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  1. Contemporary Art Lesson Plans – Elementary & Secondary Ashley Singer ARE 5359 University of Central Florida

  2. Elementary 2-D Faith Ringgold

  3. Objectives • Understand that art can express stories • Based on images by Faith Ringgold • Examine how paintings can be created on fabric • Interpret meaning from the works of Ringgold • Understand how an artist's work can draw inspiration from their families/heritage • Create their own story quilt based on a personal experience with their families

  4. Statement of Origin Standards • Faith Ringgold • Heather Anderson's -“Making Women's Arts Visible” (1992). • Work was colorful and relatable. • Meaningful art experience • Authentic art: • Closely following artistic practice • Drawing from life experiences (Giles, 1999 • Merge both of these practices in a fun, relatable way. • Critical Thinking and Reflection • Skills, Techniques, and Processes • Organizational Structure • Innovation, Technology, and the Future

  5. Faith Ringgold. Dancing at the Louvre. 1991 Acrylic on canvas, tie-dyed, pieced fabric border. 73.5 x 80"

  6. Faith Ringgold. A Family Portrait. 1997 Acrylic on canvas; painted and pieced border. 79.5 x 80"

  7. Faith Ringgold. The Sunflower Quilting Bee at Arles. 1991 Acrylic on canvas, tie-dyed, pieced fabric border. 74 x 80"

  8. Procedures • Images and PBS video shown to students. • Discuss Ringgold’s work and method. • How did Ringgold create her story quilt? How did she take already made fabric her own artwork? Fabric art is an ancient African tradition; why do you think Faith Ringgold chose this method? What are some of the subjects you see in her story quilts? Why do you think these subjects mattered to her? • Use sketchbook and graphic organizer to develop ideas. • Sketch and paint images on muslin and glue fabric pieces for border. • Self-evaluation written in sketchbook.

  9. Assessment

  10. References Anderson, H. (1992). “Making women artists visible.” Art Education, p.14-22. Giles, A. (1999). “'School art' versus meaningful artistically authentic art education.” NAEA Advisory. The National Art Education Association. Johnson, E., Kukyndall, L., & Singer, A. (2013). Appendix B: “General elementary and secondary assessment rubric.” University of Central Florida. PBS Video. (2009). “Craft in America: Faith Ringgold on creating Tar Beach story quilt.” [Video]. WUCF. Retrieved from http://video.pbs.org/video/2229400016/ Ringgold, F. (1991). Dancing at the Louvre. Retrieved from http://www.faithringgold.com/ringgold/d11.htm Ringgold, F. (1997). A Family Portrait. Retrieved from http://www.faithringgold.com/ringgold/d23.htm Ringgold, F. (1991). The Sunflower Quilting Bees at Arles. Retrieved from http://www.faithringgold.com/ringgold/d15.htm

  11. Elementary 3-D Michelle Stitzlein

  12. Objectives • Examine how found objects and waste can be used to create sculpture. • Interpret meaning from the works of Stitzlein • Understand how recycling ordinary objects into art can give the objects new life. • Discuss issue of consumerism, waste, etc. • Assess art based on analysis from Linderman (1984) • Create sculpture from found objects . • Use similar critiquing strategies to assess each other's work.

  13. Statement of Origin Standards • Wanted to focus on found art using the art of Louise Nevelson • Found Michelle Stitzlein while revising plans. • Found art is an increasingly popular and powerful art form, but it faces a lot of scrutiny for being true art. • Good way to incorporate some major artistic assessment questions • i.e. what makes something art, what makes art beautiful, does it have to be beautiful to be art, etc. (Linderman, 1984). • Critical Thinking and Reflection • Skills, Techniques, and Processes • Organizational Structure • Historical and Global Connections • Innovation, Technology, and the Future

  14. Michelle Stitzlein. Ochre Hornet Moth. 2007 80"h x 122"w x 12"d

  15. Michelle Stitzlein. ClavichordiumBlattaMoth. 2003. 44"h x 72"w x 15"d

  16. Michelle Stitzlein. Sunburst Cilia Lichen. 2010. 36"diameter x 6"d

  17. Procedures • Collect found objects. • Open class with discussion on what art is made of and can garbage be used for art. • Show Stitzlein images. • Discussion questions: • Do you like these images? Why or why not? What items do you recognize in these images? Why do you think she chose to create moths and lichens? (May need to define moth and lichen). What do you think her point is? What do you think about the fact that this is made up of garbage? What does that say about our waste in society? Would you say that this art is beautiful? Does art have to be beautiful to be good art? What is good art? What do we use to decide if it is good? • Use sketchbook to develop sculpture idea. • Create sculpture using found objects. • Pair with other students and assess each other’s work using worksheet.

  18. Assessment Assessed in two parts: • Sculpture assessment • Peer assessment worksheet

  19. Assessment

  20. References Linderman, M. (1984). Art in the elementary school: Drawing, painting, and creating for the classroom. Dubuque, Iowa: W.C. Brown. Stitzlein, M. (2003). ClavichordiumBlatta Moth. Retrieved from http://www.artgrange.com/MichelleSculpture/michellessculpture14.html Stitzlein, M. (2007). Ochre Hornet Moth. Retrieved from http://www.artgrange.com/MichelleSculpture/michellessculpture3.html Stitzlein, M. (2010). Sunburst Cilia Lichen. Retrieved from http://www.artgrange.com/MichelleSculpture/michellessculpture18.html

  21. Elementary Misc – Media Critique Teen Magazines and Self-Image

  22. Objectives • Examine the power of advertising • Explore the idea of personal image • Analyze cover images of teen magazines • Discuss the purposes and messages • Visit PBS Kids' website concerning media enhancements • Write a short paragraph about media tricks, a short paragraph about how media affect their decisions concerning their own or another's physical image, and a short paragraph about how to deal with it

  23. Statement of Origin Standards • Witnessed elementary school children being affected by images from teen magazines • Never particularly liked the message teen magazines communicate to children • Students are impressionable • Debatable age-range readership • Expose advertisement techniques • Discuss self-image • Bullying and Cyber-Bulling • Meaningful art • Personal purpose “such as confronting what is happening in their world” (Giles, 1999). • Critical Thinking and Reflection • Historical and Global Connections • Innovation, Technology, and the Future

  24. Procedures • Show images of front covers of Teen Vogue and Seventeen Magazine. • Class discusses: • What is the first thing you see on each page? Why? What text stands out most? Why? What about the subject stands out? Why? Is there anything that you on the cover that makes you want to read the magazine? What do you think they are trying to sell? To who? How are they trying to sell it? What attributes do you think makes this person beautiful or attractive? Do you think magazines like this tell you what is beautiful? How do you think this can cause girls or boys to act about themselves and how they look? • Pair at computers (potential trip to media center) and navigate PBS KIDS advertisement education interactive website. • Write a five sentence paragraph about media tricks, a five sentence paragraph about how they affect their decisions concerning their own or another's physical image, and a five sentence paragraph about how to deal with it.

  25. Assessment

  26. References Blue, T. (2009, December 31). Taylor Momsen does Seventeen Magazine. [Web log image]. Retrieved from http://tengossip.com/2009/12/31/taylor-momsen-does-seventeen-magazine/ Don't buy it: Get media smart. (2004). PBS Kids. Retrieved from http://pbskids.org/dontbuyit/advertisingtricks/ Faystyle. (2013). Magazine cover: AnnaSophia Robb by Jason Kibbler for Teen Vogue February 2013. [Web log image] Retrieved from http://faystyle.com/blog/2013/01/magazine-cover-annasophia-robb-by-jason-kibbler-for-teen-vogue-february-2013/ Giles, A. (1999). “'School art' versus meaningful artistically authentic art education.” NAEA Advisory. The National Art Education Association. Rimante. (2010, November 3). Planning and research – a girly music magazine. [Web log image]. Retrieved from http://dng-rimante.blogspot.com/2010/11/planning-and-research-girly-music.html

  27. Secondary 2-D Lesley Dill

  28. Objectives • Understand how images and literature can be merged together in art • Examine works by Lesley Dill • Interpret the meanings of Dill’s work • Understand how artists can draw inspiration from what they read in poetry, novels, newspapers, etc. • Read through their own text choices • Create an image that is inspired from their reading.

  29. Statement of Origin Standards • Inspired by reading development class • Part of the success in content-area learning comes from students interacting with a variety texts (Coe & Smith, 2010). • Learned about Dill in previous class • Appropriate way to implement the reading in art • “An artistically authentic experience closely follows the practices of artists” (Giles, 1999) • Critical Thinking and Reflection • Skills, Techniques, and Processes • Organizational Structure • Historical and Global Connections • Innovation, Technology, and the Future

  30. Lesley Dill Eye Drop 1994 Balsa wood, metal, copper & paper assemblage 26.5 x 20.5"

  31. Lesley Dill A Word Made Flesh...Arms 1994 Etching on rice paper, thread

  32. Lesley Dill Poem Eyes #3 1996 photo silkscreen shellac, thread on tea stained muslin

  33. Procedures • Collect various text material. • Show Dill images. • Class discussion questions: • What do these images have in common? Do you recognize the poet being quoted in the images? Why do you think poetry is important enough to Dill that she includes it in her work? Can you think of any other artists who uses text in their images? How does reading and writing affect the artistic process? • Research through literary material and discuss in groups. • Use sketchbooks to develop art pieces using literary inspiration. • Create piece using at least two media types on card board. • Write self-evaluation in sketchbooks.

  34. Assessment

  35. References Coe, V. & Smith, L. (2010). “Learning Module 2”. WebCourses. University of Central Florida. Retrieved from https://webcourses.ucf.edu/courses/969999 Dill, L. (1994). A Word Made Flesh...Arms. Retrieved from http://www.lesleydill.net/printmaking.html Dill, L. (1994). Eye Drop. Retrieved from http://www.lesleydill.net/graphicStudio.html Dill, L. (1996). Poem Eyes #3. Retrieved from http://www.lesleydill.net/textiles.html Giles, A. (1999). “'School art' versus meaningful artistically authentic art education.” NAEA Advisory. The National Art Education Association. Johnson, E., Kukyndall, L., & Singer, A. (2013). Appendix B: “General elementary and secondary assessment rubric.” University of Central Florida.

  36. Secondary 3-D Jean Shin

  37. Objectives • Understand that art can confront social issues • Examine sculptures of Jean Shin • Examine how ordinary objects can be used to create more powerful messages • Interpret meaning from the works of Shin • Understand how artists can draw inspiration from everyday occurrences and objects • Assess images based on art analysis from Linderman (1984) • Design a sculpture that they would like to create • Write a short paragraph about how sculpture to addresses a current issue and what objects would be most effective to use • Use similar critiquing strategies to assess each other's work

  38. Statement of Origin Standards • Found Jean Shin while looking through web pages on contemporary artists who work with found objects in sculpture • Content is extremely relevant and clear • Encourage students to produce work that increases awareness about current issues • Reshaping the image of youth to be “seen (and see themselves) as contributors to public life, not as public nuisances” (Gude, 2007). • Critical Thinking and Reflection • Organizational Structure • Historical and Global Connections • Innovation, Technology, and the Future

  39. Jean Shin. Sound Wave. 2007. Melted 78 rpm records on wooden armature. 5.2 ft h x 12 ft w x 12 ft d

  40. Jean Shin Altered Trophies 1-9 (Everyday Monuments) 2009 Sets of five sports trophies, painted and cast resin

  41. Jean Shin. Chance City. 2001-2009. $32,404 worth of discarded "Scratch & Win" losing lottery tickets (no adhesive). Approximately 7 ft h x 21 ft w x 10 ft d

  42. Procedures • Show Shin images. • Use student analysis cards to discuss assess Shin’s work. • Description, subject, visual structure, historical significance, interpretation, aesthetics, and judgement (Linderman, 1984) • Design sculpture in sketchbook. • Write short paragraph about purpose of piece and what objects they would use and why. • Assess each other’s work in groups of four and write feedback in at least five of Linderman’s analysis areas.

  43. Assessment

  44. References Gude, O. (2007). Principles and possibilities: Considerations for a 21st-century art & culture curriculum. Art Education, 60(1), p. 6-17. Linderman, M. (1984). Art in the elementary school: Drawing, painting, and creating for the classroom. Dubuque, Iowa: W.C. Brown. Shin, J. (2001-09). Chance City. Retrieved from http://www.jeanshin.com/chance_city.htm Shin, J. (2009). Everyday Monuments. Retrieved from http://www.jeanshin.com/everyday_monuments.htm Shin, J. (2007). Sound Wave. Retrieved from http://www.jeanshin.com/soundwave.htm

  45. Secondary Misc – Photography ShirinNeshat

  46. Objectives • Examine works by ShirinNeshat • Understand how art is used to identify with global struggles on a personal scale • Interpret meaning from the works of Neshat • Understand how an artist's work can inform other cultures about their culture and how they can draw inspiration from their own backgrounds and societal issues • Write a one page paper about a personal struggle, societal issue, or cultural problem, how it makes them similar to Neshat, and in what ways are they different. • Class will work collectively to create a photography project based on The Book of Kings Exhibit

  47. Statement of Origin Standards • Found ShirinNeshatin a previous class • Story is: • Inspirational • Relevant considering our society's current focus on Middle Eastern culture and beliefs • Understanding the life behind art allows us to “begin to see the connections between art history and virtually every realm of human experience” (Martin, 1993). • Photography - new and exciting element in the class • Show how art does connect the various aspects of our humanity. • Critical Thinking and Reflection • Skills, Techniques, and Processes • Organizational Structure • Historical and Global Connections • Innovation, Technology, and the Future