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1. Jenny VigilanteARE 5359June 22, 2011 Unit Plan: Lesson Plans Elementary - 2D, 3D, and Miscellaneous Secondary - 2D, 3D, and Miscellaneous
2. Next Generation Sunshine State Standards Understands that subject matter used to create unique works of art can come from personal experience, observation, imagination, and themes. (VA.B.1.2.1) Standard 1: The student understands the visual arts in relation to history and culture. (VA.C.1.2) Objective Students will explore multicultural identity through contemporary expressions of traditional folk art forms. Students will have the opportunity to create their own authentic art scene that covers a special depiction of their life. The author Olivia Gude wrote an article, Principles of Possibility (2007), refers to self-identity. The author states, “Through this lesson, students will learn new skills and concepts while creating opportunities to investigate and represent one’s own experiences by generating personal and shared meaning” (p. 6). The portrait can include quotes, iconic, American symbols, and personal life events. Elementary Lesson Plan Grades: 3 -5: 2-D
3. Bertha Halozan, Statue of Liberty, 1997, Oil on board, 16" x 20"
4. Back of painting
5. Bertha Halozan, Landscape, with Dog, Deer, Boats and Ducks, 1997, Enamel and glitter on board, 19.5" x 15"
6. Back of painting
7. Materials For note taking, brainstorming, and concepts students will use their own sketchbooks. Students will produce a series of thumbnails to be discussed with instructor. Once approved by the teacher the student can continue the process of drafting their portraits in their sketchbook. Each student will be given white Bristol board 17” x 23” for their final. Colored pencils, markers, erasers, paint, and paintbrushes, and tape. Procedures Cover basic vocabulary such as: Folk art, ethnicity, tribal, utilitarian, religion, occupation, geography, age, and gender. The teacher will show a ten - minute power-point in the beginning of class. The power-point will stress folk art reflecting traditional art forms of diverse community groups that bring attention to the following: Ethnicity, tribal, religious, occupational, geographical, age, gender and society at large. In a group discussion format, with the instructor’s assistance, the entire class will participate in analyzing the artworks that include the following: “Description… Analysis… Interpretation… and Evaluation” (Linderman, 1996, p.70-71). “What iconic images can students identify in the portraits?” “What messages do they provoke?” “Does the artist present a taste of their life?” Students will be given the opportunity to paint a picture of their personal community values by conveying shared cultural identity. By creating a scene, the students will understand their views of the world. Elementary Lesson Plan Grades: 3 -5: 2-D
8. References Landscape, with Dog, Deer, Boats and Ducks, [image] (1997). Retrieved June 21, 2011 from http://alumnus.caltech.edu/~dacrotty/halozan.html Linderman, Marlene Gharbo, Chapter 11: Art Analysis Looking at and Responding to Art, Art in the Elementary School,McGraw Hill, 1996, pp. 215 – 228 Giles, Amy. (1999). School Art Versus Meaningful Artistically Authentic Art Education, NAEA Advisory, Ed. Davis, C., National Art Education Association, Winter, 1999 Gude, O. (2007). Principles of Possibility: Considerations for a 21st Century Art & Culture Curriculum. Art Education, January, 6-17. Statue of Liberty [image] (1997). Retrieved June 21, 2011 from http://alumnus.caltech.edu/~dacrotty/halozan.html AssessmentStudents will be assessed on their portraits. See Appendix A. This rubric is to be provided to students at the start of the lesson. Statement of Origin Folk Art was primarily discussed during the first class when reviewing authentic art. “Students make artistically authentic art by going through processes similar to the processes that artist use to make quality products” (Giles, 1999, p. 1). This project will help students identify important aspects of their life that contribute to the class society at large.
9. Next Generation Sunshine State Standards Knows how the qualities and characteristics of art media, techniques, and processes can be used to enhance communication of experiences and ideas. (VA.B.1.3.2) Creates two-dimensional and three-dimensional works of art that reflect competency and craftsmanship. (VA.A.1.3.4) Objective  Students will explore the complex associations between an object and its meaning. Students will become familiar with the juxtaposition of hybridized works that combine a unique mix of sculpture to add meaning to everyday objects. Students will create and explore the physical and conceptual act of mark making out of basic materials using the human sensations of touch, see, hear, and smell. In addition, students will identify and examine several social issues addressed in the artworks that are discussed. Elementary Lesson Plan Grades: 3 -5: 3-D
10. Allora & Calzadilla; Under Discussion, 2005, Single channel video with sound, 6:14
11. Allora & Calzadilla; Returning a Sound, 2004, Single channel video with sound, 5:42
12. Materials For note taking, brainstorming, and concepts students will use their own sketchbooks. Construction paper, glue gun, recycled materials, colored pencils, markers, glue sticks, scissors, erasers, paint, paint brushes, and art magazines will be dispersed for students to share in class. Each student will be given a base board 16” x 16” piece of balsa wood. Procedures Cover basic vocabulary including: the Incongruity theory, hybrid, transposition, juxtaposition, transformation, recyclable materials, appropriation, and irony. The teacher will show a ten- minute power-point at the beginning of class. The instructor will engage in a class discussion that will cover the idea of combining everyday materials into hybrid sculptures. The instructor will cover some important ideas such as: the belief that found objects can hold value artistically, if they are viewed in a different context rather than just in their original function or purpose. “How do you think someone can take an everyday item and express their ideas and thoughts with it?” The students can then assess how they would use these objects to express themselves and convey meaning about their identity, their opinions, and their feelings on a variety of social issues. Students will write down their ideas and plan their creation in their sketchbooks. After the instructor approval, students will collect their objects and assemble them on to a board. Students will use suggestions made by the teacher for guidance on confronting social issues in producing their own hybrid sculptures. Ideas will include: Race, gender, culture, ethnicity, the environment, and consumerism. If students want to use an outside source that is not listed, it must first be approved by the teacher. Elementary Lesson Plan Grades: 3 -5: 2-D
13. References NAEA, Purposes, Principles, and Standards for School Art Programs, (1999), online pdf Returning a Sound [image] (2004), Retrieved June 21, 2011 from http://www.pbs.org/art21/slideshow/?slide=1419&showindex=182 Under Discussion [image] (2005). Retrieved June 21, 2011 from http://www.pbs.org/art21/artists/alloracalzadilla/clip2.html AssessmentStudents will be assessed on hybrid sculptures. See Appendix A. This rubric is to be provided to students at the start of the lesson. Statement of Origin This idea came from the Purposes, Principles, and Standards, 1999, NAEA standards section on budget. Currently, schools are in a recession of reducing their budgets in all departments. “The budget is sufficient to provide all expenditures required for the art program established in the curriculum plan” (NAEA, 1999, p.4). This particular art project will emphasize and educate students on the importance of recycled materials.
14. Next Generation Sunshine State Standards Knows how different subjects, themes, and symbols [through context, value, and aesthetics] convey intended meanings or ideas in works of art. (VA.B.1.3.1) Uses research and contextual information to identify responses to works of art. (VA.D.1.3.2) Objective  Students will discover contemporary genealogies can be more than just a traditional timeline history of a family tree. Students will critique and analyze the artworks of professional artists Nina Katchadourian who categorizes surface attributes, using a combination of traditional family tree elements and images to address important issues and convey personal meaning. Students will show the progression of their own genealogies of a certain man made developed item or idea that has evolved over the last one hundred years. Elementary Lesson Plan Grades: 3 -5: Miscellaneous
15. Nina Katchadourian, Genealogy of the Supermarket, 2005, Wall installation, 78 framed photographs on wallpapered wall, 12’ x 30’
16. Nina Katchadourian, Airplane Family Tree, 2000, Wall installation, 99 inkjet prints mounted to aluminum connected by red graphic tape applied to wall, 28’ x 10’
17. Materials For note taking, brainstorming, and concepts students will use their own sketchbooks. Students will produce a series of thumbnails to be discussed with instructor. Once approved by the teacher, the student can continue the process of drafting their genealogy. Students will use postcard size 4” x 6” images to display their genealogy. Each student will be given white paper 6’ x 4’ for their final. Construction paper, colored pencils, markers, glue sticks, scissors, string, tape, erasers, paint, paint brushes, and art magazines will be dispersed for students to share in class. Procedures Cover basic vocabulary including: the Incongruity theory, transposition, genealogy, family tree. The teacher will show a ten- minute power-point in the beginning of class. A class discussion will address the various American advertising’s to differentiate products and encourage brand loyalty. The teacher will discuss how ethnicity has been used to invoke authenticity, especially on food packages. In a group discussion format, with the instructor’s assistance, the entire class will participate in analyzing the artworks that include the following: “Description… Analysis…Interpretation… and Evaluation” (Linderman, 1996, p.70-71). Students will use the four steps to analyzing an artwork to brainstorm ideas in their sketchbook, keeping in mind the attempt to discuss the social issues the artist might be addressing. Students will use suggestions made by the teacher for guidance on confronting social issues by producing their own genealogy. Ideas will include: Consumer products, electronics, clothing, automobiles, food brands, movie, video, and cartoon characters. While at the same time students will recognize and magnify issues of race, gender, culture, ethnicity, the environment, and consumerism. Elementary Lesson Plan Grades: 3 -5: Miscellaneous
18. References Airplane Family Tree [image] 2000, Retrieved from June 21, 2011 from http://www.ninakatchadourian.com/chartssystems/airplanetree.php Genealogy of the Supermarket [image] 2005, Retrieved June 21, 2011 from http://www.ninakatchadourian.com/chartssystems/genealogy.php Klein, Sheri R., Comic Liberation: The Feminist Face of Humor in Contemporary Art, Art Education, March 2008, Vol. 61, No. 2, pp. 47-52 Linderman, Marlene Gharbo, Chapter 11: Art Analysis Looking at and Responding to Art, Art in the Elementary School,McGraw Hill, 1996, pp. 215 - 228 AssessmentStudents will be assessed on their genealogy trees. See Appendix A. This rubric is to be provided to students at the start of the lesson. Statement of Origin I found out about Nina Katchadourian through a class discussion on the contemporary form of humor. In the case of visual art, artists create incongruity through use of images, materials, design elements, and or text in a variety of combinations. “Transposition in one of the forms used for the incongruity theory” (Klein, 2008, p. 48). After researching Nina’s various art works, the genealogy project would relate to secondary students in referencing iconic images.
19. Next Generation Sunshine State Standards Standard 1: The student makes connections between the visual arts, other disciplines, and the real world. (VA.E.1.3) Understands how an artist’s intent plays crucial role in the aesthetic value of an object. (VA.D.1.3.3) Objective  Students will depict the reality of current events through examples of newspaper headline images. When it comes to showing us the reality of current events, documentary and newspaper photographers have to place themselves behind, diagonally and underneath events. The frontal [to some, the most realistic] view is not necessarily to be trusted and more importantly, it's far less seductive than one that is unexpected. Students will critique various perspectives and have the opportunity to create the reality of a current issue, which gives its viewer space to think, ask questions and discover new information. Elementary Lesson Plan Grades: 6-8; 2-D
20. Fred Tomaselli, August 2005, 2005, 8-color silkscreeen, 16” x 14.5”
21. Fred Tomaselli, March 26 2009, 2009, Gouache and photo-collage on printed watercolor paper, 8 ¼” X 10”
22. Fred Tomaselli, April 29th 2009, 2009, Gouache and photo-collage on printed watercolor paper, 8 ¼” X 10”
23. Materials For note taking, brainstorming, and concepts students will use their own sketchbooks. Students will practice a series of thumbnails to be discussed with instructor. Once approved by the teacher the student can continue the process of drafting their reality newspaper scenes. Colored pencils, markers, erasers, acrylic paint, paintbrushes, and newspaper articles will be dispersed for students to share in class. Procedures Cover basic vocabulary including: the Incongruity theory, transposition, disguise, appropriation, irony, satire, surreal, perspective, and dark humor. The teacher will show a ten- minute power-point at the beginning of class. The discussion will cover the idea of the Incongruity theory, and the use a variety of techniques. The artist uses placing of images or objects in a new context, concealing a form, and how they can reinterpret from those works and add new meaning and personal relevance. These surreal, even vibrant scenes create a play-ground for otherwise grim situations. Though they are mildly critical of the media and its attempt to document history, Tomaselli's imagery shares the quality of a great documentary photograph. His artwork is objective enough to be recognizable but abstract enough to allow for interpretive and critical thinking.  “What differences and similarities exist between the original and the reality version?” “Why do you think some elements were kept the same and others were altered?” “What do you think the artist is trying to say by recreating the existing work?” “What new meaning and personal significance is the contemporary artist adding to the existing work by reinterpreting it?” “How have they demonstrated ownership of the historical work?” Students will be asked to choose a current newspaper article and image that offers viewers a unique and surprising angle from which to glimpse into reality. They can choose from a variety of articles that the instructor will provide which can illustrate and depict the transcendent vision of the universe, as an entirely different perspective on reality. Students will be encouraged to add personal relevance in anyway they choose; alterations, added symbols, and they can deviate as much as they wish from the original. Elementary Lesson Plan Grades: 3 -5: 2-D
24. References April 2009 [image] (2009), Retrieved from June 21, 2011 from http://departurearts.typepad.com/departure/2010/11/drawing-on-reality-frank- tomaselli.html August 2005 [image] (2005), Retrieved from June 21, 2011 from http://oneartworld.com/artists/F/Fred+Tomaselli.html?atab=works Klein, Sheri R., Comic Liberation: The Feminist Face of Humor in Contemporary Art, Art Education, Vol. 61, No. 2, March 2008, pp. 47-52 March 26th, 2009 [image] (2009), Retrieved from June 21, 2011 from http://blog.vandm.com/2010/11/love-affair-with-fred-tomaselli.html AssessmentStudents will be assessed on their newspaper artworks. See Appendix B. This rubric is to be provided to students at the start of the lesson. Statement of Origin I came with the idea for this incongruity lesson after reading the Next Generation of Sunshine State Standards. “Standard 1: The student makes connections between the visual arts, other disciplines, and the real world” (VA.E.1.3). This project will encompass the practice of the principles and elements of design to depict an original view of reality to the true reality.
25. Next Generation Sunshine State Standards Standard 1: The student understands and applies media, techniques, and processes. (VA.A.1.3) Understands how an artist’s intent plays a crucial role in the aesthetic value of an object. (VA.D.1.3.3) Objective  Students will explore various land formations in studying perceptions and ordering of landscape through the postmodern idea of appropriation. After participating in this lesson, students will demonstrate knowledge and understanding the impact and effect of natural occurrences made by nature. Elementary Lesson Plan Grades: 6-8; 3-D
26. Maya Lin, Wave Field, 1995. Earth and grass, 100 x 100 ft. University of Michigan, Ann Arbor.
27. Maya Lin, Blue Lake Pass, 2006. Duraflake particleboard, 20 3'x 3' blocks, 18'x 23'
28. Study
29. Materials  For note taking, brainstorming, and concepts students will use their own sketchbooks. Construction paper, glue gun, clay, dirt, sand, water, natural materials, phone books, materials, colored pencils, markers, glue sticks, scissors, erasers, paint, paint brushes, and art magazines will be dispersed for students to share in class. Each student will be given a base board 36” x 36” piece of balsa wood. Procedures The teacher will show a ten - minute power-point at the beginning of classAshort discussion will review Maya Lin’s use of wave-water imagery onto landscapes. The instructor will explain Maya Lin’s inspiration of her imagery in the forms of mid-ocean waves echoing the mountains and hills of her home state, Ohio. Maya Lin ties in experiencing the human senses such as; touch the stone, feel the water, smell the air, see how that patch of grass is different from another. The instructor will emphasize that Maya Lin draws inspiration for her sculpture and architecture forms from culturally diverse sources, including Japanese gardens. A class discussion will cover the idea of appropriation, and how they can reinterpret from the works and add new meaning and personal relevance. “Who do you think created this work of art [gender, culture]?” “What do you think she is addressing here?” “What do you think the meaning of this artwork is?” (Linderman, 1996, p.109). Students will design their own 36” x 36” physical space bringing an awareness and new perception to their natural surrounding. Students will be inspired to explore the effects of fluid dynamics, aerodynamics, and turbulence on the rhythmic patterns left on the earth. Students will write down their ideas and plan their creation in their sketchbooks along with an artist’s statement. After instructor approval, students will collect their objects and assemble their structure on to a board. Elementary Lesson Plan Grades: 3 -5: 2-D
30. References Blue Lake Pass, [image](2006). Retrieved from June 21, 2011 http://www.mayalin.com/ Linderman, Marlene Gharbo, Chapter 8: Art Production: ideas and Techniques, Art in the Elementary School,1996, McGraw Hill, pp. 108-112 New York Times, Wavefield, 2007. Retrieved from June 21, 2011 http://video.nytimes.com/video/2008/11/07/arts/design/1194832296918/maya-lin-s-wave-field.html Wave Field, [image] (1995). Retrieved from June 21, 2011 http://www.mayalin.com/ AssessmentStudents will be assessed on their maps. See Appendix B. This rubric is to be provided to students at the start of the lesson. Statement of Origin I was first introduced to Maya Lin through this class on the discussion of incorporating nature and science into art. The class was shown several projects by Maya Lin that focused on her introduction on various perspectives that humans can experience with nature. This project will bring a sense of awareness to students in their impact they leave on the earth.
31. Next Generation Sunshine State Standards Standard 1: The student makes connections between the visual arts, other disciplines, and the real world. (VA.E.1.3) Uses research and contextual information to identify responses to works of art. (VA.D.1.3.2) Objective  Students will explore holistic patterns of social meaning through graphically documenting a category of details regarding a specific location. One of the contemporary subjects that’s referenced in the Themes of Contemporary Art, Visual Art after 1980, by McDaniel and Roberston is Places. Students will discover mapping as a way of selectively focusing their attention on those aspects of the landscape that might get overlooked. Elementary Lesson Plan Grades: 6-8; Miscellaneous
32. Dennis Wood and Carter Crawford, A drawing from Denis Wood’s Dancing and Singing: A Narrative Atlas of Boylan Heights: street signs, 1982
33. Dennis Wood and Carter Crawford, A drawing from Denis Wood’s Dancing and Singing: A Narrative Atlas of Boylan Heights: untitled, 1982
34. Dennis Wood and Carter Crawford, A drawing from Denis Wood’s Dancing and Singing: A Narrative Atlas of Boylan Heights: street lamps, 1982
35. Materials  For note taking, brainstorming, and concepts students will use their own sketchbooks. Students will produce a series of thumbnails to be discussed with instructor. Once approved by the teacher the student can continue the process of drafting their maps in their sketchbook. Each student will be given white poster board 17” x 23” for their final. Construction paper, colored pencils, markers, glue sticks, scissors, erasers, paint, paint brushes, and art magazines will be dispersed for students to share in class. Procedures The teacher will show a ten - minute power-point at the beginning of class. The instructor will introduce the students to the works of geographer and contemporary artist, Denis Wood. The instructor will A short discussion will review Denis Wood’s theory of mapmaking. The instructor will discuss the journey Denis Wood began by paring away the inessential’s [scale, orientation, street grids] in searching for the unmapped; neighborhood boundaries, the topography, and the streets. Next, the class will discuss the purpose, reason, information, and the framework elements of a map. The class will be divided into smaller groups to discuss and come up with a list of characteristics of traditional maps compared to Denis Wood’s maps. The group will discuss the lists with the whole class. Students will engage with their senses and generate a map of their own neighborhood, filtering through social concepts the less map-able things to identify different elements [Road signs, street lights, power lines, mailboxes, real estate signs, water sewers, etc.] to offer a new way of understanding the workings of their community. Elementary Lesson Plan Grades: 3 -5: 2-D
36. References Glass, Ira. (2010) Everything Sings: Maps for a Narrative Atlas by Denis Wood with an introduction by Ira Glass (2010), Siglio Press and Denis Wood Krygier, John PhD and Wood, Denis, (2011). Making Maps, Second Edition: A Visual Guide to Map Design for GIS Roberston, Jean and McDaniel, Craig (2010), Second Edition: Themes of Contemporary Art, Visual Art after 1980, Oxford University Press A Narrative Atlas of Boylan Heights: street lamps [image] 1982. Retrieved June 21, 2011 from http://makingmaps.net/2010/09/07/new-atlas-denis-wood-everything-sings/ A Narrative Atlas of Boylan Heights: street signs [image] 1982. Retrieved June 21, 2011 from http://makingmaps.net/2010/09/07/new-atlas-denis-wood-everything-sings/ A Narrative Atlas of Boylan Heights: untitled [image] 1982. Retrieved June 21, 2011 from http://makingmaps.net/2010/09/07/new-atlas-denis-wood-everything-sings/ AssessmentStudents will be assessed on their maps. See Appendix B. This rubric is to be provided to students at the start of the lesson. Statement of Origin I was searching for an artist that paid attention to detail between the visual arts, other disciplines, and the real world. The Contemporary artist, Denis Wood, created a series of maps that are unlike traditional maps. “Mapping and local research create opportunities for students to become grounded in a sense of place through understanding the style and evolution of the built environment and through sharing this information with others, thus becomes a resource for building community and intergeneration networks” (Glass, 2010, p. 14). I began to research about various artists who focused on landscapes, locations around the world, and every day communities. I wanted to create a new perspective of ideas for students to explore their un-map-able details of their neighborhood.