What can we learn from it?

The May 2024 Subject Report for Visual Arts was released just last week. The Subject Report tends to be a rather lengthy document hence we have summarized and analysed the key points that are most relevant to your teaching. It is worth noting that this year's version is eight pages shorter than the May 2023 version. In previous years, the organisation differentiated between SL and HL findings in more detail. Anyone fine-combing this year's Report for details may wish to look back at the 2023 version, as there may be some overlap or additional elaboration from 2023 to support current students.

Alighiero Boetti. Decoding his Universe:
Works on Paper ( 1968 – 91) Courtesy Tournabuoni Art

Here is a synthesis of some of the Report's findings and component-specific vital takeaways that we'd like to share:

Highlighted text includes hyperlinks to related pages should you wish to explore futher

Overall Analysis:

●      Weak Visual Arts vocabulary development is an aspect that hits students twice: in both the Comparative Study (Criterion E) and the Process Portfolio (Criterion E). While both components have specific criteria that evaluate the effective and appropriate use of vocabulary, an inability to communicate using subject-specific vocabulary may hamper students when they analyze artworks, learn, study, and analyse new techniques in their own or other artists' work, develop compositional sketches and review and refine their work (p. 10-11, 14-15).

●      Students need help to make enriched connections to artists and artworks they study, both in the HL-specific criterion (Criterion F) of the Comparative Study and within Criterion B Critical Investigation of the Process Portfolio. Guiding students towards art experiences in and outside the classroom where they can develop interests and curiosity in artists will support their development in this domain and help them move beyond superficial approaches.

●      While this is not stated explicitly in the Report, in-text citations need to be used more often and appropriately. As AI becomes more prominent in our lives, we must work hard to help students understand the purpose of acknowledging and citing Sources including materials developed or shared through IA. 

Exhibition Takeaways:

●      Themes are not required and pursuing global, environmental, or social issues from a broad lens can limit student achievement (p. 4). Focusing on more personal, topical, or local events related to such matters may enable a more focused and less cliché or predictable approach to developing ideas and selecting more subtle ways of developing imagery. Not only can this impact students in Criterion C (Conceptual Qualities) but also in developing strength in Criterion A (A Coherent Body of Work).

●      A diverse range of media are not required for a successful Exhibition (p. 5). Teachers and students likely confuse this with what's required in the Process Portfolio component. The Report highlights that students who frequently cover a range of media seem to be trying things for the first time. One way teachers might support students further is to help them focus on a particular medium or media where they exhibit strength, enabling them to become more competent within a narrow range of skills, techniques, and media.

Comparative Study Takeaways:

●      Generally, students have improved in their understanding of the Function and Purpose (B) of an artwork. Not only are stronger students bringing in contextual research to better analyze and understand the functions and purposes behind various artworks, but they also cite their research and bring in accompanying visuals to support their understanding. Students can use their strengths in this area to support their work in Criterion C (analysis and evaluation of Cultural Significance), where students have struggled more significantly this year due to weaker research and analysis.

●      In their additional 3-5 slides, HL Students can focus on more than just the similarities and differences between their work and those pieces studied in the CS when approaching Criterion (F)  (p. 11). The strongest candidates’ work made connections to stylistic, technical, or conceptual choices, clearly articulating the influence the study had on their personal, technical, and/or conceptual development as an artist.

Process Portfolio Takeaways:

●      Students need help to emphasise, celebrate, and articulate their process. One of the findings is that students often submit the minimum number of required screens (p. 13). While a range of screens is offered (9-18 for SL, 13-25 for HL), if most students don't utilise these to their full extent, this may limit the depth of work, exploration, and experiences the student shares.

●      This point ties back to the point noted earlier in the Exhibition, but many students experiment with too many different media within their Process Portfolio. The examiners recommend a narrower focus so students can build on their budding skill sets rather than constantly diverging from them to try something new. A closer and more focused eye on materials, processes, techniques, and skills is needed for students to reach a point of sustained investigation. This year's Subject Report's findings are that the most successful portfolios "presented around 5-6 processes at HL and 4-5 processes at SL" (p. 14).

International Baccalaureate Organisation. (2024). Visual Arts Subject Report, May 2024. https://resources.ibo.org/dp/subject-group/Visual-arts/topic/Subject-reports/resource/11162-430940/?