Unit One Exploring Your Perception of Art Overview Unit Description: The objective of this unit is to expand students belief of what art is. The first lesson, Evidence students will collect discarded items to create installations that will change daily. The students will be exposed to the idea that found objects arranged in a meaningful way can be art. The students will also learn that something does not need to be permanent to be considered art. The second lesson, Graffiti Piece will ask students to consider street art on the same level as art found in a museum. The students will learn art can be found in a variety of locations. The third lesson, Observational Writing and Drawing will exposed students to the concept that art can even be found in their science textbooks. Students will learn that art can be found even in an unexpected location serving other functions. This unit will teach students there are many forms of art that challenges the formal traditional concept of art. Enduring Understandings: Cultures reveal much of what they are and what they value through what is consumed and discarded each day. Art can be a reflection of reality or a residue of living experiences. Art can be found in a variety of locations other than just the museum setting. Many artists, art critics, and art historians consider graffiti an art form. Artist can graphically communicate their own identity and message through images, words, messages, and writings. Scientific approach involves using careful observation, analysis, and careful thinking will help transform a drawing from information to detail. Conceptual inspiration will differ when prompted by different stimuli, language or objects. Essential Questions: What can you learn about a person or society through items that are consumed and discarded? What can art be? Where can you find art? How can Graffiti be considered an art? How can Graffiti be considered vandalism? What is observation? Why do artists use observation as a tool for their work? Would an artist be able to make a detailed drawing from only reading written description? What would make an artwork considered as scientific? 23
Massachusetts Frameworks: 1. Methods, Materials, and Techniques. Students will demonstrate knowledge of the methods, materials, and techniques unique to the visual arts. 1.9 Demonstrate the ability to create 2D and 3D works that show grades 9 12 knowledge of unique characteristics of particular media, materials, and tools. 1.10 Use electronic technology for reference and for creating original work. 2. Elements and Principles of Design. Students will demonstrate knowledge of the elements and principles of design. 2.13 Use color, line, texture, shape, and form in 2D and 3D work and identify the use of these elements in the compositions of others. 3. Observation, Abstraction, Invention, and Expression. Students will demonstrate their powers of observation, abstraction, invention, and expression in a variety of media, materials, and techniques. 3.8 Create representational 2D artwork from direct observation and from grades 9 12 memory that convincingly portrays 3D space and the objects and people within that space. 3.9 Create 2D and 3D artwork that explores the abstraction of ideas and representations. 3.10 Create 2D and 3D images that are original, convey a distinct point of view, and communicate ideas. 4. Drafting, Revising, and Exhibiting. Students will demonstrate knowledge of the processes of creating and exhibiting their own artwork: drafts, critique, self-assessment, refinement, and exhibit preparation. 4.10 Demonstrate the ability to develop an idea through multiple stages, responding to criticism and self-assessment. 4.12 Choose and prepare artwork for exhibition, and be able to discuss their choices. 5. Critical Response. Students will describe and analyze their own work and the work of others using appropriate visual arts vocabulary. When appropriate, students will connect their analysis to interpretation and evaluation. 5.8 Demonstrate the ability to compare and contrast two or more works of art, orally and in writing, using appropriate vocabulary. 5.9 Use published sources, either traditional or electronic, to research a body of work or an artist, and present findings in written or oral form. 5.10 Critique their own work, the work of peers, and the work of professional artists, and demonstrate an understanding of the formal, cultural, and historical contexts of the work. 24
Un it One Ex plor i ng Your Perc ep t ion of A r t M a ssachu set t s Fra mework s (c ont.): 6. Purposes of the Arts. Students will describe the purposes for which works of dance, music, theatre, visual arts, and architecture were and are created, and, when appropriate, interpret their meanings. 6.5 Interpret the meanings of artistic works based on evidence from artists biographies, autobiographies, or videotaped or written interviews. 6.6 Describe and analyze examples of art forms that integrate practical functions with aesthetic concerns. 8. Concepts of Style, Stylistic Influence, and Stylistic Change. Students will demonstrate their understanding of styles, stylistic influence, and stylistic change by identifying when and where art works were created, and by analyzing characteristic features of art works from various historical periods, cultures, and genres. 8.6 Classify works from the United States and world cultures by genre, style, and historical period; explain why the works exemplify a particular genre, style, or period. 10. Interdisciplinary Connections. Students will apply their knowledge of the arts to the study of English language arts, foreign languages, health, history and social science, mathematics, and science and technology/engineering. 10.3 Continue the above and apply knowledge of cultural institutions to learning in the arts and other disciplines. 25
National Standards: Content Standard #1: Understanding and applying media, techniques, and processes Students apply media, techniques, and processes with sufficient skill, confidence, and sensitivity that their intentions are carried out in their artworks Students conceive and create works of visual art that demonstrate an understanding of how the communication of their ideas relates to the media, techniques, and processes they use Content Standard #2: Using knowledge of structures and functions Students demonstrate the ability to form and defend judgments about the characteristics and structures to accomplish commercial, personal, communal, or other purposes of art Students evaluate the effectiveness of artworks in terms of organizational structures and functions Students create artworks that use organizational principles and functions to solve specific visual arts problems Content Standard #3: Choosing and evaluating a range of subject matter, symbols, and ideas Students reflect on how artworks differ visually, spatially, temporally, and functionally, and describe how these are related to history and culture Students apply subjects, symbols, and ideas in their artworks and use the skills gained to solve problems in daily life Content Standard #4: Understanding the visual arts in relation to history and cultures Students differentiate among a variety of historical and cultural contexts in terms of characteristics and purposes of works of art Students describe the function and explore the meaning of specific art objects within varied cultures, times, and places Students analyze relationships of works of art to one another in terms of history, aesthetics, and culture, justifying conclusions made in the analysis and using such conclusions to inform their own art making Content Standard #5: Reflecting upon and assessing the characteristics and merits of their work and the work of others Students identify intentions of those creating artworks, explore the implications of various purposes, and justify their analyses of purposes in particular works Students describe meanings of artworks by analyzing how specific works are created and how they relate to historical and cultural contexts Students reflect analytically on various interpretations as a means for understanding and evaluating works of visual art Content Standard #6: Making connections between visual arts and other disciplines Students compare the materials, technologies, media, and processes of the visual arts with those of other arts disciplines as they are used in creation and types of analysis Students compare characteristics of visual arts within a particular historical period or style with ideas, issues, or themes in the humanities or sciences. 26
Unit One Exploring Your Perception of Art Lesson One: Evidence Lesson Description: The objective of this lesson is to develop an understanding that cultures reveal much or what they are and what they value through what is consumed and discarded each day. Students collect evidence of their lives each day for the duration of the unit. With the things that are collected, students will create a series of small installations that portray a single moment of life or many moments in life. The installations change each day as students incorporate new evidence and learn new formal strategies of composition. This project will teach students to understand how other artists have used everyday experience and found materials to create meaning in their work. DANCE DANCE DANCE by: Chelsea Bishop Student work from UIUC s Spiral Workshop Enduring Understandings: Cultures reveal much of what they are and what they value through what is consumed and discarded each day. Art can be a reflection of reality or a residue of living experiences. Essential Questions: What can you learn about a person or society through items that are consumed and discarded? What can art be? Content & Skills: View the art works of Robert Rauschenberg, Kurt Schwitters, Candy Jernigan Identify ways Cultures reveal much of what they are and what they value through what is consumed and discarded each day. Discuss how found objects can be considered art Engage in Demonstrations on unity and variety, movement, emphasis, and personal meaning or message Develop their applications of basic elements of design in a changing installation Explore the concept of found objects as art Create a total of five installations emphasizing different components of design Resources: Dolphin, L. & Taylor, J.B. (1999). Evidence: The Art of Candy Jernigan. San Francisco, CA: Chronicle Books. Schwitters, K. (1965). Kurt Schwitters. Retrospective. New York, NY: Marlborough-Gerson Gallery. Kotz, M. L.. (2004). Rauschenberg: Art and Life. New York, NY: Harry N. Abrams. 27
Gude, O. (2000). Evidence. Retrieved February 12, 2010, from UIUC Spiral Workshop website: http://www.uic. edu/classes/ad/ad382/sites/ Projects/P_index.html M at er i a l s: Evidence collection handout Unity activity handout Reflection handout Containers and space to keep the students evidence Assorted evidence brought by students VCR Video Camera Blank Video Cassette for Camera Voc abu l a r y: Assemblage Collage Emphasis Evidence Found objects Installation Meaning Movement Reflection Unity Variety Among My Souvenirs by: Laura Hall Student work from Spiral Workshop Travel Series Part 5, Remy Bottle Candy Jernigan A sse ssment St rat e g ie s: 4 preliminary installations (photo documented) Final installation demonstrating unity, variety, movement, emphasis, and personal meaning or message Verbal and written explanations Teacher observations B ench m a rk Produc t: A successful project is defined by the final installation that shows an understanding of unity and variety, movement, emphasis, and personal meaning or message. The product must include found objects that the student collected through the unit. The final project must include a complete reflection sheet and a written artist statement. It should demonstrate the intentions of the student s meaning behind their final installation. 28
Unit One Exploring Your Perception of Art Lesson Two: Graffiti PIECE Banksy s Street Art found in Sydeny, Australia Lesson Description: The objective of this lesson is to explore graffiti as an art form. Students will learn about the recent history and developments within the field of Graffiti art, and the motivation that leads Graffiti artists to write their tag or piece. Students will create their own piece incorporating the three components, letters, character, and background that make up a piece. Students will be introduced to the idea that art can be found in a variety of locations. This project will also teach students basic elements of art and principles of design. Enduring Understandings: Art can be found in a variety of locations other than just the museum setting Many artists, art critics, and art historians consider graffiti an art form. Artist can graphically communicate their own identity and message through images, words, messages, and writings. Essential Questions: Where can you find art? How can Graffiti be considered an art? How can Graffiti be considered vandalism? Content & Skills: During this lesson, students will View the art works of Banksy, Keith Haring, Jean-Michael Basquiat Identify a variety of locations where art can be other than just the museum setting. Discuss whether or not graffiti is or isn t art and why. Engage in Demonstrations on unity and a consideration of composition, line, and space, and consideration of color. Develop their skills in elements of art and design Explore color schemes and relationships Demonstrate unity and a consideration of composition, line, and space, and consideration of color. Create a personal piece based on the student s name 29
Resources: Banksy. (2007). Wall and Piece. London: Random House UK. Cortez, D. & et al. (2007). Jean-Michel Basquiat: 1981, The Studio of the Street. New York, NY: Charta/ Deitch Projects. Deitch, J. & Green, J. (2008). Keith Haring. New York, NY: Rizzoli. Graffiti Creator. (2009). Graffiti Font. Retrieved October 10, 2009, from The Graffiti Creator website: http://www.graffiticreator.net/index.htm Materials: Tracing paper Grid paper Drawing pens & pencils Erasers Watercolor Pencils Markers Computer & internet Created from The Graffiti Creator website: http://www.graffiticreator.net/index.htm Sample Product by: Sarah Jayne Bleiweis Acrylic Paint Vocabulary: Background Character Fade Fill Graffiti Art Murals Public Art Piece Street Art Tag Assessment Strategies: Teacher Observation Final Piece Class discussion Written artist statement Benchmark Product: A successful project is defined by a final piece based on the student s name on an approximately 16 by 20 sheet of paper. This product must include the elements that make up a piece letters or character, and a background. Students will work in graphite, colored pencils, and oil crayons. The design should demonstrate an overall understanding of unity and a consideration of composition, line, and space, and consideration of color. 30
Unit One Exploring Your Perception of Art Lesson Three: Observational Writing and Drawing Lesson Description: The objective of this lesson is to approach art in a scientific approach. Students will be challenged to partake in three different triptychs by making one component of each triptych. These three components are a written description (without naming the actual object) of a 3D object of their choice, an in class drawing from the ideas presented from another student s written observation of a 3D object, and a in class drawing from yet another student s actual 3D object from the homework assignment. This project will teach students to understand the relationship between written language and visual representations. Enduring Understandings: Scientific approach involves using careful observation, analysis, and careful thinking will help transform a drawing from information to detail. Conceptual inspiration will differ when prompted by different stimuli, language or objects. Essential Questions: What is observation? Why do artists use observation as a tool for their work? Would an artist be able to make a detailed drawing from only reading written description? What would make an artwork considered as scientific? Young Hare by: Albrecht Durer Content & Skills: View the art works of Albrecht Durer, Jules-Cesar Savigny, Walton Ford, and Maria Sibylla Identify ways that scientific work can be considered art. Discuss the relationship between written language and visual representations. Engage in Demonstrations on contour drawing and descriptive writing Develop their skills in drawing and writing Explore art in a scientific approach Demonstrate the ability to translate a written description into a visual image Create a written description (without naming the actual object) of a 3D object of their choice, an in class drawing from the ideas presented from another student s written observation of a 3D object, and a in class drawing from yet another student s actual 3D object from the homework assignment. 31
Resources: Bartrum, G. (2003). Albrecht Durer and His Legacy: The Graphic Work of a Renaissance Artist. Princeton, NJ: Princeton University Press. Brafman, D. & Schrader, S. (2008). Insects and Flowers: The Art of Maria Sibylla Merian. Los Angeles, CA: Getty Publications. Katz, S. & Kazanjian, D. (2002). Walton Ford: Tigers of Wrath, Horses of Instruction. New York, NY: Harry N. Abrams. Savigny, J.C. (2009). Mémoires Sur Les Animaux Sans Vertèbres. Charleston, SC: BiblioBazaar. Materials: Graphite Pencils Easers 3D objects student s choice 3 sheets of white paper - 8.5X 11, (2) 9 X 12 Vocabulary: Description Observation Contour line Proportion Labels Assessment Strategies: Teacher Observation Completion of all 3 components of the lesson Written self-assessment. Participation in class critiques. Pomegranate: Butterfly and Fallen Pomegranate by: Maria Sibylla Merian Benchmark Product: A successful project is defined as creating a written description (without naming the actual object) of a 3D object of their choice, an in class drawing from the ideas presented from another student s written observation of a 3D object, and a in class drawing from yet another student s actual 3D object from the homework assignment. Each student must contribute three parts to three different final triptychs. The final triptych should demonstrate an understanding of the relationship that language has with the visual arts. 32 The Far Shores of Scholarship by: Walton Ford