ARTED 478 Chapter 5 Questions

1. By talking with other teachers we can find out what students have been studying in past classes or what they are currently studying. Also by doing some kind of pre-assessment. This can be anything from a quiz to a discussion to a short assignment.

2. To teach for deep understanding I would try to challenge my students with deeper questions. I wouldn't provide all the answers but give them opportunities to figure things out. I would also use a variety of methods to teach the same idea such as images, hands-on projects and discussions.

3. Teaching to relevance is best done I think by finding things that are interesting to the students. And relating larger topics to their community. So for example if you are talking about feminism ask them questions about how they see women portrayed in the shows they watch or magazines they read. Giving students a chance to talk about themselves and their ideas always makes things more relevant to them. Teachers should do prior research and have discussion questions ready to help this along. 

4.  Teaching for relevance might make a subject too narrow. If teachers narrow down a subject it can get bogged down in the smaller things and students will loose sight of the big picture.

5. I'm still not entirely sure, but I think I would like to start with having the students paint their eye colors. This would most likely take a whole class period, but then I would like to talk about what they thought about as they painted their eyes and have a student led discussion. I would try to direct them towards ideas of self and identity. I would ask them questions about scars, hair color, skin color, etc. and how they identify themselves or others based on these characteristics. 

6. Some other questions are; "what do you think the artist wanted you to notice?", "What do you think is the message or idea behind this painting?"or, "why is this art valuable?".

7. Asking students questions that are engaging is an important step in this process. If it is a question that feels relevant to them and that doesn't have immediate answers. Also being forced to work within constraints helps students be forced to find new ways to problem solve. It reminds me of the TED talk "Embrace the Shake". The artist is limited by his hand tremors so he uses that problem to force himself to find new solutions. As teachers we can put similar constraints on our students projects. An example of how I might do this in the classroom would be a size requirement, or the subject of the work must be a _____, or they cannot use a pencil in this drawing.These kind of situations create problems that the students must creatively solve.

8. Identity
-Painting eye colors
-Discussion about self and identity
-Art History Project
-Symbols discussion
-Symbols Project
-Family project
-Point of View Project
-Drawing/gesture lessons
-Fashion project as a final project

9. If the students are engaged in the discussions and if they are creating things that fulfill the assignments. I also think it would be successful if the students are frustrated sometimes. Not all students will be and not all in the same lesson, but this would mean I am not giving them all the easy answers and that they are thinking and having to figure things out on their own. If I see growth in their art work or students asking thoughtful questions I will find the lessons as successful.


10. At the end of the unit students will have learned how to ask self-reflecting questions and how to work towards and answer creatively. Students will have learned various artistic skills and will have learned more about how identities are influenced by family and cultures. I want students to learn how to look inside themselves better and also how to look outside to see that people come from many different perspectives. I also want students to understand that identity is not a solid, unchanging thing but that it is something that flows and evolves as we age. I also want students to learn how to use different materials and feel comfortable with using them.

Fashion and the Figure Curriculum Unit Sketch

Fashion and the Figure

1.Rationale: This unit will teach students how to feel comfortable with different modes of drawing. They will have the chance to experiment with several different mediums and styles before their final project. They will also gain the ability to be more comfortable with making mistakes and not seeing their work as too precious. Students will be able to gain better knowledge of the human body and more aware of themselves as individuals as they pay more attention to clothing choices.

2.Students: This unit is aimed at students in late junior high/early high school

3.Unit Objectives: This unit will help students to become more aware of social constructs that have to do with clothing. We will have discussions about things such as stereotypes, context, and symbols to help students better access these ideas. Students will be able to recognize the value of different painting styles. Students will be able to create a larger scale piece of art.

4.Artists to possibly explore: Fidalis Buehler, James Christansen, Jack Taylor (illustration), Edgar Degas, Cayce Zavagalia, Mariana Santos, David Walker, Jennifer Nehrbass, Picasso, Anna Mendieta, Linda Stojak, Kerry James Marshall, David Downton, Tanya LIng, Elizabeth Peyton, Adrian Tomime. We will also discuss clothing from different time periods.

 

5.Essential Questions: What impact does clothing have on how we perceive others and ourselves? What kind of impact does our culture and time in history have on our clothes? How are these artists handling the human figure? What does this artwork convey about the figure?

6.Utah Art Learning Standards:

- Standard 7–8.V.CR.2: Document early stages of the creative process visually and/or verbally in traditional or new media.

-Standard 7–8.V.CR.5: Demonstrate persistence in developing skills with various materials, methods, and approaches in creating works of art or design.

-Standard 7–8.V.CR.6: Demonstrate willingness to experiment, innovate, and take risks to pursue ideas, forms, and meanings that emerge in the process of art-making or designing.

- Standard 7–8.V.CR.11: Reflect on and explain important information about personal artwork in an artist statement or another format, and apply relevant criteria to examine, reflect on, and plan revisions for a work of art or design in progress.

- Standard 7–8.V.R.2: Explain how a person’s aesthetic choices are influenced by culture and environment.

- Standard L1.V.CR.1: Use multiple approaches to begin creative endeavors.

- Standard L1.V.CR.2: Shape an artistic investigation of an aspect of present-day life using traditional or contemporary practices of art or design

7.Instructional Plan:

-Painting on large sheets of paper with large brushes only. This way students will be forced to try new things and they can’t become finicky with the work.

-Talking about color theory and trips/tricks of paint mixing they learned.

-Cut down these images into new paintings. This will help students see the work as less precious.
-Gesture drawings with charcoal or pastels.

-Looking at bones and/or anatomy.

-Creating textured collages to draw on top of.  

-Draw from other artists such as fashion artists or old masters.
-Show artists and their various techniques and discuss them as a class.

-Visit a museum and talk about various techniques.

Sample questions for discussion within the museum or later:

-What is your first thought when you see these clothes?

-How does this painting express an idea? How does the

figure

-How does clothing give us power?

-Is this a good painting?

-What is beauty in the human figure?

-Who cares? Why?

-Discussion about clothing and short lesson on historical clothing.
-Gesture or loose drawings with a variety of materials (ink, paint, chalk, pastels, crayon, watercolors,etc). Students will be required to rotate through different materials and try new techniques. They will be encouraged to fail and try layering images or other such techniques.

-Rotating pieces with other students so that the layer underneath is from a different student.
-More careful look at clothing choices. Explain the larger project and students will be given the chance to do research or practice skills to prepare.

- Demo if students want one.

8.Culminating Project: Students will create a large painting or pastel drawing of a person they know (themselves, a friend, a family member, etc.) and pay special attention to the clothing on the person. The clothing can be from any time period and in any style. The students will write a short paragraph on why they choose the clothing they did. They must also put some thought into the background.

9. Possible Problems and Solutions:

-Students who are stuck and can’t decide who/what to paint or can’t choose a style will be assigned to do a self portrait of themselves in their favorite clothing or dream clothing and be told to write about why it is their favorite clothing. They will answer the question ‘what does your clothing say about you?’.

-Students who feel discouraged by the idea of painting a realistic figure can paint a figure in the style of an artist such as Picasso, Fidalis Buhler or some such artist. As long as they are looking to a real person and not an imaginary person or someone from the internet this will still fulfill the assignment.

10.Assessment: Students will be graded on fulfilling the large culminating project. They will also be given participation points every day. There will be a write up after at least one of the discussion days to help students formalize their thoughts and give everyone a chance to share new ideas.

*Dr Graham: I emailed you a better formatted copy of this, but my blog and I were fighting each other on the formatting.

ARTED 478 Art History Lesson Plan

Enduring Ideas

Identity

Possible Artists

Kehinde Wiley, Rembrandt, Monet, Andy Warhol, Salvador Dali, Leonardo da Vinci, Thomas Anshutz, Caravaggio, Georges Seurat, Vincent van Gogh

Key Concepts

How clothing and surroundings effect people. How art has changed over time.

Essential Questions

Why is this time period/artist important? What do the peoples clothing/ scenery make you think of? What do these things imply?

Unit Objectives

Students will have the opportunity to view a wide range of artists and better understand how clothing affects how people are perceived.

Instructional Plan

Students would work in groups and choose an artist from the list or the available books. They will have the opportunity to do some research to choose a piece and talk as a group about what is happening in the piece and why it is significant. The students will then create some kind of representation, whether it is dressing up as parts of the painting or artists, collage, or painting. The only restriction for the presentation is no power points are allowed. They will be required to share what time period this artist is from with some historical context and how that appears in the work. As students are working in groups I will go around and have small discussions with them about why they were drawn to that piece. We will discuss what makes it art and about the clothing and scenery choices made by the artist.

Assessment

Students will be graded on how they worked together as a group and the quality of the presentation. They will also be assessed through how much they participated in our smaller discussions and the class discussion at the end of the lesson.

ARTED 450 Unit Sketch -- Fashion and the Figure

1.What impact does clothing have on how we perceive others and ourselves? What kind of impact does our culture and time in history have on our clothes? How are these artists handling the human figure? What does this artwork convey about the figure?

2.This unit will help students to become more aware of social constructs that have to do with clothing. Students will be able to recognize the value of different painting styles. Students will be able to create a larger scale piece of art.

3.Artists to possibly explore: Fidalis Buhler, James Christansen, Jack Taylor (illustration), Edgar Degas, Cayce Zavagalia, Mariana Santos, David Walker, Jennifer Nehrbass, Picasso. We will also discuss clothing from different time periods such as: 1920’s, Victorian Era, 1980’s, Renaissance, etc.  

4.Painting on large sheets of paper with large brushes only.

Then talking about color theory and trips/tricks of paint mixing they learned.

Gesture drawings with charcoal or pastels another day.  

Show artists and their various techniques and discuss them as a class.

Discussion about clothing and short lesson on historical clothing.

Gesture or loose drawings with a variety of materials. Students will be required to rotate through different materials and try new techniques. They will be encouraged to fail and try layering images or other such techniques to help stop students from making their work too precious.

More careful look at clothing choices. Explain the larger project and students will be given the chance to do research or practice skills to prepare. Demo if students want one.

5. Students will create a large painting or pastel drawing of a person they know (themselves, a friend, a family member, etc.) and pay special attention to the clothing on the person. The clothing can be from any time period and in any style. The students will write a short paragraph on why they choose the clothing they did. They must also put some thought into the background.

ArtEd 478 ch 4 ideas

Art History: I would make it fun through creating projects where the students explored the history instead of me lecturing about it. I would need to provide resources, either from my collection or from the school library, but I would provide books for the students and then divide them into groups of two or three. They would choose either an artist or a time period and every group would have to sign up for something different. Then they would have time to create some representation, whether it's a collage, painting, or they dress up as the artist. But they wouldn’t be allowed to do a powerpoint presentation. All the groups would do a short presentation to the class at the end of the assignment. Each group would need to answer the question, “why is this time period/artist important?” in the presentation.If I felt that there were any gaps that needed to be covered I would then go over those on a later date.

I would also try to relate students work to contemporary or past artists. I have had several professors do this and I have found it useful in helping me create new ideas and feel like I’m making something worthwhile. It might be something as simple as their color scheme or materials, but this would be another way I could expose the students to more artists. I would simply show them work by the artist I am comparing their work to and encourage them to explore the artist’s work.

Criticism: I would want to find some kind of video clip to help explain what art criticism is. We would talk about criticism until I felt the students had at least a basic understanding and then I would show art that I felt the students would be interested in. This would most likely vary from year to year, but I would include work by artists like Jason deCaries Taylor, Damien Hurst, or Frank Nitsche. We would then discuss the piece and attempt to describe it as if we were art critics. I wouldn’t spend very long doing this in one setting, but every time I introduced a new artists or artwork I would have the class describe it back to me to practice art criticism.

Aesthetics: I would talk about aesthetics at the same time as criticism. I would explain the difference between the two. I would show art (at a different time than during our criticism discussion) and ask if the students felt it was art, and then why or why not. And then I would ask if it was good art, and why/why not. I would do an interchange between asking students about criticism and aesthetics when we discussed artworks.