ELA Resources for Media Studies 20 Mass Media Curriculum

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1 ELA Resources for Media Studies 20 Mass Media Curriculum Produced by W. Peart and D. Potter REV Regina T F Saskatoon T F info@carfac.sk.ca produced with assistance from the Cultural Industries Development Fund, Saskatchewan Culture, Youth and Recreation

2 2 Table of Contents Page Introduction... 3 Curriculum Principles and Concepts.. 4 Foundational Objectives. 5 Definitions in Visual Art.. 6 Introduction Activities 9 Student Projects.. 11 Additional Activities 20 Careers in Visual Art Education in Visual Art.. 24 Appendix (Formal Elements and Principles of Design) Internet Resources Bibliography... 28

3 3 CARFAC SASK Curriculum Project ELA Resources for Media Studies 20 Mass Media Curriculum CARFAC Saskatchewan Visual Artists is committed to enhancing the lives of artists by providing support, education and opportunities, as well as, CARFAC SASK endeavors to foster art appreciation and visual literacy in Saskatchewan communities. Through this curriculum project, CARFAC SASK embraces an opportunity to collaborate with the Department of Education on the Media Studies 20 curriculum. CARFAC SASK has produced this guide to enable teachers to use the visual arts sector as a starting point for meeting the foundational objectives of this established curriculum. CARFAC SASK also aims to enhance the awareness of the cultural industries at the high school level and expand students knowledge of career opportunities in the cultural sector. In addition, CARFAC SASK hopes this curriculum project will highlight some of the support networks, cultural organizations, and educational programs available in Saskatchewan. By incorporating ideas from this guide, teachers may increase their students understandings of visual art and the role it plays in society. In turn, a new generation of knowledgeable art enthusiasts, supporters and consumers will be developed.

4 4 Curriculum Principles and Concepts The following, Curriculum Principles and Concepts, is derived directly from: Saskatchewan Education, Media Studies 20 - A Curriculum Guide for the Secondary Level, April Media Studies 20 is concerned with helping students develop an informed and critical understanding of the nature of the mass media, the messages contained in the mass media, the techniques used by them, and the impact of these media. The following principles form a foundation for teaching Media Studies 20. Language learning thrives when students are engaged in meaningful use of language. In this course, students should be given many opportunities to experiment and explore the various media and the issues associated with them. They should be encouraged to become involved in analysis, inquiry, and hands on activities related to the media. This course places language and the mass media in the context of communication. Throughout each module, students should be encouraged to apply the 5W + H questioning process to each communication context. o Who is communicating? o What is being communicated? o To who is it communicated? o What medium is used? o What is the purpose of the communication? To inform and instruct? To persuade? To entertain? o How effective is the communication? Media literacy involves understanding mass media and how they affect us. Students should explore the values and tastes that are relevant to their own community and the impact of the mass media on their community. A balanced view of each medium important. The positive features of the mass media as well as the negative features should be examined. In addition, five key concepts underlie the Media Studies 20 course. The mass media use carefully crafted messages that present a particular sense of what the world is and how it works. While all of us have our own view of the way the world is constructed based on our experiences, many of our notions are influenced by what the mass media show us. Each medium has its own forms and conventions. Language, design, sound, lighting, camera angles, etc. are used to construct meaning in a particular way. Each media message has its own ideology and biases. Recognizing values and biases is part of being media literate.

5 5 Media messages often have commercial implications. Most media production is undertaken as a business with a goal of making a profit. This can influence what is presented in the mass media. The mass media are responded to and interpreted in different ways. No individual or group is entirely alike any other. Each audience will react to and interpret media messages in a different way. The informed viewer, listener, and reader will analyze the media message and try to understand and appreciate how and why a particular interpretation is made. Student should explore these concepts in each medium they study. Foundational Objectives The foundational objectives for Media Studies 20 follow. In addition to this are the specific learning objectives that can be found in the Saskatchewan Education, Media Studies 20 - A Curriculum Guide for the Secondary Level, April Students will: 1. Recognize and appreciate the role of mass media in communication, in contemporary society, and in their personal lives 2. Recognize the codes, forms, and conventions of the various mass media 3. Recognize the ways in which the various mass media shape their messages, and construct a sense of what the world is or how it works 4. Analyze and evaluate the various mass media, including their sources, intents and underlying values 5. Recognize the role and power of advertising in the mass media 6. Extend and apply their speaking, listening, writing, reading, representing and viewing abilities. 7. Extend and apply their representing and viewing abilities by designing and creating a media text Curriculum Content The curriculum content is divided into four modules as follows: Module 1: Media Awareness Module 2: Exploring the Medium of Television Module 3: Exploration of other Media and/or Advertising Module 4: Media and Cultural Studies Project

6 6 Definitions in Visual Art Visual art refers to objects, images, or ideas created by artists that explore visual, physical properties and/or idea based elements. Visual art includes but is not limited to drawing, painting, sculpture, photography, printmaking, performative, installation, digital/electronic, text based, sound, video, graphic design and architecture. Materials and methods (or Medium ) used in the visual arts are widely varied and can include anything from the traditional watercolour on paper to everyday found objects, computer printouts, recycled materials, forged steel, movement, etc. Contemporary art is invested in the ongoing exploration of new and old materials as well as challenging personal and cultural understandings. Visual Art can be considered as a visual form of thinking and communicating. According to the text, ARTFORMS, much of our awareness is perceived through our senses, particularly through sight or hearing. (Preble, Preble, Frank. page 15) Therefore, systems of communicating knowledge and/or awareness would logically be emphasized in the visual arts culture. Perhaps this is the reason we find visual imagery in the form of ancient rock painting, cave art, rock or bone carving from the very beginning of human cultures. Current visual art culture is now organized into a gallery based system. It is important to note that all galleries are not the same because contemporary art functions in a variety of ways. Below is a listing of gallery types and the professionals who are involved with galleries. Commercial Gallery: goal is to sell art to collectors or the buying public a dealer (commercial gallery owner) operates and manages the business ex. in Regina - Susan Whitney Gallery, McIntyre Gallery ex. in Saskatoon - Art Placement Public Gallery: main goal is to exhibit interesting and intellectually stimulating art may occasionally sell art a gallery director manages the staff and the daily operations of the gallery art is selected and organized by a curator who is highly knowledgeable about contemporary art practices or by an exhibition committee composed of art professionals artists who exhibit receive exhibition fees ex. in Regina - MacKenzie Art Gallery, Dunlop Art Gallery, Rosemont Art Gallery ex. in Saskatoon - Mendel Art Gallery, Kenderdine Art Gallery Artist Run Gallery mandate is usually to exhibit experimental art and conceptually challenging art not sales oriented, except for gallery fundraising events is directed by a board of artists and managed by paid staff (usually) exhibitions are selected by an exhibition committee composed of artists

7 7 artists who exhibit receive exhibition fees ex. in Regina - Neutral Ground, Sakewewak First Nations Artist Collective Inc. ex. in Saskatoon - AKA, Paved Art & New Media For an extensive listing of galleries in Saskatchewan, refer to the Saskatchewan Gallery Survey which can be attained through CARFAC SASK. There are other gallery types that are a hybrid of the above defined galleries. It is important to note that not all contemporary visual art is destined to be bought by collectors or the buying public. Many artists create art works based on theoretical and personal exploration rather than commercial motivations. Professionals Artists make art. They must have strong perceptual skills as well as an affinity for their mediums (materials and methods). Artists are generally highly sensitive to the world around them and feel the need to create. It is hard to summarize the motivational factors for all artists, but many artists have a desire to more fully understand or challenge themselves, society, aesthetics and/or the complex nature of existence. Art Historians study art from the past and present. They are interested primarily in the historical, personal and cultural relevance of art work. Art Critics or Art Writers are those who analyze and write about art and artists. They may write reviews about art exhibits in the local newspaper, art magazines or gallery exhibition catalogues. Art critics/writers must have an ability to critically analyze art work and to make connections between art and its context (the interrelated conditions or factors which influence artists in making their work). Gallery Directors or Administrators see to the day to day management of a gallery. They have strong budgetary and managerial skills, as well as, an understanding of art and its value in society. Curators select art exhibitions for a gallery. They may organize solo shows based upon the strength of one artist¹s practice, or group shows usually based on thematic considerations or other gallery mandates. Curators often write about the art work to help explain the content or meaning of the artwork. Curators also help to draw connections between art and its context. Dealers sell art work. Most dealers own a gallery or an internet based gallery. Some will even handle all the business affairs the artists who they represent. Dealers require superb marketing abilities as well as an excellent knowledge of the art market and communications. Collectors buy art based on personal preferences and/or commercial value of art. Collectors may resell art work after the work appreciates in value, therefore making a profit. Serious collectors must have a keen knowledge of the art market and an awareness of the factors affecting the monetary value of art. Many art collectors, like artists, just enjoy art for its sheer beauty and its inspirational power.

8 8 Other definitions used widely in Visual Art: Form: refers to the physical properties of an art work (i.e. line, shape, mass, space, light, colour, time and motion, texture). Content: refers to the message or the meaning in an artwork. Subject Matter: refers to the literal visual images in a work of art. Aesthetic: is the appreciation of the beautiful. Realistic or Representational Art: is art that seeks to resemble real things in the world. Abstract Art: is art that may resemble something in the real world but is stylized or obscured in order that the expressive or formal qualities of the work are heightened. Non-Objective Art: is art that does not resemble or refer to objects of real world so that the expressive, formal or aesthetic elements are paramount in the work.

9 9 Introduction Activities 1. Artist Interview A. Encourage students to interview an artist. This could include the next door neighbor who makes cabinets, the aunt who paints watercolour or a well known artist in the community. Prior to their meeting, students will develop a set of questions to ask the artist. Additional questions can be added as necessary during the interview. Some questions students may ask are: What is the style of the artist? What are the ideas or concerns evident in the artist s works? What are the materials used and techniques employed in the creation of the works of art? What are the artist s beliefs about art and art practices? What concerns does the artist have regarding the business of art? How does the artist see him/herself within his/her community? What is the significance of her/his art making to her/his culture and traditions? B. Students will present their findings to the class with visual examples of work from their artist. Discussion could follow on the diverse nature of the artists and the work presented by the students. C. Following the interviews and discussion, it may be possible to visit artists studios or invite guest artists to the class to do a demonstrations of their work, talk about their work or explore the development of their works through a slide presentation. Students may, once again, want to question the artist on various points of interest. Following this activity, students would have a better insight into some of the diverse activities, opinions, styles, and practices involved in visual art. 2. Formal/Informal Information Forum Invite several members of the arts community (such as suggested below) to the class for a forum or discussion period. Organizing a singular time could be difficult, but it could be well worth the effort even if only a few representatives are able to attend. Alternatively, the students could work in groups to research information on the various arts organizations in the community. Each group would take on the role of representing their organization in the forum. A. Organizing the forum 1. Invite a guest curator, artist and gallery owner or director to visit and provide a general overview of the galleries available to artists in the community and the funding systems for each. Other areas for discussion may include: What procedures must artists follow to apply for shows? What procedures are used when purchasing work for collections? How does the gallery deal with controversy arising from some purchases, i.e. Voice of Fire by Barnett Newman? 2. Invite a representative of the Saskatchewan Arts Board to provide a general overview of the Saskatchewan Arts Board and the assistance that is available for artists through their funding programs.

10 10 3. Invite a representative from CARFAC SASK to speak to students about CARFAC s role in supporting artists and the assistance that is available for artists through its programs. 4. Invite a member of a guild to speak about the purpose of guilds and the programs they provide for their members. B. Following the presentations, encourage students to ask questions of each presenting group in a question and answer period. 3. Role of Visual Art in Society A. Students will brainstorm a list and then create a web to connect the many roles visual art plays in society. Students will discover the huge influence of the arts in their lives. The list will be large but some examples will be: entertainment (movies, books, magazines, film, etc.) shelter (architecture, interior design, etc.) personal appearance (hair, clothes, jewelry, tattoos, etc.) information (signage, instructional images, etc) history( document an event or time, promote cultural heritage, propaganda) advertising (sell a product, an idea, an opinion/attitude) objects they use (cars, desks, computers, etc.) leisure time activity ( pleasure) B. Students will write a short story about a world where there was no art. They could look to literature for examples of stories of a world with no books and make comparisons. Discussion could follow on how the arts enrich their lives.

11 11 Student Projects Mass Media Studies 20 and Visual Art 1. Pop Art / Comic Series Pop Art is an art movement founded in the 1960 s. Pop Art highlights objects and images from everyday poplar culture and examines commodity loving society. Examples of Pop Artists include Andy Warhol, Roy Lichtenstein, Jasper Johns, Claes Oldenburg and Richard Hamilton. Examples of Saskatchewan artists who use pop imagery in their own work are Jefferson Little, Jeff Nachtigall, David Garneau, Gerri Ann Siwek. A. Examine popular comic books. Include examples of contemporary and vintage comics. Have a discussion based upon the following questions: How are the old and new comics similar? Different? What visual styles are used? (See Appendix on the Formal Elements and Principles of Design for basis for this discussion) ex. simple, representational line drawings, quickly and easily understood pictures, bright colours. Do they communicate ideas or stories quickly and easily? Why do you think the comic book producers designed them this way? Why are they popular? ex. easily digested, funny, series based (much like television); dramatic, exaggerated anatomical features (super large muscles, glamorous faces, etc.) B. Look at examples of Pop Art. Art works could include Andy Warhol¹s, Campbell¹s Soup Cans, Roy Lichtenstein s comic style paintings or Claes Oldenburg s Two Cheeseburgers with Everything sculpture. Examples of these works and many more can be found easily on the internet or in art history texts or art magazines. Images of Saskatchewan based artists can readily be viewed on the internet by searching names as suggested above. Base a discussion on: What elements of popular culture are these artists depicting? What visual styles do the Pop artists use that are similar to the comic book artists styles? Are these art works easy to understand? Why are they appealing? What do you think the artists are trying to say about the subject matter (the images in the art work)? What do you think the artists are trying to say about popular mass culture? What do you think the artists are saying about commodification, personal identity, or society? Why did they choose the medium they have used in the artwork? C. Have the students make either a comic strip or a piece of pop art using their choice of medium (drawing, painting, collage, sculpture, found objects, etc.). Questions students may want to ask themselves are: Does the art work glorify or criticize the subject matter? What messages are being sent? What formal elements of art or principles of design (See Appendix) did the students use to emphasize what they were communicating?

12 12 D. Upon completion of the art works, have the students display the works. Discuss the effectiveness of the work and whether the finished product communicates the message the student artist had intended. The emphasis here is: Does the work communicate? Foundational Objectives: 1, 2, 3, 5, 6, 7 2. Symbolism and Cultural Context This assignment will examine how meaning can be found in images used as symbols. It will attempt to examine how culture plays a role in defining the meaning of symbols and also how the viewer s individualism and personal experience contributes meaning to the art work. Before the advent of the Guttenberg printing press and literacy, visual images were a primary source of communication. The visual imagery used in many European paintings of the 15th to 19th centuries was loaded with powerful religious and political symbols as seen in works by Artemisia Gentileschi, Jan Van Eyck, and Jacques-Louis David. Turn of the century artists, Frida Kahlo and Salvador Dali employ symbolic meaning in their work to communicate the story or content (meaning) which is of a more personal nature. It is important to note that artists not only use images symbolically, but also use formal devices such as light/dark, colour, shape, line, and other formal devices in symbolic ways. A. Encourage the students to examine a painting where the artist has used symbolism. Excellent examples can be found in the works of the artists listed in the introduction or other works can be found easily using the internet or the library. You may use one painting for the whole class or use small groups to examine the painting. The students will individually prepare a list of symbols found in the painting and include their interpretation of each symbol. They should do this without discussion with other classmates. B. As a class, analyze the results of the individual student interpretations. List some of the symbols found and look at the variety of ways in which they were interpreted by the students. Can you determine which interpretations seem common or cultural - that is, commonly recognized as a particular meaning in this present time? Which interpretations are more individually determined? How did the students arrive at certain interpretations? Why was painting such an effective medium of communication historically? Is it still today? C. If possible, research a historical or studied interpretation of this work of art. What did this work mean when it was made? Are the interpretations much different than the common interpretations made in class? What role does the artist s culture play in his/her use of symbolism? Do you think this work was used by the state, church, wealthy to promote an ideology? Was this work more personal or an attempt to examine individual concerns of the artist?

13 13 D. Have the students create their own work of art or poster that employs the use of symbolism. The students should consider: Are the symbols personally or culturally understood? What are the messages in the students art work? E. Encourage the students to interpret their classmates art works. Is the use of symbolism effective? What elements could be altered or changed to enhance the symbolic messages? Can artists use highly personal codes and symbols or should their work always be interpretable? Foundational Objectives: 2, 3, 4, 6, 7 3. Artist Statement This assignment can follow any assignment in which the students made a work of art. It is an exercise in turning the visual art work and the artist s creative process into a verbal, written text that can accompany the art work. Artists are often asked to produce artist statements to accompany their artwork. Artist statements may: explain the artist s major themes explain the artist s methods or processes express the artist s passion discuss the artist s influences or inspirations create interest in the art work express what the artist hopes to achieve through the art act as a poetic mirror for the art work A. The students will write an artist statement about one of their own art works. Remind the students that an artist statement does not just describe the art or explain everything about the art because this may take out all the joy of looking at the art. Rather, it is more about the artist s concerns (see above bulleted list). An artist statement is like a subtle advertisement for the artist. This artist statement should be between one half or one page in length. Artists often find this process challenging and the students may as well. This is an exercise in translating creative, non-verbal concepts into a structured, linear thought driven product. If necessary, give students a lot of time to complete this. If they are finished rather quickly, have them edit and rewrite until the statement communicates the student s intentions very clearly. B. Hints for an artist statement: Every statement should be as clear as possible. Use appropriate words and adjectives that describe effectively, some words may seem more figurative or visually oriented. ex. Good = I make my artwork big because it has more effect. Better = I make my artwork gigantic because it has more impact.

14 14 Be as specific as possible in the ideas discussed. What is distinctive to the artist? ex. I paint because I love painting. All painters could easily say this. A better example would explain why the artist loves to paint or what about the process is unique to the artist? Be passionate or expressive about what you are writing. This will draw in your readers/viewers and create interest in what you have to say. C. As an extension to this assignment, display the artist statements with the artworks. Some students may feel more confident about one or the other form of expression. This will allow them, and others, to see a relationship between the written and the visual. Foundational Objectives: 1, 2, 5, 6, 7 4. Press Release This assignment involves the development of a quick form of advertisement called the press release. A. The students will pretend they are artists with an important upcoming exhibition. Students will design a flyer that will be sent to various venues, individuals and institutions. The purpose of the flyer will be to catch the attention of art audiences and to advertise the exhibition. This flyer contains information such as the artist s name, the title of the exhibition, the dates of the exhibition, the location of the exhibition or gallery, the date of the opening reception, visual images and a couple of sentences describing the art work. These flyers can be 8 1/2 by 11 inch in size and are often produced graphically on the computer, although this is not necessary for this assignment. The students will decide what information should be on the press release. Things to consider in designing the release could be: Does the visual style of the release reflect what the art work is like or about? Has enough information been included about the exhibition? Does the poster have impact and is it eye catching? Does it have too much information or is it visually busy and, therefore, unappealing? B. The students will devise a list of the destinations for their press releases and the method of communication. (ex. mail, fax, , radio, television, posters, etc.) Foundational Objectives: 1, 2, 5, 6, 7 5. Curatorial Study This project can follow any project in which the students have created visual art work. A. Gather a variety of student artwork made in the class. From this selection, each student will choose 4 to 8 works that he/she decides should be grouped together in an exhibit. The student will base his/her selections on his/her own criteria, be it content,

15 15 form, aesthetics, etc. (see Definitions). As the curator of this group selection, the student must be able to explain the reasons for choosing this particular group of art works. B. The student curators will write curatorial statements to clarify their thoughts on the group exhibitions. A curatorial statement is like an artist statement (explained in activity #3). Things to consider in this statement are: Why were these works chosen to be displayed together? What does the choice of works say together as a whole? Do the selected works reinforce each other to create a more powerful message or impact? C. Display a few of these small exhibitions in the school with the curatorial statements. Foundational Objectives: 1, 2, 3, 4, 6, 7 6. Video or Photographic Autobiography This exercise allows a hands-on exploration of the medium of video or photography. Many students have had the opportunity to write biographies or their own autobiographies. An autobiography is an explanation or expression of someone s own experience, personality, life, and identity. This exercise will be a primarily visual autobiography. Access to a camera or video camera will be necessary for this assignment. A. Students will prepare by developing their individual autobiographies through story boarding, writing scripts and drawing preliminary sketches. Students may need some time to develop the content of their video or photographic series. Some areas for student consideration are: What style will be used? (ex. documentary style, scripted or dramatized style) What visual imagery will best suit this autobiography What will be the tone of the video or photographic series? (ex. humorous, serious, expressive, dramatic, persuasive, persistent, analytical, introspective, etc.) B. Present the final works in class with the following discussions: How effective are these works in translating the students lives into the visual medium? Are some individual personality types more suited to the medium of video or photography? Could other mediums have been more effective for certain individuals? Foundational Objectives: 1, 2, 3, 4, 6, 7 7. Gallery Tour Through this field trip, students will learn about the galleries in their community and the services offered by each. Students will gain a greater understanding of the different venues for artists works and an idea of the kinds of work displayed in each setting.

16 16 A. Book a bus and tour the galleries in your area. If possible, contact commercial, public, and artist run galleries before your visit to ensure times and availability. B. During the gallery visits, students will be encouraged to ask questions of the staff or gallery facilitators. Students should then record their observations, questions and information that was of interest to them during the outing. Bring the recorded observations back to class and discuss. Some areas of discussion could be: Why does some art sell while other art doesn t? What influences the price of artwork? Why do some artists make art with no intention of selling their work? Do the artists sex, age and stage in their careers affect the product they produce? Is commercialism important to art? How do artists make a living through their art work? C. Look in the local paper to find examples critiques of artists works written by critics. Discuss the writing of critiques. Encourage students to write a critique of one of the shows they viewed on their tour. Foundational Objectives #4, 6, 7 8. Advertising and Art Images We can not create in isolation. Graphic designers, like all other artists, often look to other artists works for inspiration for their own work. A. Ask the students to look in magazines and other media, including television for examples of graphic artists using visual art works created by other artists to sell a product. Examples could include; the Mona Lisa to sell ice cream, the image of the Eiffel tower to sell perfume, an Impressionist Painting to sell tissue, etc. Questions that may arise from this activity could be: Why are certain images used to sell the product and what does choice of art work say about the consumer? What is image appropriation and copyright and does it affect a manufacture s ability to use these images? What have the designers and artists done to catch your attention and create visual interest? B. The students will choose an art work as inspiration to sell a product. Important copyright note: If the artwork will appear in this advertising in any way, the artwork chosen must be made by an artist who has been deceased for at least 50 years. Otherwise, this is an infringement on copyright and is illegal. The students could use any media they prefer such as paint, computers, collage, video camera, etc. They could design their own fonts and colour schemes and take liberties to change the image, if they so desired. Foundational Objectives #3, 5, 7

17 17 9. Editorial Cartoon Editorial artists have been making satirical comments about the people and events in the news for many years. It is often through humor that the artists can go right to the heart of the matter and say what they really think. An image and a few well chosen words can be very effective in communicating a message. A. Find examples of editorial cartoons in newspapers. Discuss the issues presented and the effectiveness of the image and the satire. Areas for discussion could include: How do the artists use exaggeration in their work? What simple devices do artists use to set the stage for the characters involved? Why do they often select the flaws in an individual and draw attention to them? What happens if the people or politicians presented in the editorial are insulted by the cartoon? Do the artists have to be careful about what they represent in their work? Why? Are there barriers that artists cannot cross in their critiques? B. Brainstorm ideas for a current event in the school or community. Create an editorial cartoon keeping in mind some of the techniques used by the artists. Foundational Objectives #1, 2, 4, Advertising in the Mass Media In their daily lives, people are constantly being bombarded with images and objects in advertising. Advertisements may create desire for a certain object and/or shape self images and concepts of others. Film, television and mass media are filled with examples. A. Look for examples of advertising on television, in magazines and movies. Examples might include; a specific canned drink on a favorite sitcom, a recognizable logo advertisement in a teen film, a gas station logo on the uniform of a race car driver, etc. Questions students may ask in relation to their findings are: What emotions have the advertisers elicited in their product advertisement in the evening news? After school? Late night? How do the images and the messages change as the demographic of the viewing audience changes? Would you be inclined to use a product that was advertised with your favorite show? Why do you use the products you use today? Has advertising affected your choices? Would you be discouraged from buying a product which was advertised in an inappropriate or manipulative manner? How does the line blur between programming and advertising with product placement? B. Make a list of some purchased products found in students homes. Conduct a survey to determine why these products are purchased. Analyze the results. Based on these findings, design an article for sale that would be targeted to a particular demographic group. Design the packaging and advertising that will promote the product. Foundational Objectives # 1, 2, 3, 4, 5, 6,7

18 Objects Reflecting Identity Consumers will purchase products that appeal to their own style, personality and character. A. For the purpose of this lesson, chairs will be the product of this analysis. Look through newspapers and magazines and collect pictures of chairs that are for sale. As well, have the students draw pictures of chairs from their homes or collect images of chairs they would like to have in their homes. Have the students present their examples and discuss what the choice of the chair implies about the person who uses it. (For example, chairs that are streamlined with chrome and plastic might infer that the owners are modern thinking and more concerned about aesthetics than physical comfort.) Other areas of discussion and observation could include: How does the decoration and material of construction influence our thinking? What does comfort say about the user? What does a chair that is rarely used say about the owner? What do the chairs at the school say about the people who use them or the function the chairs serve?? How are chairs used in restaurants to promote image and influence clientele? What do people s purchases say about who they are and what is important to them? B. Students may want to design their own unique chair out of cardboard or any other available materials. The chairs would represent the students aesthetics, style, interests and character. Foundational Objectives #1, 3, 5, Graphic Design Students have their own images and trends that they enjoy and follow. Designers are ever conscious of the market for the youth dollar. Extravagant amounts of research, work and money are spent on capturing this market. A. Students should bring examples of their media products to class. Examples would include CD covers, game jackets, DVD and video jackets, etc. which the students have purchased for their own use. The teacher could bring in his/her examples as well. As a class, view the examples, analyze the work, and ask questions. Examples might include: How does the art work promote and present a visual interpretation of the musical group or movie s content? How has the written text been designed to attract attention? What images are commonly used? Why? What colours are predominately used? Why? What kind of design is used to catch interest and promote the product? Are the teacher s products much different from the students? How and Why? B. Students could design a cover for their own video or fictional story. The teacher and students may want to refer to the Formal Elements and the Principles of Design (See

19 19 Appendix) to determine some of the techniques the artists used in designing the images. The students can apply these methods to their own works. Foundational Objectives #1, 3, 4, 5, Culture and History in Visual Art and the Media In this study students will examine ways in which art works can have cultural and historical significance and how the art works can communicate the attitudes and beliefs of the artists involved. They will discover how the stories that are told can change at different times in history. They will examine how the mass media also has stories to tell and how the stories can have conflicting biases based on particular points of view. A. Look at examples of art works by well-known Aboriginal artists working in a traditional manner. Some artists may include Norval Morrisseau, Allan Sapp, Jackson Beardy, Roy Vickers, etc. Areas for discussion about the works may include: How have the artists used line and colour in their works? Why do they predominantly use animal imagery? Are symbols used to communicate messages? What images are often depicted and what kinds of stories are told in the works? How does visual art help us to understand each other's differences as well as similarities? Legends are often used as starting point for the works. Discuss the art of story telling and the use of symbolism in the Aboriginal culture. B. Look at some well-known contemporary Aboriginal artists and discuss their works. Artists who could be used are Edward Poitras, Rebecca Belmore, Ruth Cuthand, Bob Boyer, Sheila Orr, Sherry Farrell Racette, etc. (For a more complete list of aboriginal artists contact local art galleries, libraries or the internet) In viewing these works some questions you may ask are: How are these works similar to the traditional Aboriginal art work? How has it changed? What political issues are being discussed through their art works? How are the stories they tell different from the traditional artists? How does it differ from what the history books might tell? What does their work say about propaganda in art? C. Discuss propaganda in the mass media. Look for conflicting opinions on the same topic in newspapers, magazines and the internet. Students may want to ask themselves some of the following questions: Can you recognize a particular bias in the media? What methods do the media producers use to promote their points? How does an image on the cover of the newspaper tell a story? Is it necessarily the correct story? How can you be sure that what you are reading is, in fact, correct? Why would some writers not tell the whole truth or embellish the truth? Foundational Objectives # 1, 2, 3, 4, 6

20 20 Additional Activities 1. Art History - Research a movement from the history of art, such as, Impressionism or Surrealism. Determine some of the social and political events that influenced the artists and their works. Students may use the internet, books, and videos as sources of information. 2. Canadian Art History - Conduct research on Saskatchewan or Canadian artists. How does the work that they produce relate to the culture and times in which the work was created? Were the artists influenced by the art scene of the day and /or their training and experience? 3. Web Design - Design a Web page for a local artist. 4. Web Design -Visit the web sites of a number of artists. Determine the sites that are the most and least appealing and analyze why. Teachers and students may want to refer to the Formal Elements and the Principles of Design (See Appendix). 5. Visual art and Technology - View contemporary videos such as Toy Story, Harry Potter, Lord of the Rings, etc. and discuss the use of technology in producing the effects. View film works from the past such as Alfred Hitchcock s The Birds or Charlie Chaplin s Modern Times compare the effects used then to those we watch today. As consumers are we becoming more sophisticated in the images we expect to see? How has technology changed peoples view of the world from then to now? 6. Photojournalism - Students will examine print media (magazines, books, newspapers, etc) for examples of photos that vividly tell a story or describe an event. The students would be encouraged to write a story about the work they select. This could be a creative writing assignment where the students either explain the event depicted in the image or write a biography of the person in the image based on how the students interpreted the picture. Students could then compare their story to the real story. What are the comparisons? Students may want to discuss bias in the media and how the images can carry strong messages.

21 21 Careers in Visual Art For more extensive information on careers in art and schools for studying specific occupations see Careers in Art, An Illustrated Guide by Brommer and Gatto. Visual Artist -creates original works in a variety of media. Can include media based careers such as a painter, sculptor, printmaker, photographer, etc. Artist Support Individuals who supply artists with materials and services Art Supply Dealer sells materials to artists such as paint, glue, clay, glazes, etc. Framer cuts mats and frames art work for display in a home or art gallery. Galleries In running an art gallery many individuals are involved in marketing, documenting and preserving the art work as well as educating the public about the work displayed. Careers in the following jobs are related to the running of art galleries. Art/Craft Dealer exhibits art work for artists and sells the works. Most dealers keep 40 60% of the selling price of the art work. Art Museum Director sees to the overall running and managing of a public gallery or museum. Gallery Assistant works with the director to assist with the overall running of the gallery. Curator works independently or for an art gallery to create ideas for exhibitions. A curator requires organizational skills, a strong background in art and the ability to research and write. Art Researcher- researches information about art and art history that will assist the curator. Installation Officer or Prepator maintains the gallery space by preparing the walls for the exhibition installing the work and taking down the work when the show is finished. Conservator insures the art works are safely preserved in the gallery setting and repairs any damaged works. Collections Manager documents work and maintains a record of all the works in the galleries collection. Education Co-coordinator prepares educational programming in an art gallery to provide the public with information about the exhibitions. Tour Guide or Docent delivers the educational programs in an art gallery. Art Critic writes about art works based on extensive knowledge and experience with art and art history Art Historian researches and writes about art and may teach Art History at a university or college. Graphic Design Designers working in print are expected to create new and dynamic images that have appeal to the market and will sell products. Careers in graphic design can be based in journalism, book publishing, advertising, television, and product packaging. Graphic Designer works with a client to produce a visual image that will be used by the client to advertise, display, package, etc.

22 22 Package designer - designs exciting and attractive packaging to encourage consumer purchasing of their product. Editorial Illustrator designs images to convey a visual message in advertising, books, etc. Technical Illustrator draws simplified images of complex technologies or objects so individuals can understand how the product works or is put together. Instruction manuals often contain examples of their work. Photographer photographs images for news stories, the images on packaging, advertisement for products, etc. Careers may include photojournalism, fashion photographer and food or product photographer. Cartoonist/comic-strip artist draws images to accompany text to create a humorous reaction. Comic-strip artists often entertain while editorial cartoonists draw attention to political news and events. Book Designer designs the images to be used to decorate the cover and the text of a book. Magazine designer designs the layout and cover design for magazines. Entertainment Design The arts and entertainment are joined to produce many of the forms we like to use to fill our free time and relax. Film Producer works with a client to determine the nature of the endeavor and insures that production proceeds according to schedule and plan Art Director - works to insure that the overall look of the film is appropriate to the place and time period. This includes props, set design, costuming, scenic painting and locations. Cinematographer - works with the crew of the film to choose the settings, lighting, angles, etc. that help to reinforce the mood or intent of the film Special Effects Artist - combines the images from the film with digital multimedia art to produce fantastic effects. Game Designer uses computer software, drawing skills and an understanding of three-dimensional space to design creative interactive games for electronic entertainment. Multimedia Graphic Artist use the computer to alter images and create special effects for film and video projects. Manufacturing companies make use of this digital technology, as well. Technical Director understands the software and helps where necessary to develop the product. Animator draws a series of images that change from frame to frame to create the illusion of movement. Storyboard and layout artists do the initial planning and design. Computer Animator uses the computer and specific programs to create animation. Theatre and Stage Designer- designs scenes and sets for dramatic purposes. Scenic Painter paints sets according to the designer s concepts. Costume Designer- designs costumes for a stage production. Make-up Artist- uses a variety of techniques to change the appearance of the actors to resemble the particular character in a production. Industrial Design Many designers work to create the objects we use and see everyday. These objects can range from the implements we use in eating to the

23 23 clothes we wear and the furniture we purchase. These designers are aware of trends and supply the articles we need in the styles we appreciate. Product Designer - designs products that are affordable and useful for the buying public while producing a profit for the company producing the goods. Toy Designer - designs toys that must be safe and appealing to children. Ergonomist and Human-Factor Designer - works to insure that the products we use are best suited to our bodies and ways of movement. Product efficiency, safety and comfort are important to their products. Automotive Designer- designs the exterior and interior spaces for new automobiles. Fashion Designer - designs clothes for the fashion market. Fashion Illustrator - draws fashion trends in an attractive way to motivate the public to purchase the product. Environmental Designers design the buildings and spaces in and around buildings that we observe everywhere in our constructed environment. Architect - designs buildings that are constructed to meet the needs of the client while remaining aesthetically pleasing and functional. Urban Designer - plans the way the city will grow and change. Landscape Architect - designs the spaces outside of buildings to ensure that all drainage and plant material is appropriate and aesthetically pleasing. Interior Designer - designs the interior spaces of buildings by choosing colours, fabrics, styles, etc that are consistent with the client s vision. Exhibit and Display Designers - plans and develops effective product displays in department stores and fairs. Craft A craft is a hand made art work that can also be a functional object. Sometimes it is difficult to determine the difference between art and craft and in many cases they overlap. Crafts Person designs hand-made articles that are usually made for some use or purpose. There are many varied fields in the craft market. Some crafts are: Blacksmith, Bookbinder, Candle Maker, Ceramist, Glass Blower, Goldsmith/Silversmith, Leather Worker, Musical Instrument Maker, Potter, Quilter, Textile Designer, Weaver, Woodworker, etc Educators Educators teach the skills necessary to achieve success at all of the areas listed in this section on careers. Teachers - impart information on visual art to students so that they will be critical of what they are observing, able to understand the arts and art history in the context in which they were produced, as well as understand a variety of techniques and methods of producing and marketing art. Art teachers may work at a school, university, community centre or as self-employed instructors who gives private or group lessons. Special Services Art therapist uses art practices as a means of helping patients to deal with physical and emotional issues.

24 24 Education in Visual Art Many careers in visual art require specialized training and/or an educational background. These may be university or college programs that lead to degrees and diplomas or courses, workshops or apprenticeships that provide work experience. Knowledge and experience are necessary for success. Training in arts administration opens the doors to jobs such as a gallery administrator, art dealer, agent, and grants officer. Educators require arts education and teacher training. An art history degree is important training for gallery directors, curators, critics and professors. Knowledge of computers and specialized training can lead to jobs in graphic design, animation, web page design, game designer, etc. Jobs such as a creative director, framer, and supplies dealer require good organizational skills and technical skills as attained through an education. Other jobs require managerial and marketing skills and these include: crafts manufacturer, artists association director, gallery manager, and a crafts salesperson. If a student wants to learn more about a specific career in the arts there are a number of sources of information. The first step would be to talk to the student s teachers and guidance counselors to get an idea of the options available to him/her. Talking to artists and arts organizations in the community may give more information on the experiences and outcomes of particular courses that are offered. This may lead to research in the library and the internet. A number of addresses for national and provincial organizations in visual arts are listed in the appendix. A listing of educational facilities and opportunities is also available in the Saskatchewan Visual Arts Handbook available at CARFAC SASK. Another source of valuable learning can be attained through mentorships and apprentices. Self employed artists have an extensive amount of skills to master in order to find success and independence. Personal survival skills, business practices, technical information, resource management, marketing, etc., can effectively be transferred through informal relationships between experienced artists and less experienced artists. In Saskatchewan, there are a number or organizations such as CARFAC SASK, Saskatchewan Craft Council, and some public galleries that offer structured mentorship programs. Additionally, many artists have established their own self directed mentorship and apprentice relationships that have encouraged learning, independence, and survival in a challenging industry.