The Artistic Narrative Final Unit Plan

1. The Artistic NarrativeFinal Unit Plan Kristen Warskow

2. Statement of Origin •             This lesson was greatly inspired by the artist Nina Katchadourian's work I stumbled upon in the book Visual Art After 1980. Katchadourian uses a technique that reminds me of storyboarding in her works, and this particular way of planning and creating an artwork is a very applicable technique to use when writing and I feel students would benefit from creating an artwork inspired by this artist. I know the importance of story-telling in art and I hope this lesson helps my students to organize a visual story which can even help when planning or drafting a paper.

3. Questions to Consider • 1. What are some ways artists plan stories, and how do you think artist Nina Katchadourianuses this planning in her artwork? • 2. What story do you think the artist is telling in this work? Why? Are there visual clues such as placement or color? • 3. Do you think there may be opportunities to better communicate the message? How did the artist successfully tell the story?

4. Nina Katchadourian Genealogy of the Supermarket 1997

5. Nina Katchadourian (cont’d) • Paranormal Postcards 2001

6. Narrative multi-panel story Standards National Standard: Content Standard 1. Understanding and applying media, techniques, and processes Achievement Standard a. select media, techniques, and processes; analyze what makes them effective or not effective in communicating ideas; and reflect upon the effectiveness of their choices NGSSS: VA.68.C.1.3 Identify qualities of exemplary artworks that are evident and transferable to the judgment of personal work. VA.68.O.2.Pa.a: Use selected structural elements of art and organizational principles of design to create and respond to artworks. Objectives 1. Students will participate and understand the importance of preplanning drawings in creating artwork. 2. Students will communicate a visually story using at least 5 different images. (Pictures, drawings, painting, or mixed media) 3. Students will understand how different media helps or hinders the communication of a narrative.

7. Procedures • Students will begin by viewing the work of Nina Katchourdian and develop an understanding for her use of narrative in visual art. Vocabulary words will be introduced, which include; storyboard, medium, and mixed media. • Students will receive a brief presentation regarding media choice when creating an artwork and how this choice can help or hinder a piece. (This will involve class discussion and some trial and error in the creation process) • Students will begin pre-planning drawings for their own story. This can be an existing story they enjoy or a story they create. • Students will utilize sketchbooks to create 3 unique planning drawings that are narrative using a story board format. • Students will (with the help of the teacher) choose their strongest/ favorite planning sketch to further develop. • Students will create at least 3 panels (at least 5"x7" each) to demonstrate their story. These panels can contain drawings, paintings, pictures, collages, or mixed media to best communicate the story. • Students will present their art to the class in a safe critique where the class will discuss the media choice, whether it adds to the piece, the composition, and the strength of story. (Describe, Analyze, Interpret, Judge) • Students will have a chance to redo parts of their assignment based on class and teacher feedback that will be due by a set date. • **For modifications based on a specific disability refer to Chapters 6-10 (pages 83-176) in Reaching and Teaching Students with Special Needs Through Art.

8. Sample Storyboard Planning Drawing

9. R U B R I C

10. Statement of Origin • This lesson was inspired by the cinematic narrative quality of Duane Michals work I discovered in the book Visual Art After 1980. Michals, whose narrative shadow boxes and pictures have a unique and thoughtful quality that utilize creative storytelling would inspire students to think far beyond a specific technique when creating their own works. Creating an artwork like a shadowbox narrative requires planning in order to be sure elements are arranged in the best way to communicate a story. I will incorporate sketchbook planning (which can use existing image cut-outs) to allow students to increase familiarity of the artistic process. The idea of using sketchbooks in this way was inspired by the article Sketchbooks by Roberta Rice and Sue McNeil.

11. Questions to Consider • 1. What are some important elements of story telling, and how do you think artist Duane Michalsuses these elements in his artwork? • 2. What story do you think the artist is telling in this work? Why? Are there visual clues such as placement or color? • 3. Do you think there may be opportunities to better communicate the message? How did the artist successfully tell the story?

12. Duane Michals Necessary things for writing fairy tunes 1989 Necessary things for making magic 1989 (next slide)

14. Creating a narrative shadow-box Standards National Standard: Content Standard 3. Choosing and evaluating a range of subject matter, symbols, and ideas Achievement Standard a. integrate visual, spatial, and temporal concepts with content to communicate intended meaning in their artworks NGSSS: • VA.68.S.2.3 Use visual-thinking and problem-solving skills in a sketchbook or journal to identify, practice, develop ideas, and resolve challenges in the creative process. • VA.68.C.2.3 Examine artworks to form ideas and criteria by which to judge/assess and inspire personal works and artistic growth. • VA.68.O.2.In.a: Apply structural elements of art and organizational principles of design to create artworks with a new meaning. Objectives 1. Students will learn to use existing objects and words to tell a visual story. 2. Students will understand how artist Duane Michals uses the narrative and how this might be incorporated into the students own artwork.

15. Procedures • Students will be introduced to artist Duane Michals as well as the vocabulary words which include; Shadow box, narrative, visual story, found art assemblage. • Students will learn different ways to construct a shadow box utilizing varying materials and designs. (available materials include cardboard, foam core, and other heavy duty paper products) • Students can submit other options for teacher's consideration and approval. • We will discuss as a class possible uses for story telling based on the design of the shadow box and whether or not material makes a difference in story-telling. (We will use some pre-made examples and have the opportunity to touch and inspect these different shadow boxes) • After this discussion and introduction students will create planning drawings of 3 different shadowbox and story ideas. (students can use existing stories they like, or their own original story) • Students (with the help of the teacher) will select the strongest idea they planned and begin working on the physical creation stage. • Students can use existing objects, collage painting, drawing, etc. to communicate their story. • (As this selection process arises we will discuss how different media can help or hinder story-telling) • Students will share their final works with the class in a safe critique where we will discuss compositions, narrative, and overall construction of the artwork. (Describe, Analyze, Interpret, Judge) • Students will have the ability to make changes if they desire that can be resubmitted by a certain date. • **For modifications based on a specific disability refer to Chapters 6-10 (pages 83-176) in Reaching and Teaching Students with Special Needs Through Art.

16. Sample Planning Drawing

18. R U B R I C

19. Statement of Origin •             This lesson was inspired by findings in the book Visual Art After 1980and the single image stories by Kcho and Duane Michals. I find the ability to communicate a story through a single image is often very complex so I hope this lesson will help students work toward developing a successful single image or object that tells a story through use of placement, exaggeration, or the addition of language. I learned through Reaching and Teaching Students with Special Needs Through Art that some students might be totally turned off from a lesson if it required getting messy and providing students with options offers them a chance to engage in a way that is more applicable to them. With this in mind, I have created a lesson that allows students to choose to create a 3-D object (which could be messy) or create a photograph narrative which both require a unique ability in narrative creation.

20. Questions to consider • 1. What are some ways a single image or object tells a story, and how do you think artists used this in creating their artwork? • 2. What story do you think the artist is telling in this work? Why? Are there visual clues such as placement or color? • 3. Do you think there may be opportunities to better communicate the message? How did the artists successfully tell the story?

21. Duane Michals • The room where the world ended 1990

22. Road of Nostalgia 1997

23. Kcho (Alexis Leyva Machado) R.E.C 2006

24. Single image narrative • Standards National Standard 3. Choosing and evaluating a range of subject matter, symbols, and ideas Achievement Standard b. use subjects, themes, and symbols that demonstrate knowledge of contexts, values, and aesthetics that communicate intended meaning in artworks. NGSSS: • VA.68.S.1.1 Manipulate content, media, techniques, and processes to achieve communication with artistic intent. • VA.68.O.3.2 Discuss the communicative differences between specific two- and three-dimensional works of art. • VA.68.C.2.3 Examine artworks to form ideas and criteria by which to judge/assess and inspire personal works and artistic growth. • Objectives 1. Students will learn how composition, placement, color, and exaggeration can help in the narrative process by viewing artworks and discussing strengths and areas with opportunities for growth. 2. Students will use principles of art and design to create a narrative using a single image or created object. 3. Students will discuss the similarities and differences of a single 2-D image or 3-D object when attempting to tell a story through an artwork.

25. Procedures • Students will first be introduced to the 3-D work of Kcho that tells a story with a single object. Then students will re-visit Duane Michals' work where a single image paired with language creates a unique narrative. • Students will work in pairs or small groups evaluating images and imagining a story that might go along with the image based on visual cues. • Groups will take turns sharing the most appropriate story they believe should accompany one of the images they reviewed. • As a class we will discuss what elements of the student created stories are supported by the image and why using the Feldman model to back up our findings. • Students will plan with 3 sketchbook drawings of narratives they would like to work further on. These should use a single image (not a storyboard). • Students (with the help of the teacher) will select their strongest idea and begin planning creation, composition, desired material, etc. • Students may create a 3-D object (using air-dry clay or assemblage) or set-up a photograph to add language to in order to effectively communicate their story. • Once students have individually selected which format they will follow they will receive necessary materials for their 3-D work or be assigned a time to set up their photograph in class.

26. Procedures (cont’d) • Students working in 3D will need to bring in any items necessary for their project that we do not have in class. • Students creating photographs will have access to the class digital SLR (which will be used on automatic setting for this project) and a table top and lights to create their scene. • Students should bring in anything necessary for their scene that is not in the classroom and be prepared to set up and photograph on their assigned day and time. • Students can take time to select their digital image and add text on the computer or by hand after the image is printed. • Students will take time to create their objects/scenes and then share in a safe critique. (Describe, Analyze, Interpret, Judge) • Students will have the ability to re submit their pieces if they wish to take any advice from the critique to improve their artwork. (Will be due on selected date) • **For modifications based on a specific disability refer to Chapters 6-10 (pages 83-176) in Reaching and Teaching Students with Special Needs Through Art.

27. Sample Planning Drawing

29. R U B R I C

30. Feldman Critique

31. References Guay, D.M. & Gerber, B.L. (2006). Reaching and Teaching Students with Special Needs through Art. Katchadourian, N. (1997). Genealogy of the Supermarket. [Digital Image]. Retrieved February 3, 2014, from: (library.artstor.org.ezproxy.net) Katchadourian, N. (2001). Paranormal Postcards. [Digital Image]. Retrieved February 3, 2014, from: (library.artstor.org.ezproxy.net) Kcho (2006) R.E.C. [Digital Image]. Retrieved February 15, 2014, from: URL (library.artstor.org.ezproxy.net) Kcho (1997) Road of Nostalgia. [Digital Image]. Retrieved February 1, 2014 from: (library.artstor.org.ezproxy.net) McNeil, S. & Rice, R. (1990). Sketchbooks. Secondary Art Education: An Anthology of Issues. (107-123) Michals, D. (1989) Necessary things for making fairy tunes. [Digital image]. Retrieved February 1, 2014, from: (library.artstor.org.ezproxy.net) Michals, D. (1989). Necessary things for making magic. [Digital Image]. Retrieved February 1, 2014, from: (library.artstor.org.ezproxy.net) Michals, D. (1990). The room where the word ended. [Digital Image]. Retrieved February 3, 2014, from: (library.artstor.org.ezproxy.net) Robertson, Jean, and Craig McDaniel. Themes of Contemporary Art: Visual Art after 1980. New York: Oxford UP, 2010.