ART & CONTEXT

Art and Context

Mohd Mustafa Mohd Ghazali
Mohd Suhaimi Tohid

M Aiman M Hafizal, Ikhtibar, 2017. Acrylic on canvas, 2 x 2 ft.

Student Guide in Art Making and Appraising

(Painting Dimension III: Art & Context, FET622)

Department of Fine Art, Faculty of Art & Design

Universiti Teknologi MARA,Shah Alam, Selangor, Malaysia

Preface

This student guide is intended to be used as a working document
for students in the process of developing and producing artwork
which involves the making and thinking phases.
Studies in terms of art concept, media, form, content, context and
meaning are means in building up theoretical framework for studio
practices. Selected artworks by previous students and artists can be
used as examples for students to identify the theme and explore
medium and techniques (especially mixed-media) to create an art-
work of individual practice.

Mohd Mustafa Mohd Ghazali (PhD)

Department of Fine Art, Faculty of Art & Design
Universiti Teknologi MARA, 40450 Shah Alam, Selangor

2

Student Guide in Art Making
and Appraising (2017)

Painting Dimension III: ART & CONTEXT (FET622)
Department of Fine Art, Faculty of Art & Design, Universiti
Teknologi MARA, 40450 Shah Alam, Selangor, Malaysia
(1 SEPTEMBER 2017)
This student guide in Art Making and Appraising Art is the unpub-
lished publication for the purpose of academic exercise and stud-
ies, critique, review and students’ learning practice. No part of this
publication may be reproduced or distributed in any form or by any
means, without the prior written consent from The Department of
Fine Art, Faculty of Art & Design, 40450 UiTM, Shah Alam, Selan-
gor, Malaysia. This student guide is produced in PDF form.

Mohd Suhaimi Tohid

Coordinator, Department of Fine Art, Faculty of Art & Design,
Universiti Teknologi MARA, 40450 Shah Alam, Selangor

The ‘Student Guide Handbook 2017’ is for internal distribution.
Copyright © 2017
Department of Fine Art, Faculty of AD, UiTM.

3

Contents

1. Code and Name of Course Study 6

2. Course Outline 6

Course Description
Course Outcome
Content of Study
Teaching and Learning Approaches
Assessment Objectives
Assessment Requirements / Tasks

3. Scheme of Work: Teaching, Learning and 10
Assessment

Progress (Formative) Assessment 12-14
Final (Summative) Assessment
4. References 16
5. Review, statements and Discussion
20
Art and Context
Theme and Mixed media 20
Subject, Form and Content 23
24

4

6. References of Study (Artworks) 30
30
Selected artworks by previous
05 and 06 students 2016-2017 72
(Department of Fine Art, Faculty 103
of Art & Design, UiTM, Shah Alam)
Selected artworks by artists
References




5

Course Outline
Art and Context

FET 622: Painting Dimension III - Art and Context
Part: 05, Bachelor (Hons)

Course Description
Painting Dimension III is derived from an in-depth research and stu-
dio practices based on inter disciplinary studies between the Eastern
and Western countries specifically on traditional Malay Islamic and
Indigenous art. Such a process has been adopted towards the formu-
lation of self-identity in sync with the development of contempo-
rary art. Further research in terms of art concept, media, form and
content and meaning generated from the above-mentioned contexts
are means in building up theoretical framework for studio practices.

6

Course Outcomes
At the end of the course, students should be able to:
1. Define the research problem.
2. Formulate literature reviews and visual researches.
3. Apply research method, materials and techniques for a given

problem.
4. Organize and Construct theoretical & visual concepts to the pro-

posed Artworks.
5. Plan a portfolio of artworks.
Content of Study
The content of study includes Research Theory; Drawing Process;
Application of Material and Techniques; Painting Approach and
Process; Presentation and Exhibit of final paintings.
Research Methodology, Aesthetic theory, Art Criticism, Art His-
tory, Introduction to Art and Contexts, Art and social, political and
cultural contexts are parts of research and theory in this course.
Ideation, formulation and development drawing, application of new
materials, medium and techniques, formulation and application of
new painting approach are parts of the formalistic study.

7

Teaching and Learning Approaches
Active learning, discussion and critique, demonstration and pres-
entation, discussion of basic principles and examples of themes and
topics, conducting searches for the research problem and making
visual inventories are parts of teaching and learning approaches.
Discussions and critiques on students’ findings in search for litera-
ture and visual data will improve the ideation and concept of art-
work. Demonstration about appropriate techniques by lecturer,
exploration and experimentation of medium and technique by stu-
dents increase the artistic and aesthetic quality and identity in art.
Oral and visual presentation by students with guidance by lecturers,
increases the student’s ability in art making and appraising art.

8

Assessment Objectives
The assessment objectives (AO) are a guide to assess students’ ability
in making art. The AO are described as below:-

1. Define visual problems and communicate solutions.
2. Formulate literature reviews, references and visual research.
3. Apply ideas and research outcomes that are related to relevant

focus subject, form, and content.
4. Organize and construct research methods, materials and tech-

niques for a given problem.
5. Present art works and portfolios of artwork that reflect style, ex-

pression, and originality.

9

Scheme of Work: Teaching, Learning & Assessment

Assessment Requirements/Tasks
Progress (Formative) Assessment (60%)

1. Critic Session 1: 10 % - Ideation.
2. Critic Session 2: 20% - Ideas and focus (Synthesizing the idea

through series of drawings and exploration).

3. Critic Session 3: 30% - Idea, light, form and space (final drawings

and exploration).

Final (Summative) Assessment (40%)
Demonstrating of knowledge and understanding in application
idea, light, form & space in the artwork (realistic or semi abstract
paintings).

10

Scheme of Work: Teaching, Learning & Assessment

WEEK TEACHING & LEARNING PROGRESS & FINAL ASSESSMENT CRITERIA
ACTIVITIES ASSESSMENT

1-3 REASEARCH & THEORY Progress 1 (10%) - Define visual problems and
4-5 communicate solutions
- Research Methodology Critic Session 1:
- Aesthetic theory, Art Criticism - Formulate literature reviews,
Ideation references and visual research
and Art History
- Introduction to Art and - Formulate literature reviews,
references and visual research
Contexts
- Art and social, political and - Apply ideas and research
outcomes that are related to
cultural context relevant focus subject, form, and
content.
DRAWING PROCESS Progress 2 (20%)
- Organize and construct research
- Ideation / formulation/ Critic Session 2: methods, materials and techniques
development drawing for a given problem.

MATERIAL & TECHNIQUES Ideas and focus
(Synthesizing the idea
- Investigation/ development/ through series of
application of New Materials/ drawings and
Media and Techniques exploration)

6 - 12 PAINTING APPROACH Progress 3 (30%) - Present art works and portfolios of
- Formulation / development/ artwork that reflect style,
Critic Session 3: expression, and originality.
application of New Painting
Approach Idea, light, form and
space
PAINTING PROCESSES
- Formulation/ development (Final drawings and
exploration)
and application of New
Painting Processes

13 - 14 PRESENTATION Final (40%) - Define visual problems and
- Final painting/ presentation communicate solutions.

Present art works and - Formulate literature reviews,
portfolios of artwork - references and visual research.
that reflect style,
Apply ideas and research
expression, and outcomes that are related to
relevant focus subject, form, and
originality. content.

1. Body of artwork - Organize and construct research
methods, materials and techniques

2. Portfolio (working & for a given problem.

final drawing) - Present art works and portfolios of

3. Journal / Reference artwork that reflect style,
(300-350 words) expression, and originality.

4. Presentation (oral)



11

PROGRESS (FORMATIVE) ASSESSMENT (60%)

ASSESSMENT ASSESSMENT CRITERA

Critic Session 1: (10%) • Define visual problems and com-
municate solutions
Ideation • Formulate literature reviews, refer-

Synthesizing ideas through so- ences and visual research.
lutions of problems, formula-
tion of literature reviews, ref-
erences and visual researches.

Tasks: Through series of draw-
ings, paintings and exploration
of medium and techniques
(Mixed-media).

Critic Session 2: (20%) • Formulate literature reviews, refer-
ences and visual research
Ideas and focus • Apply ideas and research outcomes

Synthesizing ideas that are re- that are related to relevant focus
lated to relevant focus subject, subject, form, and content
form, content and context. • Organize and construct research

Task: Final drawings, paint- methods, materials and techniques
ings, and exploration of me- for a given problem.

dium and technique (mixed-
media).

12

PROGRESS (FORMATIVE) ASSESSMENT (60%)

ASSESSMENT ASSESSMENT CRITERA

Critic Session 3: (30%) • Present art works and portfo-
lios of artwork that reflect style,
Ideas and focus expression, and originality.

Applying ideas and research out-
comes that are related to relevant
focus subject, form, content and
context. Specifically studies on
light, form and space.

Task: Final drawings, paintings,
and exploration of medium and
technique (mixed-media).

13

FINAL (SUMMATIVE) ASSESSMENT (40%)

ASSESSMENT ASSESSMENT CRITERA

Present art works • Define visual problems and com-
municate solutions.
Present art works that reflect
style, expression, and original- • Formulate literature reviews, refer-
ity through realistic / semi ab- ences and visual research.
stract forms.
Applying ideas and research • Apply ideas and research outcomes
outcomes that are related to that are related to relevant focus
relevant focus subject, form, subject, form, and content.
content and context.
• Organize and construct research
Tasks / Requirements methods, materials and techniques
1. Body of artwork (minimum for a given problem.

3 Paintings). • Present art works and portfolios of
2. Portfolio (working & final artwork that reflect style, expres-
sion, and originality.
drawing).
[30%]

3. Presentation (oral).
4. Journal & Reference (300-

350 words).
[10%]

14

FINAL (SUMMATIVE) ASSESSMENT (40%)

Journal & Contents
Page cover
- Name
- Student ID No
- Course Code (FET622)
- Name of the Course
- Date
Contents
1. Theme
2. Message
3. Subject, Form, Content & Context
+ Photo of Artworks
+ Photo of Artists’ References
4. List of References

15

References

Recommended Text
References:
• Atkins, R. (1990). Art Speak. New York: Abbeville Press.
• Betti, Claudia and Sale, Teel (1997). Drawing: A Contemporary

Approach. USA: Holt, Rinehart and Winston, Inc.
• Collins, Judith. Welchman, John. Chandler, David and A. An-

fam, David (1988). Techniques of Modern Art. Chartwell Books,
Inc.
• Feldman, E.B. (1972). Varieties of Visual Experience. New Jersey:
Prentice Hall.
• Ferrier, Jean-Louis and Le Pichon, Yann (1999). Art of The 20th
Century. France: Chene-Hachette. France.
• Fineberg, J.D. (1995). Art Since 1940. New Jersey: Prentice Hall.
• George, R. (1974). Principles of Chinese Painting. New Jersey:
Princeton.
• Gilbert, R. (1985). Living with Art. New York: Alfred A. Knopf,
Inc.
• Gisbourne, M. (2006). Berlin Art Now-Neu. Abram NY. 2006
• Kiriakos, L. (2008). Mural Art. Singapore: Page One Publishing.
• Kurtz, D. & Bruce (1992). Contemporary Art 1965-1990. New
Jersey: Prentice Hall.
• Larry, S. (1996). The Visual Arts Companion. New Jersey: Pren-
tice Hall.

• Lucie-Smith, Edward (1992). Art & Civilization. New Jersey:
Prentice Hall.

• Michael, S. (1984). The Arts of China. Los Angeles: University of
California Press.

• Ocvirk, Stinson, Wigg, Bone, Cayton (1998). Art Fundamental:
Theory and Practice. USA: The McGraw-Hill Companies.

• Paul, Z., Pat Fisher & Mary (1994). The Art of Seeing. New Jer-
sey: Prentice Hall.

• Schultz, B. & David G. (1990). Art Past, Art Present. New Jersey:
Prentice Hall.

• Sporre, J. & Dennis (1994). Reality Through The Arts. New Jer-
sey: Prentice Hall.

Other Related References:

• Abdullah, Ahmad Kamal (1990). Kesenian Islam. Kuala Lum-

pur: DBP.
• Ali, Zakaria (1989). Seni dan Seniman. Kuala Lumpur: DBP.
• Anderson, L. & Richard (1989). Art in Small-Scale Societies. New

Jersey: Prentice Hall.
• Eleanor, H. (2008). Art & Today. London: Phaidon Press Lim-

ited.
• Grosenick, Uta (2005). Art Now. Taschen. Koln, London, L.A,

Madrid, Paris, Tokyo.
• Hassan, Mohd.Affandi (1992). Pendidikan Estetika daripada

Pendekatan Tauhid. Kuala Lumpur: DBP.
• Howard, S. (1989). Currents Contemporary Directions In The

Visual Arts. New Jersey: Prentice Hall.
• Lawrence, C. (1996). From Modernanism to Post Modernism

(An Anthology). USA: Black Well Pub.
• Minor, H. & Vernon (1994). Art History’s History. New Jersey:

Prentice Hall, 1994
• Richard, H. (1993). Theories of Contemporary Art. New Jersey:

Prentice Hall.
• Smith, L. & Edward (1995). Art Today. London: Phaidon Press

Limited.
• Thomas, M. (1965). Oriental Aesthetics. Ohio: Western Reserve

University. Cleveland.
Other Related References:
• ... (2013). Art Expo Malaysia 2013. Petaling Jaya Malaysia: Art

Expo Malaysia Sdn Bhd.
• Ciclitira, S. (ed.) (2014). MALAYSIAN EYE: Contemporary Ma-

laysian Art. Milano Italy: Skira Editore.
• Noble, I. & Bestley, R. (2005). Visual Research: An Introduction

to research Methodologies in Graphic Design. Switzerland: AVA
Publishing (UK) Ltd.

18

19

Reviews, Statements & Discussion
Art and Context

‘Art & context is a learning process which involves several phases:
Fundamental, Historical, Intellectual and Skill – all combined to
create an artwork of individual practice.’

Mohd Farif Ab Jalil (2017), Department of Fine Art,
Faculty of Art & Design, UiTM
In my ten years of teaching, I feel that the final semester (Sem 05) is
the period when students have complete understanding of idea and
style. Their understanding would be more towards art rather than
context. This is when students need to be critical and more mature
in their thinking than in previous semesters when creating works of
art.
The context is more on the meaning of scope and background of a
study before they execute their work or during their production of
artwork. In their aspiration and desire to create works of art, students
are inevitably forced to probe and search for relevant information.
This includes information about the referenced artists and readings
that are related to the study. Therefore the scope of the study con-
fines all related information. The exercution of an artworks in 05
traditionally mixed media. We expand & open some space to stu-
dent for exploration and alternative material and media within the

20

context and the premised of painting .’
Farid Raihan Ahmad (2017), Department of Fine Art,
Faculty of Art & Design, UiTM

‘Art and context’ is a way to interpret art in terms of the culture of
its time to which art is widely seen as affecting and being affected by
cultural practices and tradition, identity and heritage, social struc-
tures and hegemony, political issues and society, intellectual and cur-
rent ideas, sosio-economic, social commentary, ethical and moral,
social values, colonialism and religion. However, these aspects are
often intersect or intergrated due to their relevance and concrete
interpretation of ideas. This perspective is inherently interdisclinary
in nature across numerous fields in the humanities and social sci-
ence.’

Dr. Mohamad Kamal Abd Aziz (2017), Department of Visual
Culture Studies, Faculty of Art & Design, UiTM
All works of art are produced with their own context. Contextual
factors such as religion, belief, culture, custom, nature, thought, phi-
losophy and background of the artists influence the artworks they
produce through a particular creative process. Thus, art is insepara-
ble from its context, since art is not created in a vacuum.

21

(Semua karya seni terhasil dalam konteksnya yang tersendiri. Faktor
kontekstual seperti agama, kepercayaan, kebudayaan, adat resam,
alam semulajadi, pemikiran, falsafah dan latar hidup pelukis mem-
pengaruhi kerja seni yang dihasilkannya melalui sesuatu proses kre-
atif yang tertentu. Justeru itu, seni tidak dapat dipisahkan daripada
konteksnya, kerana seni tidak lahir di dalam vakum).

Prof. Dr. Muliyadi Mahamood (2017), Department of Visual Cul-
ture Studies, Faculty of Art & Design, UiTM
ART & CONTEXT
Based on these discussions,The context (contextual factors) in art
can be proposed as below:
- Religion / Belief
- Culture (and cultural practices)
- Custom and tradition
- Heritage & Identity
- Nature & environment
- Social structures/values
- Hegemony (Leadership)
- Political / Societal issues
- Intellectual & current ideas
- Colonialism
- Thought & Concept
- Philosophy

22

THEME OF ART
The meaning of theme can be expressed as several subjects such as:
- The subject of a talk
- A piece of writing
- The subject of an exhibition
- An idea that recurs in/pervades a work of art or literature
- Something in thought

(Oxford Dictionary of English, 2017)
Based on these aspects of art context, students can focus
on the appropriate theme to develop the art work.
MIXED MEDIA
Term used to describe 20th-c. works of art which combine different
types of materials, or different art forms (also called multimedia and
intermedia).

Source: Read, H. (Ed.) (1985). The Thames and Hudson Dictionary of Art and Artists.
London: Thames and Hudson Ltd.

23

Subject, Form & Content
‘The What’, ‘The Why’ & ‘The How’

Component of Art

Essak’s (2003) opinion is more specific towards meaning, compo-
nent and quality in producing a creative work of art. According to
Essak, the component of artworks can be divided into form and
content.
Form is what we see; content is what we interpret as the meaning
of what we see. Form refers to the total effect of the combined vis-
ual qualities within a work, including such components as mate-
rial, color, shape, line, and design. Content refers to the message or
meaning of the work of art - what the artist expresses or communi-
cates to the viewer.
Essak specifically focuses and questions on form and content as de-
scribed below:
Form is
• the element of art
• the principle of design
• physical materials.
Content is
• what the artist meant to portray

24

• what the artist actually did portray
• how we reacted.

Essak’s opinion states an extensive meaning towards the
content of component in an artwork.
Form involves the manipulation of the element and princi-
ple of designs, mediums and techniques to create content
in an artwork. The degree of content achievement is based
on the reaction of the audience’s discussion towards their
understanding. The understanding of art appreciation and
art criticism will enhance audiences’, art critics’, artists’ or
designers’ comprehension towards meanings and the qual-
ity of artworks.
According to Ocvirk (1998), the formation of an artwork
includes three main components namely Subject, Form and
Content. The three components are interrelated to exempli-
fy strength in an artwork.

25

Ocvick elaborates the interrelated components as follows:
Subject
A subject is a person, thing, or an idea. The person or thing is ex-
pected to be pretty clear to the average person, but the idea may not
be. In abstract or semi-abstract works, the subject may be some-
what perceivable, but in nonobjective works, the subject is the idea
behind the form of the work, and it communicates only with those
who can read the language of form.
Form
…the totality of the physical artwork. It involves all of the visual de-
vices available to the artist in the material of his or her choice. Using
these devices, artists must make their arrangement and manipula-
tion most effective for what is being expressed.
Content
The emotional or intellectual message of an artwork is its content, a
statement, an expression, or mood read into the work by its observ-
er- hopefully synchronized with the artist’s intentions…. For many
people content is confined to familiar associations, usually by feel-
ings aroused by known objects or ideas (Ocvirk (1998: 12-10).
Ocvick explains that each component has its own strength and the
function of each component cannot be undermined. These com-

26

ponents change only in the degree of emphasis put on them. Their
interdependence is so great that none should be neglected or given
exclusive attention.
Ocvick emphasises that the focus to produce a complete artwork is
a priority in which each component plays a role to produce a com-
plete artwork. ‘The whole work of art should be more important
than any one of its components.’ (The three interrelated components
can be illustrated in the figure 1).
Ocvick describes subject as ‘the what’, form as ‘the how’ and content
as ‘the why’. Subject that is portrayed in the artist’s feeling is com-
posed on the basis of the manipulation of the elements and princi-
ple of design, material and techniques to create form (the how) in
an artwork and eventually materialise the content (the why). This
combination will create organic unity as the final aim in producing
an artwork.
Essak’s and Ocvick’s views will assist in understanding the compo-
nents to form an artwork. Essak believes that subject is a part of con-
tent in an artwork whereas Ocvick separates it. Nevertheless, both
of the views can be practiced in producing and evaluating artworks
based on the requirement and interpretation of the artists or design-
ers.

27

Figure 1: Organic Unity
(Ocvirk (1998: 12-10)

28

The most important element is how the aspect of interactive and
interrelated occurs completely in subject, form and content in pro-
ducing artworks as all the elements belong to one organism.

Mohd Mustafa Mohd Ghazali (2009)

Source: Mohd Mustafa Mohd Ghazali (2009). Classification Do-
main, Hierarchy Level of Skills and Assessment Approaches of Crea-

tive Artworks and Visual Art Theory.

29

References of Study

Selected artworks and explorations by previous
05 (FET622), Semester 20172, Fine Art students,

Faculty of AD, UiTM 2017
Photos of artworks by the artist in this book are for
the purpose of academic exercise, studies, critique, re-
view and learning process only.

30

BRENDAN ANAK
JOHNNY
FET622
Sem 20172

The Dignity of
Today’s Dayak Warrior

31

Brendan A Johnny, Pahlawan Darud Sadung, 2017.
Charcoal on play wood 4 x 3 ft.
32

Brendan A John-
ny, The Pride of
Dayak 2017, 2017.
Acrylic on play
wood. 3 x 5 ft.

33

Brendan A Johnny, The Turtle Warrior, 2017. Acrylic on canvas. 4 x 5 ft.
34

Ideas and Focus

Synthesizing the idea through series
of drawings and exploration

35

Ideas and Focus

Synthesizing the idea through series
of drawings and exploration

Dayak Warriors & Expression

36

Artists’ References

Artist: Tan Wei Kheng
Title: Penan Warrior
Medium: Acrilic on Canvas

37

MUHAMMAD AIMAN M Aiman M Hafizal, Ikhtibar, 2017. Acrylic
MOHD HAFIZAL on canvas. 2 x 2 ft.
FET622 Sem 20172

The Peaceful:
Human and Nature

38

M Aiman M Hafizal, Wildfire, 2017. Acrylic and oil pastel on canvas.
4.5 x 3.5 ft.

39

M Aiman M Hafizal, Pertembungan, 2017. Acrylic and oil pastel on
canvas. 4.5 x 3.5 ft.

M Aiman M Hafizal, Wildfire, 2017. Ideation drawing. Mixed media.
40

M Aiman M Hafizal, Lima Waktu, 2017. Acrylic and box on plywood. 6 x 6 in
(each panel).

41

Ideas and Focus

Synthesizing the idea through series
of drawings and exploration

42

Artists’ References

43

Artists’ References

44

Artists’ References

45

MARIAM BT MindScape: memory
JANI of mind.
FET622 Sem
20172

46

Artists’ References

MARIAM BT JANI (FET622 Sem 20172)

47

Ideas and Focus

Synthesizing the idea through series
of drawings and exploration

48

Artists’ References

MARIAM BT JANI (FET622 Sem 20172)

49

NURAINA SHU- Faces
HADAH BT HARIS
FADILAH
FET622 Sem 20172)

Nuraina Shuhadah Haris Fadilah, While They Were Speaking, 2017.
Mixed media on canvas. 5 x 3 ft.
50