Final Lesson Plan Proposal

1. Final Lesson Plan Proposal Shelby Flynn ARE4352

2. Overarching Theme • The over arching theme for this unit is exploring self and others. I want the student to look at themselves as a student, artist, athlete, son/daughter, brother/sister etc. I want them to examine all of their facets and express them through art. I want them to tell me their story through the works they create, while experimenting with different media.

3. Sculpture

4. Betye Saar -Liberation of Aunt Jemima

5. Betye Saar- Sock it to ‘Em

6. Objective • The objectives of this lesson are to introduce the students to the work of Betye Saar, to get the students to think about the stereotypes or labels they place on their peers as well as the labels that might be placed on them, and to learn and practice assemblage techniques.

7. NGSSS • Integrate curiosity, range of interests, attentiveness, complexity, and artistic intention in the art-making process to demonstrate self-expression. (VA.912.C.1.1) • Evaluate the technical skill, aesthetic appeal, and/or social implication of artistic exemplars to formulate criteria for assessing personal work. (VA.912.C.1.3) • Apply art knowledge and contextual information to analyze how content and ideas are used in works of art. (VA.912.C.1.4) • Analyze challenges and identify solutions for three-dimensional structural problems. (VA.912.C.1.7) • Develop competence and dexterity, through practice, in the use of processes, tools, and techniques for various media. (VA.912.S.3.12) •  Create works of art that include symbolism, personal experiences, or philosophical view to communicate with an audience. (VA.912.O.3.1)

8. Statement of Origin • The idea for this lesson came from reading the article Making Women Artists Visible by Heather Anderson (1992). My familiarity with Betye Saar’s work is from a women in art history class I took at UCF.

9. Procedures Day One • I will begin my lesson by having the lights turned off and the image of Betye Saar’s The Liberation of Aunt Jemima projected for the class to see. This will let the students know that we are being the class with a group discussion. • I will give a brief bio about Betye Saar • We will discuss possible meanings of the work • We will compare and contrast two of her works • I will tell the students that their assignment is to challenge a label or stereotype that has been place on them or that they’ve placed on themselves. • They are to do this by creating an assemblage piece • The students will sketch ideas for their piece in their sketchbooks. I want to see at least three different ideas sketched out. • I must approve at least one of the sketches before they can begin the assignment • I f I did not approve a sketch before the end of class then their homework is to sketch at home. I will approve them at the start of the next class period

10. Procedures Day two: • The students must have me approve their sketches at the start of class. • They will then gather materials to begin the assemblage piece. • They will be given 3 to 4 class periods as needed to complete the assignment. • We will have a short class critique on the in progress works to help improve the quality of the work • When they are done the students will write an artists statement • The students will present their artist statement and completed work to the class. The class will judge the pieces to determine if the message was clearly received.

11. Assessment • The students will be assessed on: • Participation in classroom discussion and critiques • Sketches are present • Quality and completeness of the work • The assessment will be based on a rubric that will be given to the students before they start the assignment.

12. Ceramics

13. Nicolas AfricanoThe Recording (1976)

14. Nicolas AfricanoJekyll/Hyde: The Mixture (1982)

15. Objectives • The objective for this lesson is to have the students tell a story through art. It could be autobiographical or any other story they are familiar with. The objective is also to have students think about a figure’s relationship to the background and the message that relationship could convey as well as having them practice sculpting human figure(s) out of clay.

16. NGSSS • Integrate curiosity, range of interests, attentiveness, complexity, and artistic intention in the art-making process to demonstrate self-expression. (VA.912.C.1.1) •  Evaluate the technical skill, aesthetic appeal, and/or social implication of artistic exemplars to formulate criteria for assessing personal work. (VA.912.C.1.3) • Examine and revise artwork throughout the art-making process to refine work and achieve artistic objective. (VA.912.C.2.1)  Process and apply constructive criticism as formative assessment for continued growth in art-making skills. (VA.912.C.2.3) • Demonstrate use of perceptual, observational, and compositional skills to produce representational, figurative, or abstract imagery. (VA.912.S.2.5) • Develop skill in sketching and mark-making to plan, execute, and construct two-dimensional images or three-dimensional models. (VA.912.S.3.10)

17. Statement of Origin • The idea for this lesson came from the lesson plan packet from ARE 4352 as well as Chapter 9 Sketchbooks by Roberta Rice and Sue Ellen McNeil.

18. Procedures • I will introduce the class to the work of Nicholas Africano. • We will have a classroom discussion about what events might be represented in the works and what message the artist is trying to convey. • The class will chose a fairytale from their childhood, a current event, a memory etc and make sketches in their sketchbooks deciding how to tell that story through art inspired by Nicholas Africano’s style. • Once I have approved their sketches, the students will begin creating their figures out of clay. • While the figures are drying the students will fashion a setting for this story to take place. They can create a three dimensional environment like The Recording (1976) or a two dimensional environment like Jekyll/Hyde: The Mixture (1982) • Once the clay pieces have been fired, the students will glaze the pieces if they wish. They can also paint the pieces with acrylic paint. • Then the students will combine the two elements, the figure and the background , considering composition to tell the story. • When they have completed the work the students will write a poem about their story that goes along with the piece they created.

19. Assessment • The students will be assessed on: • Participation in classroom discussion and critiques • Sketches are present • Poem Present • Quality and completeness of the work • The assessment will be based on a rubric that will be given to the students before they start the assignment.

20. Painting

21. Zak Smith Self- Portrait

22. Zak SmithJena with Sunkist and Sunkist-Colored T-Shirt

23. Zak SmithJill, On the Floor

24. Objective • The objective of the lesson is to have the student explore the human figure by painting a portrait of a classmate or a self portrait in the style of Zak Smith. The students will also be expected to practice creating a detailed background. They will also practice their skills with acrylic paint.

25. NGSSS • Evaluate the technical skill, aesthetic appeal, and/or social implication of artistic exemplars to formulate criteria for assessing personal work. (VA.912.C.1.3) • Use descriptive terms and varied approaches in art analysis to explain the meaning or purpose of an artwork. (VA.912.C.3.1) • Develop skill in sketching and mark-making to plan, execute, and construct two-dimensional images or three-dimensional models. (VA.912.S.3.10)

26. Statement of Origin • When I saw these paintings they reminded me of the drawing style we are taught in Drawing II at UCF. That is primarily what I based my lesson on. I also based this lesson on the article Teaching Art History: Research and Synthesis by Floyd W. Martin.

27. Procedures • I will project the images of Zak Smith’s portraits for the class. • We will discuss the artist’s style talking about his selective use of color, the poses of the subjects, and the detailed background. • We will also go over the basics like composition and direction of light • The students will practice sketching each other in their sketchbooks • The students will then create a either a self portrait or a portrait of a classmate using acrylic paint • Once the assignment is completed we will discuss their works in a classroom critique.

28. Assessment • The students will be assessed on: • Participation in classroom discussion • Sketches are present • Quality and completeness of the work • The assessment will be based on a rubric that will be given to the students before they start the assignment.

29. Drawing

30. AlineKominsky-CrumbPower Pack Comics Vol. 1

31. AlineKominsky-Crumb

32. Objective • The objective of this lesson is to introduce the students to a female artist and her work, As well as teaching the students to use humor in their art. This will also get the students to practice a different style of drawing.

33. NGSSS • Demonstrate use of perceptual, observational, and compositional skills to produce representational, figurative, or abstract imagery. (VA.912.S.2.5) •  Develop skill in sketching and mark-making to plan, execute, and construct two-dimensional images or three-dimensional models. (VA.912.S.3.10) • Integrate curiosity, range of interests, attentiveness, complexity, and artistic intention in the art-making process to demonstrate self-expression. (VA.912.C.1.1)

34. Statement of Origin • The idea for this lesson originated from the article Comic Liberation: The Feminist Face of Humor in Contemporary Art by Sheri R. Klein.

35. Procedures • I will show the students examples of work by Aline Kominsky-Crumb. • We will discuss how and why the artist used humor in her art. • The students will then practice sketching in a cartoon like style similar to the way Aline Kominsky-Crumb creates her work. I want them to practice writing their own humorous sayings or stories. • Once I have approved their sketches the students will start their comic strip drawings on white paper. • Once they have completed the assignment, we will have a classroom critique.

36. Assessment • The students will be assessed on: • Participation in classroom discussion • Sketches are present • Quality and completeness of the work • The assessment will be based on a rubric that will be given to the students before they start the assignment.

37. Media Criticism

38. Old Spice Commercials • http://oldspice.com/en-US/videos/video/34/questions/?page=2 • http://oldspice.com/en-US/videos/video/22/the-man-your-man-could-smell-like/?page=2

39. Objective • This lesson is meant to get the students to examine the tactics used in advertisements. The students will then utilize these tactics by creating a advertisement of their own.

40. NGSSS • Use descriptive terms and varied approaches in art analysis to explain the meaning or purpose of an artwork. (VA.912.C.3.1) • Integrate curiosity, range of interests, attentiveness, complexity, and artistic intention in the art-making process to demonstrate self-expression. (VA.912.C.1.1)

41. Statement of Origin • The idea for this lesson came primarily from the art criticism class I took at UCF. This lesson also coincides with one of the excerpts we read in class, Standards for School Art Programs from NAEA.

42. Procedures • I will show the students the two Old Spice commercials. • We will discuss what tactics the advertisers used to sell the product. • We will come up with a definition of success in advertising. • Then we will determine if the advertisement was successful. • Do you remember the product they are advertizing or just the humor of the commercial? • Does the commercial make you want to purchase the product? • The students will be assigned to groups to create a commercial for a product they drew out of a hat which I will have prepared. The commercial must incorporate the tactics we discussed in class. They will write the script for the commercial in class. • The students will film the commercial outside of class and show the video to the class when the assignment is due. • After each commercial we will discuss what advertising tactics the students used and we will decide if the commercial was successful based on our definition of success.

43. Assessment • The students will be assessed on: • Participation in classroom discussion and critique • Quality and completeness of the work • Filmed commercial present • Script present • The assessment will be based on a rubric that will be given to the students before they start the assignment.

44. Text References • Anderson ,H. (1992) Making women artists visible. Art Education. 45(2) • Klein, S. R. (2008). Comic liberation: The feminist face of humor in contemporary art. Art education, 61(2), 47-52. • Martin, F. (1993) Teaching art history: Research and synthesis • Purposes, principles, and standards for school art programs. (2002). National Art Education Association , 1-26. • Rice R.W., (1990). Sketchbooks. In: Little B.E. (ed), Secondary Art Education :An Anthology of Issues. Reston VA: National Art Education Association. Pp. 107-123

45. Image References Africano, Nicolas (1976)The Recording [mixed media] Kankakee, Illinois Africano, Nicolas (1982) Jekyll/Hyde: The Mixture [mixed media] Kankakee, Illinois Kominsky-Crumb, Aline (unknown) Jewish Dilletante from L.I. [drawing], Long Beach NY Kominsky-Crumb, Aline (1989) Nose Job [drawing], Long Beach NYOld Spice (2010) The Man Your Man… retrieved from http://oldspice.com/en-US/videos/video/22/the-man-your-man-could-smell-like/?page=2 Old Spice (2010) Questions, retrieved from http://oldspice.com/en-US/videos/video/34/questions/?page=2 Saar, Betye (1972) Liberation of Aunt Jemima [assemblage] Los Angeles, CA, Brooklyn Museum Saar, Betye (2011) Sock it to 'Em [assemblage] Los Angeles, CA Smith, Zak (unknown) Accurate (self portrait), [painting] Syracuse, NY Smith, Zak (unknown) Jena with Sunkist and Sunkist-Colored T-Shirt , [painting] Syracuse, NY Smith, Zak (unknown), Jill, On the Floor [painting] Syracuse, NY