CONTENT AREA: ART EDUCATION GRADE/LEVEL: 9 12 COURSE TITLE: SCULPTURE II COURSE NUMBER: 50.4612002 COURSE LENGTH: SEMESTER COURSE DESCRIPTION: Sculpture II offers students in-depth study to the production of three-dimensional art making including additive, subtractive, casting and modeling processes while investigating a variety of media. Students are expected to make connections as they explore meaning, develop creative thinking skills, search for contextual understanding resulting in authentic assessment and reflection. PREREQUISITE(S): Sculpture I MASTER LIST: STANDARDS AND ELEMENTS MEANING and CREATIVE THINKING The student engages in the creative process, finds and solves problems, and pursues open-ended inquiry through the production of three-dimensional artworks. The student develops aesthetic understanding through the examination of his/her art and the artwork of others (National Standards 1 & 2). Description: The student develops creativity, critical-thinking, and problem solving skills. The student engages in aesthetic dialogue, making effort toward constructing meaning as he or she encounters and produces works of art based on sculpture approaches. VAHSSCMC.1 Engages in the creative process, imagines new ideas by using mental and visual imagery, and conceptualizes these ideas by using artistic language and contextual understandings and processes. a. Develops a personal artistic voice that gives unique form to these concepts. b. Identifies artistic voice in a range of contemporary and past artists. c. Reflects on emerging personal artistic preferences. d. Recognizes personal motivations and interests. e. Expresses personal viewpoint in written and visual form. f. Selects self-assessment standards. g. Identifies themes and interests. h. Explores preferred materials and working methods. VAHSSCMC.2 Finds and solves problems through open-ended inquiry, the consideration of multiple options, weighing consequences, and assessing results. a. Uses a sketchbook journal to research, explore, and invent artistic conventions to connect and express visual ideas. b. Generates multiple solutions to a single artistic problem and assesses merits of each. c. Analyzes, in both written and oral form, the implications of artistic decisions by the artist and personal reactions to sculpture. d. Solves artistic problems through discussion and interaction with peers. FULTON COUNTY BOARD OF EDUCATION Sculpture II 1 of 37
e. Supports peers though informal, on-going critique of idea development and work in-progress. f. Recognizes art making as a risk-taking process that incorporates existing knowledge, brainstorming, planning, discovery of unexpected connections and recognition of serendipity, and develops personal skills in these areas. VAHSSCMC.3 Cultivates critical thinking and logical argumentation in aesthetics. a. Interprets historical perceptions of artistic value as demonstrated through sculpture. b. Identifies the ideas and values that inform how past and present cultures define and use art. c. Explores ideas and values reflected in the way the student s current culture(s) define and use art. d. Reflects upon personal answers to aesthetic questions, such as: What is art? What are the roles of sculpture in today s world? e. Formulates and supports a position regarding the aesthetic value of a specific artwork and changes or defends that position after considering the views of others and/or additional research. VAHSSCMC.4 Analyzes the origins of one s own ideas in relation to community, culture, and the world. a. Compares and contrasts the influences on the bodies of works of a wide range of contemporary and past artists. b. Identifies values and practices in his or her community culture and world that inform his or her own art making. c. Reflects on how personal experience in community, culture, and world informs an artist s work. d. Identifies the values and contributions of diverse peers, cultures and communities. CONTEXTUAL UNDERSTANDING The student understands the sculpture in relation to history and culture (National Standard 4). Description: The student recognizes the impact of art on history and different cultures and how history and culture have influenced form and function of sculpture The student plans for and participates in a variety of activities that promote personal engagement in the study of art history and culture. VAHSSCCU.1 Articulates ideas and universal themes from diverse cultures of the past and present. a. Traces major periods of art through sculpture and identifies how artists of each period were influenced by society. b. Identifies universal themes that appear in sculpture throughout time and discusses how those themes connect to the human condition. c. Identifies how the issues of time, place, and culture are reflected in selected art works. d. Analyzes the relationship of decorative and functional qualities in sculptures from diverse cultures. e. Discusses and experiences the way in which knowledge of the original context of sculpture affects one s appreciation and personal connection with the work. f. Expresses in written oral form sculptures role as a visual record keeper (primary source) of cultural, political, scientific, and religious history. VAHSSCCU.2 Demonstrates an understanding of how art history impacts the creative process of art making. connection a. Recognizes, compares, and contrasts sculptures, artists, and sculptural styles from varied FULTON COUNTY BOARD OF EDUCATION Sculpture II 2 of 37
cultures and eras. b. Demonstrates an understanding of art history and investigates how it shapes contemporary life. c. Creates art work that explores ideas, issues, and events from current and past cultures. d. Relates own sculptures to works by master artists. PRODUCTION The student creates artworks by applying media, techniques, and processes to formulate and express his or her ideas and conceptual understandings (National Standard 1). Description: Experiencing the role of the artist, the student applies media, techniques, and processes with sufficient skill, confidence, and sensitivity to carry out personal intentions in sculpture. Through experience in a range of three-dimensional processes, use of a variety of materials, and development of a repertoire of techniques, the student understands the relationship of process, material, and technique to communication of ideas. Techniques should include, but are not limited to, additive, subtractive, modeling, relief, and in-the-round using a variety of media. VAHSSCPR.1 Incorporates elements and principles of design to solve specific three-dimensional art problems, to create unified compositions, and to communicate meaning, culminating in a finished work of art. a. Uses thumbnail sketches, viewfinder drawings and visual/verbal notes to develop concept, composition, and plans for sculpture. b. Develops a maquette, making aesthetic choices in material, composition, and surface in preparation for a final sculpture. c. Discusses and applies principles of design to organize elements to communicate meaning and unify composition, includes concepts, such as interaction of positive and negative space, actual and implied weight, paths of movement, non-centered focal point, dominance and subordination of design elements, variety within repetition, closed and open form, and impact of mass on meaning. d. Plans sculpture for specific sites and demonstrates an understanding of interaction between the environment and the work. e. Applies compositional principles to create successful representational and non-objective art work. VAHSSCPR.2 Engages in an array of sculpture processes, techniques, and aesthetic stances. a. Uses contour, gesture, and value in drawing for various purposes: to portray animate/inanimate subjects, show mass and movement, create spontaneous sketches, record ideas, and plan sculptures. b. Creates sculpture to serve a specific function, such as expressive, utilitarian, and social. c. Applies aesthetic approaches, such as formalism, emotionalism, and realism, to the creation of sculpture from direct observation. d. Creates sculpture from various traditional and contemporary media (e.g., clay, metal, stone, plaster, glass, fiber, video) e. Uses and demonstrates knowledge of traditional and contemporary methods for building sculpture such as additive, subtractive, modeling, casting, and assemblage. f. Incorporates a variety of techniques in surface quality and texture derived from a variety of sources (e.g., drawing techniques, nature, tool marks, inclusions). g. Selects sculpture media, techniques and surfaces to evoke specific effect, mood, or concept. h. Reinterprets perspective approaches from two-dimensional media to three-dimensional relief FULTON COUNTY BOARD OF EDUCATION Sculpture II 3 of 37
sculpture (e.g., aerial, one-point, two-point, relative scale, overlapping) to create a variety of spatial effects from flat and shallow to deep space. i. Uses visual sighting approaches and knowledge of proportion, scale, volume, weight, and physics to observe and accurately record a sculptural subject. j. Manipulates a variety of observation tools to adjust or distort proportion, scale, volume, weight, and physics (e.g., vertical or horizontal elongation or foreshortening; change in sizerelationship; rearrangement of parts to the whole) in the development of an abstract approach to sculpture. VAHSSCPR.3 Develops complex artwork using a variety of media and technology. a. Experiments with a variety of three-dimensional media exploring traditional and contemporary artists views. b. Develops beginning level mastery of traditional media including, but not limited to clay, fibers, glass, metals and plaster. c. Explores traditional and mixed-media through contemporary artistic perspectives (e.g., digital media, video/performance, installation, and environmental art). d. Practices studio safety and correct care in the operation of tools and equipment. e. Adds preparatory drawings and digital images of sculpture studies developed in this course to portfolio begun in level one art. VAHSSCPR.4 Keeps a visual/verbal sketchbook journal, consistently throughout the course, to collect, develop, and preserve ideas in order to produce works of art around themes of personal meaning. a. Self assesses and writes reflections on work, aesthetic ideas, idea generation, and skills progress. b. Analyzes and critiques works of art personal, peers, and professional. c. Makes visual /verbal connections. d. Practices direct observation and reactions in words, images, and symbols. e. Records artistic research. f. Collects, develops, and preserves personal ideas and thoughts. g. Records inspirational images, words, thoughts, and ideas. h. Maintains notes and class information. i. Plans artwork. j. Practices technique. k. Experiments with media and technique - uses as a process journal. l. Identifies emerging personal, artistic voice. VAHSSCPR5 Plans and presents appropriate exhibit of own artwork. a. Exhibits artwork with a written supporting statement that communicates purpose and/or intent. b. Prepares own artwork to be exhibited in the classroom and school community. ASSESSMENT AND REFLECTION The student critiques sculptural works, reflecting upon and assessing the characteristics and merits of his or her work and the artwork of others (National Standard 5). Description: The student describes and assesses the materials, techniques, and processes used to complete a finished sculpture. He or she demonstrates the ability to reflect upon and interpret his or her FULTON COUNTY BOARD OF EDUCATION Sculpture II 4 of 37
work and the work of others, expressing personal viewpoint, and constructive criticism. VAHSSCAR1 Produces written and oral critiques of own sculptural artwork. a. Reflects on the artistic process (through journal-keeping and dialogic thought). b. Self evaluates personal work from multiple positions high standards of craftsmanship and skill mastery, achievement of intent of the work, communication of meaning, technical aspects, personal response to the artistic problem, and personal best in work process. c. Reviews portfolio to identify growth over time, mastery of skills and techniques, strongest works and what makes them strong, areas needing improvement, effective communication of thought and idea, generation of new ideas from existing body of work, evidence of risk-taking, problem-solving, and emergence of artistic voice. VAHSSCAR.2 Critiques sculptures of others individually and in group settings. a. Provides respectful and constructive criticism to peers in formal class critiques. b. Provides informal feedback to peers on work in process as part of a community of learners. c. Analyzes specific strengths and weaknesses of art works based on the ways technique and composition are used to convey meaning. d. Revises artwork based on input from the critique process. VAHSSCAR.3 Develops multiple strategies for responding to and reflecting on artworks. a. Employs specific art vocabulary, accurately and routinely, to critique sculpture in discussion and writing. b. Identifies and employs diverse criteria for evaluating artistic merit. c. Discusses the connection between sculptor s intent and viewer s interpretation and how active participation by the viewer creates a personal connection with the artwork. d. Interprets and evaluates artworks through thoughtful discussion and speculation about the mood, theme, processes, and intentions of those who created the works. e. Uses a range of art criticism approaches, such as Visual Thinking Skills and Feldman s Art Criticism process, to understand and make a personal connection to sculptural works of art. f. Uses a variety of approaches, in his or her visual journal, to explore and find personal connections to artworks. CONNECTIONS Students make connections to other disciplines and the world around them through the study of sculpture (National Standard 6). Description: The student makes connections from the world of art to other areas of learning and personal endeavor. He or she derives inspiration from varied areas of knowledge and life experiences. Through the study and production of sculpture, the student develops visual and verbal literacy and life/work skills including appropriate use and development of technology. VAHSSCC.1 Applies information from other disciplines to enhance the understanding and production of sculptural art forms. a. Uses inspiration from other disciplines to influence idea development in sculpture. b. Identifies specific knowledge and skills from other disciplines that inform the planning and execution of sculpture (chemistry, physics, and history). c. Understands how knowledge of the artifacts of sculpture enriches and enhances the study of FULTON COUNTY BOARD OF EDUCATION Sculpture II 5 of 37
history. d. Makes interdisciplinary connections, applying art skills, knowledge, and habits of mind to improve understanding in other disciplines. e. Develops the ability to integrate visual and verbal skills to communicate clearly and eloquently. VAHSSCC.2 Develops 21st century life and work skills and habits of mind for success through the study and production of art. a. Manages goals and time. b. Directs own learning. c. Guides and leads others. d. Works in diverse teams. e. Adapts to change. f. Uses current technology as a tool. g. Recognizes that sculpture uses a problem-solving process that translates to real-life skills: idea generation, elaborating and refining idea, execution of idea, interim evaluation, refining product until goal is reached, and evaluation of final solution. VAHSSCC.3 Utilizes a variety of resources to see how artistic learning extends beyond the walls of the classroom. a. Accesses resources, such as museums, Internet, visiting artists, galleries, community arts organizations, and visual culture to research art in the world. b. Identifies various art related careers and post-secondary options. c. Draws inspiration for artwork from the world and resources outside the traditional classroom. FULTON COUNTY BOARD OF EDUCATION Sculpture II 6 of 37
Sculpture II UNIT 1: Assemblage as an Additive Process in 3-D Design PACING: 3-4 weeks 1. STANDARDS AND ELEMENTS: MEANING and CREATIVE THINKING VAHSSCMC.1 Engages in the creative process, imagines new ideas by using mental and visual imagery, and conceptualizes these ideas by using artistic language and contextual understandings and processes. a. Develops a personal artistic voice that gives unique form to these concepts. c. Reflects on emerging personal artistic preferences. g. Identifies themes and interests. VAHSSCMC.2 Finds and solves problems through open-ended inquiry, the consideration of multiple options, weighing consequences, and assessing results. a. Uses a sketchbook journal to research, explore, and invent artistic conventions to connect and express visual ideas. a. Solves artistic problems through discussion and interaction with peers. VAHSSCMC.3 Cultivates critical thinking and logical argumentation in aesthetics. d. Reflects upon personal answers to aesthetic questions, such as: What is art? What are the roles of sculpture in today s world? b. Formulates and supports a position regarding the aesthetic value of a specific artwork and changes or defends that position after considering the views of others and/or additional research. VAHSSCMC.4 Analyzes the origins of one s own ideas in relation to community, culture, and the world. b. Identifies values and practices in his or her community culture and world that inform his or her own art making. c. Reflects on how personal experience in community, culture, and world informs an artist s work. CONTEXTUAL UNDERSTANDING VAHSSCCU.1 Articulates ideas and universal themes from diverse cultures of the past and present. a. Traces major periods of art through sculpture and identifies how artists of each period were influenced by society. d. Analyzes the relationship of decorative and functional qualities in sculptures from diverse cultures. VAHSSCCU.2 Demonstrates an understanding of how art history impacts the creative process of art making. FULTON COUNTY BOARD OF EDUCATION Sculpture II 7 of 37
a. Recognizes, compares, and contrasts sculptures, artists, and sculptural styles from varied cultures and eras. PRODUCTION VAHSSCPR.1 Incorporates elements and principles of design to solve specific three-dimensional art problems, to create unified compositions, and to communicate meaning, culminating in a finished work of art. a. Uses thumbnail sketches, viewfinder drawings and visual/verbal notes to develop concept, composition, and plans for sculpture. b. Develops a maquette, making aesthetic choices in material, composition, and surface in preparation for a final sculpture. c. Discusses and applies principles of design to organize elements to communicate meaning and unify composition, includes concepts, such as interaction of positive and negative space, actual and implied weight, paths of movement, non-centered focal point, dominance and subordination of design elements, variety within repetition, closed and open form, and impact of mass on meaning. d. Plans sculpture for specific sites and demonstrates an understanding of interaction between the environment and the work. e. Applies compositional principles to create successful representational and non-objective art work. VAHSSCPR.2 Engages in an array of sculpture processes, techniques, and aesthetic stances. a. Uses contour, gesture, and value in drawing for various purposes: to portray animate/inanimate subjects, show mass and movement, create spontaneous sketches, record ideas, and plan sculptures. b. Creates sculpture to serve a specific function, such as expressive, utilitarian, and social. h. Reinterprets perspective approaches from two-dimensional media to three-dimensional relief sculpture (e.g., aerial, one-point, two-point, relative scale, overlapping) to create a variety of spatial effects from flat and shallow to deep space. i. Uses visual sighting approaches and knowledge of proportion, scale, volume, weight, and physics to observe and accurately record a sculptural subject. VAHSSCPR.3 Develops complex artwork using a variety of media and technology. a. Experiments with a variety of three-dimensional media exploring traditional and contemporary artists views. d. Practices studio safety and correct care in the operation of tools and equipment. VAHSSCPR.4 Keeps a visual/verbal sketchbook journal, consistently throughout the course, to collect, develop, and preserve ideas in order to produce works of art around themes of personal meaning. a. Self assesses and writes reflections on work, aesthetic ideas, idea generation, and skills progress. c. Makes visual /verbal connections. e. Records artistic research. l. Identifies emerging personal, artistic voice. VAHSSCPR5 Plans and presents appropriate exhibit of own artwork. b. Prepares own artwork to be exhibited in the classroom and school community. FULTON COUNTY BOARD OF EDUCATION Sculpture II 8 of 37
ASSESSMENT AND REFLECTION VAHSSCAR1 Produces written and oral critiques of own sculptural artwork. a. Reflects on the artistic process (through journal-keeping and dialogic thought). b. Self evaluates personal work from multiple positions high standards of craftsmanship and skill mastery, achievement of intent of the work, communication of meaning, technical aspects, personal response to the artistic problem, and personal best in work process. VAHSSCAR.2 Critiques sculptures of others individually and in group settings. b. Provides informal feedback to peers on work in process as part of a community of learners. d. Revises artwork based on input from the critique process. VAHSSCAR.3 Develops multiple strategies for responding to and reflecting on artworks. b. Identifies and employs diverse criteria for evaluating artistic merit. e. Uses a range of art criticism approaches, such as Visual Thinking Skills and Feldman s Art Criticism process, to understand and make a personal connection to sculptural works of art. CONNECTIONS VAHSSCC.1 Applies information from other disciplines to enhance the understanding and production of sculptural art forms. c. Understands how knowledge of the artifacts of sculpture enriches and enhances the study of history. d. Makes interdisciplinary connections, applying art skills, knowledge, and habits of mind to improve understanding in other disciplines. VAHSSCC.2 Develops 21st century life and work skills and habits of mind for success through the study and production of art. f. Uses current technology as a tool. VAHSSCC.3 Utilizes a variety of resources to see how artistic learning extends beyond the walls of the classroom. c. Draws inspiration for artwork from the world and resources outside the traditional classroom. UNIT RESOURCES: Text: Beginning Sculpture, Williams Chapter 6: Construction and Assemblage, pg. 121 Power Points: Refer to Fulton County Art Department Website Female Sculptors Claes Oldenberg and Coosje Van Bruggen Louise Nevelson Betye Saar Marisol Escobar Alexander Calder Robert Rauschenberg FULTON COUNTY BOARD OF EDUCATION Sculpture II 9 of 37
Suggested Books: Art Talk (Reproductions representing a range of art styles and approaches to assemblage in sculpture) Principles of Three Dimensional Design, Objects, Space, and Meaning, Luecking ISBN 0-13- 095975-8 Sculpture: Technique, Form, Content, Williams Shaping Space, Zelanski/Fisher Horses: The Art of Deborah Butterfield. ISBN- 0-8118-0138-1. Websites, all current as of March 2010: www.google.com/top/arts/visual_arts/sculpture/sculptors/ www.louisenevelsonfoundation.org www.understandingduchamp.com www.calder.org Suggested Videos/DVD s: 3-D Wizardry, George Wolf, ISBN-10: 0871922940 Claes Oldenberg. ISBN-0-7800-1919-9. Women Artists, Double Diamond Press Dale Chihuly: Glassmaster Chihuly Sort Cuts Junk Sculpture, Peggy Flores Paper Power Five Basic Paper Forms, Gary Benna Other: Scholastic Art Magazine. Claes Oldenberg, Deborah Butterfield. Take 5 Art Prints, Collage and Assemblage SUGGESTED INSTRUCTIONAL STRATEGIES: Suggested Essential Question: How does assemblage and the additive process of construction help you express your own personal ideas in creating a 3-Dimensional form? Suggested Unit Focus Questions: How does knowing about historical and contemporary sculptors help you create your own 3- dimensional pieces? How can you use sculpture to express your own ideas? Who decides what good sculpture is and how can that opinion be proven? Can you find your own culture and personal experiences in the sculpture of other cultures and time? How do you use the Elements of Art and the Principles of Design as a visual language in sculpture? How do you express meaning through sculpture? What processes do you follow in order to create a quality sculpture? How does your visual verbal journal promote new concepts and open up your creativity? FULTON COUNTY BOARD OF EDUCATION Sculpture II 10 of 37
How does the presentation of your own 3-dimensional artwork impact the overall presentation of the piece? How do you formally talk about your sculpture the sculpture of others? What can you learn from a critique of your own artwork and from critiquing other students works? What process do you use to correctly critique a sculptural piece? Where can you find inspiration for your own sculpture outside of the art class? What sculptural design skills used in this class can be applied to your other classes? How can you use your sculpture skills to create other types of artwork how can you use these beyond the art class? Suggested Artists References and Historical Correlations: Review Sample Lesson Plan-Integrating Art History by Lori Phillips-Fulton County Art Department Website Historical Periods/Movements: Constructivism Dadaism Surrealism Post War-20 th Century Modern Art Historical Artists: Claes Oldenberg Louise Nevelson Marcel Duchamp Alberto Giacometti Contemporary Artists: Betye Saar Marisol Escobar Joseph Cornell David Smith Robert Rauschenberg Deborah Butterfield Ewa Pachucka Jackie Winsor Les Kossatz Suggested Visual and Verbal Journal Prompts and Activities Develop a guided Internet search for students to explore work of contemporary sculptors. Identify a favorite sculptor and develop a journal page on the artist. Create journal pages on Louise Nevelson, Betye Saar, Joseph Cornell, or Marisol Escobar or other artists who work in similar styles Draw 5 found objects and arrange them into a creature Do a free-form contour drawing of a non-objective shape, collage over it using multiple colored paper and magazine images. Add shading to create subtle depth. Research and sketch the basic likeness of a famous realistic sculpture. Collage over it using multiple colored paper and magazine images. Add shading to create subtle depth. Research a medium and its characteristics, explain why it might be a good material for an additive sculpture Examine a correlating art movement and list characteristics that apply to the additive process of sculptural construction FULTON COUNTY BOARD OF EDUCATION Sculpture II 11 of 37
Investigate an artist that uses the additive process of sculptural construction, analyze their method and use of elements and principles in their compositional structure Suggested Activities, Assignments and Projects: Discuss when and why artists use realistic observation, and when and why they use abstract approaches (Formalism, Realism, Expressionism); view famous sculptures from each approach PowerPoint lesson of contemporary, female sculptors using the additive process to show breadth of the genre Discuss environmental, kinetic, realistic, abstract, and non-representational sculpture while viewing related works Discuss why an artist would create sculpture based on direct observation of an everyday object. Focus students toward work that connects the imagery, meaning and/or symbolism of the additive components to the overall intent of the finished piece Create additive assemblage (Louise Nevelson, Betye Saar, Joseph Cornell, or Marisol Escobar) Create additive assemblages that focus on any of the following: abstraction, non-objective, direct observation Create an assemblage based on spiritual connotations. Use historical cultural references. Additive sculpture using: - Found objects - Paper - Multiples of the same object and/or motif - Wood scraps - Wire - Cardboard - Junk/scrap materials - All natural objects Reference artists who use of the additive process that can apply to the materials listed above FULTON COUNTY BOARD OF EDUCATION Sculpture II 12 of 37
Sculpture II UNIT 2: The Subtractive Process in Realistic and Abstract 3-Dimensional Design PACING: 3-4 weeks STANDARDS AND ELEMENTS: MEANING and CREATIVE THINKING VAHSSCMC.1 Engages in the creative process, imagines new ideas by using mental and visual imagery, and conceptualizes these ideas by using artistic language and contextual understandings and processes. a. Develops a personal artistic voice that gives unique form to these concepts. b. Identifies artistic voice in a range of contemporary and past artists. c. Reflects on emerging personal artistic preferences. d. Recognizes personal motivations and interests. e. Expresses personal viewpoint in written and visual form. f. Selects self-assessment standards. h. Explores preferred materials and working methods. VAHSSCMC.2 Finds and solves problems through open-ended inquiry, the consideration of multiple options, weighing consequences, and assessing results. a. Uses a sketchbook journal to research, explore, and invent artistic conventions to connect and express visual ideas. b. Generates multiple solutions to a single artistic problem and assesses merits of each. f. Recognizes art making as a risk-taking process that incorporates existing knowledge, brainstorming, planning, discovery of unexpected connections and recognition of serendipity, and develops personal skills in these areas. VAHSSCMC.3 Cultivates critical thinking and logical argumentation in aesthetics. a. Interprets historical perceptions of artistic value as demonstrated through sculpture. d. Reflects upon personal answers to aesthetic questions, such as: What is art? What are the roles of sculpture in today s world? e. Formulates and supports a position regarding the aesthetic value of a specific artwork and changes or defends that position after considering the views of others and/or additional research. VAHSSCMC.4 Analyzes the origins of one s own ideas in relation to community, culture, and the world. a. Compares and contrasts the influences on the bodies of works of a wide range of contemporary and past artists. b. Identifies values and practices in his or her community culture and world that inform his or her own art making. FULTON COUNTY BOARD OF EDUCATION Sculpture II 13 of 37
CONTEXTUAL UNDERSTANDING VAHSSCCU.2 Demonstrates an understanding of how art history impacts the creative process of art making. a. Recognizes, compares, and contrasts sculptures, artists, and sculptural styles from varied cultures and eras. c. Creates art work that explores ideas, issues, and events from current and past cultures. d. Relates own sculptures to works by master artists. PRODUCTION VAHSSCPR.1 Incorporates elements and principles of design to solve specific three-dimensional art problems, to create unified compositions, and to communicate meaning, culminating in a finished work of art. b. Develops a maquette, making aesthetic choices in material, composition, and surface in preparation for a final sculpture. c. Discusses and applies principles of design to organize elements to communicate meaning and unify composition, includes concepts, such as interaction of positive and negative space, actual and implied weight, paths of movement, non-centered focal point, dominance and subordination of design elements, variety within repetition, closed and open form, and impact of mass on meaning. e. Applies compositional principles to create successful representational and non-objective art work. VAHSSCPR.2 Engages in an array of sculpture processes, techniques, and aesthetic stances. a. Uses contour, gesture, and value in drawing for various purposes: to portray animate/inanimate subjects, show mass and movement, create spontaneous sketches, record ideas, and plan sculptures. b. Creates sculpture to serve a specific function, such as expressive, utilitarian, and social. e. Uses and demonstrates knowledge of traditional and contemporary methods for building sculpture such as additive, subtractive, modeling, casting, and assemblage. f. Incorporates a variety of techniques in surface quality and texture derived from a variety of sources (e.g., drawing techniques, nature, tool marks, inclusions). g. Selects sculpture media, techniques and surfaces to evoke specific effect, mood, or concept. i. Uses visual sighting approaches and knowledge of proportion, scale, volume, weight, and physics to observe and accurately record a sculptural subject. j. Manipulates a variety of observation tools to adjust or distort proportion, scale, volume, weight, and physics (e.g., vertical or horizontal elongation or foreshortening; change in sizerelationship; rearrangement of parts to the whole) in the development of an abstract approach to sculpture. VAHSSCPR.3 Develops complex artwork using a variety of media and technology. a. Experiments with a variety of three-dimensional media exploring traditional and contemporary artists views. d. Practices studio safety and correct care in the operation of tools and equipment. e. Adds preparatory drawings and digital images of sculpture studies developed in this course to portfolio begun in level one art. FULTON COUNTY BOARD OF EDUCATION Sculpture II 14 of 37
VAHSSCPR.4 Keeps a visual/verbal sketchbook journal, consistently throughout the course, to collect, develop, and preserve ideas in order to produce works of art around themes of personal meaning. a. Self assesses and writes reflections on work, aesthetic ideas, idea generation, and skills progress. b. Analyzes and critiques works of art personal, peers, and professional. d. Practices direct observation and reactions in words, images, and symbols. g. Records inspirational images, words, thoughts, and ideas. j. Practices technique. k. Experiments with media and technique - uses as a process journal. l. Identifies emerging personal, artistic voice. VAHSSCPR5 Plans and presents appropriate exhibit of own artwork. a. Exhibits artwork with a written supporting statement that communicates purpose and/or intent. b. Prepares own artwork to be exhibited in the classroom and school community. ASSESSMENT AND REFLECTION VAHSSCAR1 Produces written and oral critiques of own sculptural artwork. a. Reflects on the artistic process (through journal-keeping and dialogic thought). b. Self evaluates personal work from multiple positions high standards of craftsmanship and skill mastery, achievement of intent of the work, communication of meaning, technical aspects, personal response to the artistic problem, and personal best in work process. c. Reviews portfolio to identify growth over time, mastery of skills and techniques, strongest works and what makes them strong, areas needing improvement, effective communication of thought and idea, generation of new ideas from existing body of work, evidence of risk-taking, problem-solving, and emergence of artistic voice. VAHSSCAR.2 Critiques sculptures of others individually and in group settings. c. Analyzes specific strengths and weaknesses of art works based on the ways technique and composition are used to convey meaning. d. Revises artwork based on input from the critique process. VAHSSCAR.3 Develops multiple strategies for responding to and reflecting on artworks. c. Discusses the connection between sculptor s intent and viewer s interpretation and how active participation by the viewer creates a personal connection with the artwork. d. Interprets and evaluates artworks through thoughtful discussion and speculation about the mood, theme, processes, and intentions of those who created the works. f. Uses a variety of approaches, in his or her visual journal, to explore and find personal connections to artworks. CONNECTIONS VAHSSCC.1 Applies information from other disciplines to enhance the understanding and production of sculptural art forms. c. Understands how knowledge of the artifacts of sculpture enriches and enhances the study of history. d. Makes interdisciplinary connections, applying art skills, knowledge, and habits of mind to improve understanding in other disciplines. FULTON COUNTY BOARD OF EDUCATION Sculpture II 15 of 37
e. Develops the ability to integrate visual and verbal skills to communicate clearly and eloquently. VAHSSCC.2 Develops 21st century life and work skills and habits of mind for success through the study and production of art. a. Manages goals and time. b. Directs own learning. c. Guides and leads others. d. Works in diverse teams. g. Recognizes that sculpture uses a problem-solving process that translates to real-life skills: idea generation, elaborating and refining idea, execution of idea, interim evaluation, refining product until goal is reached, and evaluation of final solution. VAHSSCC.3 Utilizes a variety of resources to see how artistic learning extends beyond the walls of the classroom. a. Accesses resources, such as museums, Internet, visiting artists, galleries, community arts organizations, and visual culture to research art in the world. c. Draws inspiration for artwork from the world and resources outside the traditional classroom. UNIT RESOURCES: Text: Beginning Sculpture, Williams Chapter 3: Carving, pg. 104 Power Points: Refer to Fulton County Art Department Website Henry Moore Michelangelo Donatello Bernini Suggested Books: Art Talk (Reproductions of subtractive sculpture, representing a range of art styles/ approaches) Principles of Three Dimensional Design, Objects, Space, and Meaning, Luecking ISBN 0-13-095975-8 Sculpture: Technique, Form, Content, Williams Shaping Space, Zelanski/Fisher Creating Soapstone. ISBN- 1-887374-13-2 Living Materials. ISBN- 052006452-6 The Encyclopedia of Wood Working. ISBN- 0-681-78109-2 Sculpture Principles and Practice. ISBN 0-486-22960-2 Sculpture in Stone. ISBN 0-7641-5424-9 Websites, all current as of March 2010: www.google.com/top/arts/visual_arts/sculpture/sculptors/ www.nuuchi.org FULTON COUNTY BOARD OF EDUCATION Sculpture II 16 of 37
www.henrymoore.com www.tate.org www.tedsilverman.com Suggested Videos/DVD s: The Carved Person, Gary Benna Elizabeth Catlett: Sculpting the Truth Other: Scholastic Art Magazine. SUGGESTED INSTRUCTIONAL STRATEGIES: Suggested Essential Question: How does the subtractive process of construction help you express your own personal ideas in creating a realistic 3-Dimensional form an abstract 3-Dimensional form? Suggested Unit Focus Questions: How does knowing about historical and contemporary sculptors help you create your own 3-dimensional pieces? How can you use sculpture to express your own ideas? Who decides what good sculpture is and how can that opinion be proven? Can you find your own culture and personal experiences in the sculpture of other cultures and time? How do you use the Elements of Art and the Principles of Design as a visual language in sculpture? How do you express meaning through sculpture? What processes do you follow in order to create a quality sculpture? How does your visual verbal journal promote new concepts and open up your creativity? How does the presentation of your own 3-dimensional artwork impact the overall presentation of the piece? How do you formally talk about your sculpture the sculpture of others? What can you learn from a critique of your own artwork and from critiquing other students works? What process do you use to correctly critique a sculptural piece? Where can you find inspiration for your own sculpture outside of the art class? What sculptural design skills used in this class can be applied to your other classes? How can you use your sculpture skills to create other types of artwork how can you use these beyond the art class? Suggested Artists References and Historical Correlations: Review Sample Lesson Plan-Integrating Art History by Lori Phillips-FCBOE Art Website Historical Periods/Movements: Renaissance Baroque Early African Art Egyptian Art FULTON COUNTY BOARD OF EDUCATION Sculpture II 17 of 37
20 th Century Sculpture Oaxacan Art of Mexico Historical Artists: Michelangelo Donatello Bernini Henry Moore Contemporary Artists: Louise Bourgeois Isamu Noguchi Barbara Hepworth Ted Silverman Suggested Visual and Verbal Journal Prompts and Activities Develop a guided Internet search for students to explore work of additional sculptors. Identify a favorite sculptor and develop a journal page on the artist Research Henri Moore s subway drawings of WW II. Use charcoal to draw your own figures based on your own observations Research a medium and its characteristics, explain why it might be a good material for a subtractive sculpture Chose an object and draw it from 3 different angles. Draw a 3-D cube from 4 different positions. Select an object and show how it would fit into the cube from 4 different points of view - front, back, top and side. Research Realism, Abstraction and Non-objective sculpture. Select an animal and draw it as realistic as possible, follow it up with 3 more drawings, continually simplifying to reduce it down to its basic form. Draw a friend in some kind of reclining or sitting position. Simplify their basic form from 3 different angles Assess the pros and cons between the additive and the subtractive processes of sculptural construction Examine a correlating art movement and list characteristics that apply to the subtractive process of sculptural construction Investigate an artist that uses the subtractive process of sculptural construction, analyze their method and use of elements and principles in their compositional structure Suggested Activities, Assignments and Projects: As a class, compare and contrast the subtractive sculpture of Louise Bourgeois and Isamu Noguchi; Michelangelo and Henry Moore. Students discuss and research sculptural techniques used in commercial fields (e.g. clay models are used in the design of new car, forensics and archeology reconstruct the appearance of modern and pre-historic people. Discuss changes in sculpture that occurred with the invention of modern materials. Trace the development of Renaissance art through the sculptures of Donatello, Michelangelo, and Bernini. Study the sculptures of Henry Moore, who used figures of citizens seeking shelter from the bombs in the London subways during World War II as subjects of his artwork. FULTON COUNTY BOARD OF EDUCATION Sculpture II 18 of 37
Subtractive sculpture using: - Wood - Stone - Plaster - Soap - Aerated cement - Un-fired rick Considerations include: - Accurate measurements - Create a small model in clay maquette to be used with sketches as reference for the final sculpture. - Work general to specific - Design emphasis: surface quality (texture), interior negative space - Rough out general shape with flat chisel or band saw - Craftsmanship of finished product - Proper, safe use of tools and materials. Refer to Fulton County Art Department Website-Teacher Resources FULTON COUNTY BOARD OF EDUCATION Sculpture II 19 of 37
Sculpture II UNIT 3: Modeling and the Human Form in 3-Dimensional Design PACING: 3-4 weeks STANDARDS AND ELEMENTS: MEANING and CREATIVE THINKING VAHSSCMC.1 Engages in the creative process, imagines new ideas by using mental and visual imagery, and conceptualizes these ideas by using artistic language and contextual understandings and processes. e. Expresses personal viewpoint in written and visual form. VAHSSCMC.2 Finds and solves problems through open-ended inquiry, the consideration of multiple options, weighing consequences, and assessing results. a. Uses a sketchbook journal to research, explore, and invent artistic conventions to connect and express visual ideas. b. Generates multiple solutions to a single artistic problem and assesses merits of each. d. Solves artistic problems through discussion and interaction with peers. VAHSSCMC.3 Cultivates critical thinking and logical argumentation in aesthetics. e. Formulates and supports a position regarding the aesthetic value of a specific artwork and changes or defends that position after considering the views of others and/or additional research. VAHSSCMC.4 Analyzes the origins of one s own ideas in relation to community, culture, and the world. a. Compares and contrasts the influences on the bodies of works of a wide range of contemporary and past artists. d. Identifies the values and contributions of diverse peers, cultures and communities. CONTEXTUAL UNDERSTANDING VAHSSCCU.1 Articulates ideas and universal themes from diverse cultures of the past and present. d. Analyzes the relationship of decorative and functional qualities in sculptures from diverse cultures. VAHSSCCU.2 Demonstrates an understanding of how art history impacts the creative process of art making. c. Creates art work that explores ideas, issues, and events from current and past cultures. PRODUCTION VAHSSCPR.1 Incorporates elements and principles of design to solve specific three-dimensional art problems, to create unified compositions, and to communicate meaning, culminating in a finished work of art. c. Discusses and applies principles of design to organize elements to communicate meaning and unify composition, includes concepts, such as interaction of positive and negative space, actual FULTON COUNTY BOARD OF EDUCATION Sculpture II 20 of 37
and implied weight, paths of movement, non-centered focal point, dominance and subordination of design elements, variety within repetition, closed and open form, and impact of mass on meaning. VAHSSCPR.2 Engages in an array of sculpture processes, techniques, and aesthetic stances. b. Creates sculpture to serve a specific function, such as expressive, utilitarian, and social. c. Applies aesthetic approaches, such as formalism, emotionalism, and realism, to the creation of sculpture from direct observation. e. Uses and demonstrates knowledge of traditional and contemporary methods for building sculpture such as additive, subtractive, modeling, casting, and assemblage. f. Incorporates a variety of techniques in surface quality and texture derived from a variety of sources (e.g., drawing techniques, nature, tool marks, inclusions). g. Selects sculpture media, techniques and surfaces to evoke specific effect, mood, or concept. i. Uses visual sighting approaches and knowledge of proportion, scale, volume, weight, and physics to observe and accurately record a sculptural subject. VAHSSCPR.3 Develops complex artwork using a variety of media and technology. b. Develops beginning level mastery of traditional media including, but not limited to clay, fibers, glass, metals and plaster. c. Explores traditional and mixed-media through contemporary artistic perspectives (e.g., digital media, video/performance, installation, and environmental art). VAHSSCPR.4 Keeps a visual/verbal sketchbook journal, consistently throughout the course, to collect, develop, and preserve ideas in order to produce works of art around themes of personal meaning. c. Makes visual /verbal connections. e. Records artistic research. g. Records inspirational images, words, thoughts, and ideas. VAHSSCPR5 Plans and presents appropriate exhibit of own artwork. b. Prepares own artwork to be exhibited in the classroom and school community. ASSESSMENT AND REFLECTION VAHSSCAR1 Produces written and oral critiques of own sculptural artwork. a. Reflects on the artistic process (through journal-keeping and dialogic thought). b. Self evaluates personal work from multiple positions high standards of craftsmanship and skill mastery, achievement of intent of the work, communication of meaning, technical aspects, personal response to the artistic problem, and personal best in work process. VAHSSCAR.2 Critiques sculptures of others individually and in group settings. a. Provides respectful and constructive criticism to peers in formal class critiques. VAHSSCAR.3 Develops multiple strategies for responding to and reflecting on artworks. a. Employs specific art vocabulary, accurately and routinely, to critique sculpture in discussion and writing. c. Uses a range of art criticism approaches, such as Visual Thinking Skills and Feldman s Art Criticism process, to understand and make a personal connection to sculptural works of art. FULTON COUNTY BOARD OF EDUCATION Sculpture II 21 of 37
CONNECTIONS VAHSSCC.1 Applies information from other disciplines to enhance the understanding and production of sculptural art forms. e. Develops the ability to integrate visual and verbal skills to communicate clearly and eloquently. VAHSSCC.2 Develops 21st century life and work skills and habits of mind for success through the study and production of art. a. Manages goals and time. f. Uses current technology as a tool. VAHSSCC.3 Utilizes a variety of resources to see how artistic learning extends beyond the walls of the classroom. b. Identifies various art related careers and post-secondary options. UNIT RESOURCES: Text: Beginning Sculpture, Williams Chapter 2: Modeling, pg. 27 Power Points: Refer to Fulton County Art Department Website Suggested Books: Art Talk (Reproductions representing a range of art styles and approaches in sculpture) Principles of Three Dimensional Design, Objects, Space, and Meaning, Luecking ISBN 0-13- 095975-8 Sculpture: Technique, Form, Content, Williams Shaping Space, Zelanski/Fisher Experience Clay, Mackey Making Ceramic Sculpture. ISBN- 1-57990-175-1 Sculptural Ceramics, Gregory Hand built Ceramics. ISBN-1-57990-184-0 Terracotta. ISBN 0-8230-4102-6 The Figure in Fired Clay, Blandino The Figure in Clay, Contemporary Sculpting Techniques by master Sculptors, Tourtillott 500 Figures in Clay, Ceramics Artists Celebrate the Human Form, Gunter The Human Form in Clay, Waller Websites, all current as of March 2010: www.google.com/top/arts/visual_arts/sculpture/sculptors/ www.rodinmuseum.org www.segalfoundation.org www.tonynatsoulas.com Suggested Videos/DVD s: FULTON COUNTY BOARD OF EDUCATION Sculpture II 22 of 37