Portfolio required order; rather, the images should be organized to best show the development of the concentration. In most cases, this would be chronological.
Students may not submit images of the same work that they submit for Breadth.
Submitting images of the same work for Concentration (Section II) and Breadth (Section III) may negatively affect a student’s score.
Examples of Concentrations:
•A series exploring cultural intersections
•A series about ritual and self-portraits
•A series about weaving with nontraditional and traditional materials that evolve into objects
•A series of animal- or plant-inspired forms that evolve into formal objects
•A series of wire figures in various environments
•A series about changing the function of common objects
•A series exploring rhythm and movement with common materials
•A series giving human qualities to common objects
•A series using elements of the urban landscape as a basis for three-dimensional design
•A series of abstractions from natural objects
•A series using multiples to create formal three-dimensional design
•A series of personal icons
•A series of enlarged common objects constructed from unusual materials
•A series of interpretive busts or figure studies that emphasize expression and/or abstraction
•A series of architectural models for homes, public buildings, or monuments
•A series of assemblages that juxtapose the coarse and refined qualities of a material
•A series of multiples/modules to create compositions that reflect psychological or narrative events
•A series of sculptures that explore the relationship between interior and exterior space
•A series of personal or family history communicated through the content and style of narrative assemblage
•A series of figures exploring aspects of self
•A series of sculptures and installation pieces centered around cultural views of women and their bodies
•A series of assemblages that juxtapose the coarse and refined qualities of a material
•A series of multiples/modules to create compositions that reflect psychological or narrative events
•A series of sculptures that explore the relationship between interior and exterior space
•A series of personal or family history communicated through the content and style of narrative assemblage
•A series of figures exploring aspects of self
•A series of sculptures and installation pieces centered around cultural views of women and their bodies
•A series of sculptures reinterpreting themes and deities from world religions
•A series of self-portrait busts
•A series of welded metal sculptures that investigate formal design elements
•A series of clay sculptural teapots.
•Sculptures using roller coasters as an inspiration.
•The skeleton structure of a house under construction.
•Sculptures made from nails.
•Lidded ceramic vases.
•Sculptural forms using weaving as a starting point.
•Ceramic dishes and bowls with wood or metal components.
•Ceramic animals.
•Sculptures using musical instruments as an inspiration.