Philosophy of Teaching

My philosophy of teaching is derivative of my philosophy of learning; I've experienced a wide array of learning environments as a student, so my teaching methods have benefited exponentially from this exposure. It is my contention that every student has the potential to be a professional learner and should be treated as such. Within this mindset, I believe that while maintaining the boundaries involved with leadership, students should be engaged as colleagues, and the educational (learning) experience should be presented and carried forth as a collaborative effort. It is of paramount importance that each student be given the opportunity to take ownership of his or her learning experience. With this said, I believe as an instructor my presence should always be felt by the learning community, even if my role at certain points amounts to not much more than a bystander, I should be present.

As for Art Education, my philosophy is ever expansive. I have found that the more I learn, the more opportunities my students will have to learn. As the avenues I take to indulge my interest in the arts become more varied and cover a larger scope, these same learning variations will be present for my students in the classroom. I strive to include all realms of art and art-making, both traditional as well as tangential.

• Art History/ Criticism/ Aesthetics
• Reading/ Writing/ Debating/ Discussing
  
• Cultural History/ Geography/ Multi-disciplinary
• Studio
• Traditional Art-Making/ Non-Traditional Art-Making

Conclusively, I believe it to be the responsibility of every instructor to promote modes of thinking above all else. These are the tools that will transcend the classroom and positively affect every aspect of a student’s life.

eLecture: Preparing Your Canvas

Preparing a canvas is an art form in and of itself. It is necessary to keep this in mind, especially when first attempting to prepare a canvas, because it truly takes experience before an appropriate and comfortable method is found. Of course, the question can be asked, “Well why would I want to go through the trouble of preparing my own canvas when I can just by one that’s ready-to-go from the store?” My answer to this question is manifold. Firstly, you will be learning a new and unique set of skills. In learning this set of skills and putting them into practice, you will most definitely have a greater appreciation for every painting you make. Reasonably speaking, the more time you invest in a project, the more likely you are to have a strong connection with said project. Secondly, you will link yourself to the long tradition of great craftsmen/painters throughout art history. Finally, making paintings is more than just an activity carried out on a canvas. Creating a painting, like creating within any other discipline, requires of the participant a certain mindset. You should strive to be wholly invested in every aspect of creating a painting, every detail. This mindset, and only this mindset, will provide for you all of the wonderful nuances that are involved with making a painting, which will in turn lead to more thoughtful work.
Now, like any craft, canvas preparation is time-consuming and requires much persistence. There are steps that should be followed in order to efficiently and successfully prepare any canvas. What I will be discussing are the basic steps necessary for preparing your own canvas. In following the steps that I lay out, you can elaborate and refine any of them to suit your personal preferences and/or means. I will also list, at the end of this tutorial, several resources where you can find more in depth information about canvas preparation.

Stretching Your Canvas

1. Having the right supplies in the right amount is essential. Below is the basic list of supplies necessary for stretching a canvas (subsequently the supplies I will be using during the tutorial):


- Pliers – Canvas pliers are tools developed specifically for stretching canvas.
- Staple Gun – The staple gun serves to secure the canvas over the stretcher bars.
- Staples – Of course if you are using a staple gun then you will need staples. 5/16” (8mm) staples are generally the most universal in regards to the various types of staple guns and tend to be the easiest to find.
- Stretcher Bars – Stretchers bars can be purchased from an art store or made from basic 2x3” or 2x4” sized wood. When purchasing stretchers from the store, I use as my rule of them the length 36”. What I mean by this is that when stretching a canvas under 36” in length, I will use light weight stretcher bars. When any one of my dimensions is greater than 36”, I will use heavy-duty stretcher bars (which are at least 2 inches in width). When working larger, it is also recommended to use braces that stretch parallel with the smaller side of the canvas. This will keep your canvas from warping. When making your own stretchers, the most important part is finding wood that is not warped at your local hardware store. You will notice that on pre-made stretchers, the outside edge of the stretchers are raised and beveled, this is done so that the shape of the stretcher bar does not impede upon your painting surface. So, after you choose your wood, you will want to find pieces of quarter-round (commonly used at the intersection of wall and ceiling for a cleaner aesthetic), which will be nailed (preferably a nail gun) to your wood pieces. You will then be ready to stretch you canvas over the secured quarter-round.
- Right Angle or Door Frame – Since you will most likely want your canvas to be ‘square’ (perpendicular), you will need either a metal right angle to check that it’s ‘square’ or a door frame. Typically, I use both the doorframe and the right angle.
- Small Hammer – This will be used to help knock your stretcher bars together as well as hammer any protruding staples into the wood.
- Utility Knife – You will use the utility knife to both cut out the canvas as well as cut off any extraneous canvas.
- Canvas – There are two primary types of canvas material you will come across. The first type is cotton canvas. Consisting of woven cotton, it is typically white in color, and you will find it ranging from light to heavy weight. The heavier the weight of your canvas, the stronger and more stable it will be for painting on. The second type of canvas material is linen. Linen is generally brownish grey in color, and because this material is finer than cotton, it can be woven more tightly together and therefore supplies a stronger and more stable ground to work on than cotton canvas. For this reason, linen canvas is more expensive than cotton canvas.


2. After gathering all of your necessary supplies, you will need to begin to put them together. The first step in doing this is putting together your stretcher bars. For our purposes here, I have used pre-made stretchers. Hammer the stretcher bars together with the aid of a doorframe to help ‘square’ your stretchers. Following this, check each corner with a right angle to make sure they are perfectly square.



3. Next, you will want to secure your stretchers by stapling the inside of each of your corners.

4. Following this you will want to cut out your canvas. Of course you want your canvas to be as large as the stretchers you are using, but you also have to keep in mind that the canvas should stretch over the sides and onto the back of the stretcher bars. A good rule of thumb is to add the width of each one of those stretcher dimensions to the length and width of the stretchers themselves in order to ensure you will have the appropriate amount of canvas for your painting.

5. You are now ready to stretch your canvas. Begin by stapling the middle of each side of your canvas to the underside of your stretcher bars. Alternate by moving from one side to the opposite side in order to maintain an equal amount of tension on each side. Continue alternating and stapling each side by placing two staples per side (one to the left and one to the right of the center) until your staples come to the each corner.


6. This is the tricky part. When you come close to the corners of your stretchers you need to leave about 2” of room on either side of the corner. You will then pull the excess canvas straight out, fold the canvas under on a 45-degree angle, and then pull the remaining canvas over top of the fold, even with the corner of the stretchers and finally over the back of the stretchers. Staple this excess canvas down and then take a break because you deserve it.

Priming Your Canvas

To preface this section some, what I will be discussing is the traditional method of priming a canvas at its most basic. I will follow up this section with different variations of canvas priming that can be employed to achieve different and varied painting surfaces.

1. Once again, your first step is to gather your materials.

- Bucket – This will be used to mix the gesso with water in order to thin its consistency for a more efficient application.
- Palette Knife/ Scraper – This will be used to both mix the water and gesso as well as apply the gesso to the canvas.
- Sand Paper – Fine grit sand paper will be used in between gesso applications to keep the painting surface consistently smooth.
- Canvas Sizing – This will seal your canvas fibers so that your gesso spreads more easily and is able to weather more varied environments than unsized canvas.
- Utrecht Artists’ Grade Acrylic Gesso – This will serve as the painting ground.
- Gesso Brush – This will be used to brush the sizing and the gesso over the surface of the canvas. Generally, nylon brushes from 2” to 4” in width are used.

2. Apply the canvas sizing over the entire canvas surface, making sure that your brushstrokes are all in the same direction. You should be relatively generous when applying the sizing while making sure that it does not pool (puddle) in any area. It is generally understood that about 8oz. of canvas sizing covers about 10 square feet of surface. Allow the sizing about 1 hour to dry.


3. Using a fine grit sand paper (between 150 and 220), sand the surface lightly using a circular motion.


4. Repeat the process in step 2, but brush the sizing in the opposite direction. Do not forget to allow the sizing about 1 hour to dry, and do not sand the surface again.

5. Using a bucket and palette knife, mix water into your gesso to thin its consistency.


6. You are now ready to apply the gesso. Begin by using your palette knife to spread the gesso over the center of the canvas. Lightly scrape and spread the gesso and then brush it over the surface, making sure your brushstrokes follow the same direction. Continue applying and brushing in this manner while working out from the center and alternating sides. This method of alternation allows for a nice even and consistent spread. When finished, allow the gesso about 1 hour to dry.


7. Using a fine grit sand paper (between 100 and 150), sand the surface lightly using a circular motion.


8. Repeat step 6 while making sure that your brushstrokes all face in the opposite direction. Allow about 1 hour for the surface to dry.

9. Lightly sand the surface again, using fine grit sand paper (100-150) in a circular motion.

10. It is of course optional, but you may want to apply one more coat of gesso for a maximum level of consistency in surface. If you do decide to do this, you can just repeat the application and sanding steps listed above.

• Another option to keep in mind is whether or not you want to gesso the sides of your canvas. If you plan to paint the sides it would beneficial to gesso them. I personally enjoy nice clean sides, so I do not gesso them. In order to gesso the sides, just follow the same procedures listed above.

Now you can sit back and admire your overwhelmingly white canvas (satisfying yet daunting, isn’t it). A few things should be taken into consideration if and when you decide to prepare your own canvases. First and foremost, put on some enjoyable music because canvas preparation is long and hard work. Secondly, it may be to your benefit to prepare several canvases at once, especially during the priming process. Since the drying time between gesso applications is so long, it would be to your benefit to prepare several canvases at once so that you get more for the time you’ve invested.

Alternative Practices and Ideas for the Classroom

While the methods for canvas preparation discussed above will result in a nice smooth surface for painting, they certainly aren’t the only manners in which you can prepare a canvas. Some artists have used shapes that aren’t perpendicular (Frank Stella); these are known as ‘shaped’ canvases. You can also experiment with different types of gesso application. This experimentation can be quite fun and will often yield wonderfully unexpected results. Take the time to experience for yourself the difference between sized and unsized canvas, primed and unprimed canvas, as well as a combination of both.
What type of textures can you get?
What if you only primed a section of the canvas, leaving the other section unprimed?
What is the difference between unsanded gesso and sanded gesso?
What other possibilities are there?

Perhaps using a traditional prompt such as the landscape or the figure can be a point of departure.
- With the idea of landscape or figure in mind, develop a painting using traditionally primed or entirely unprimed canvas.
- Develop a painting using various levels of texture.
- Perhaps your work will utilize several of these 'preparatory' methods.
- How have your ideas about the relationship between the preparation of your canvas and the actual painting on your canvas changed?
- What artists can you think of employ different strategies during the preparation and painting of their works??
Helen Frankenthaler (stained, unprimed canvas)
Frank Stella (shaped canvas)
Mark Rothko (raw canvas)
Gerhard Richter (rich textures/ smooth surfaces)
Anselm Kiefer (rich textures)

These artists are literally the first five that came to mind when thinking about the canvas surface, and I know for a fact that there are an innumerable amount of artists who deal with the canvas surface with great variance. Perhaps you can list the first five that come to your mind.

Additional Resources

- On Canvas Priming:
www.ehow.com/how_2083325_prepare-canvas-oil-paints.html
www.ndoylefineart.com/stretchcan.html
- On Canvas Sizing:
www.johnannesley.com/FAQs.html

WebQuest

Art Detective

Wish You Were Here (Lesson Plan)

Teacher: Bryan Rice
Grade Level: 7th & 8th Grades
Title: “Wish You Were Here” (Postage Stamps)

Brief History/ Background:
Postage stamps are used all over the world and span any type of subject material you can think of. You can learn quite a bit about a culture from the types of stamps they produce. Do they like to promote nationalism? Are they a proponent of popular culture? Etc. Rarely do people get to design their own postage stamps, so it will be a unique experience and an opportunity to tell everyone a little bit about where you live and what’s important to you.

NETS:
1 a./b.
2 b./c./d.
3 c./d.
4 a./b.
5 d.

Arts & Humanities:
9.1.8 a/b/c/h
9.2.8 a/b/d/g
9.3.8 f

Goal:
Students will create postage stamps that visually describe the unique/ special qualities of their ‘homes’ with the use of collage. They will then choose a country a write a letter to a fictitious friend in this country. The letter should indicate that the student has an understanding of the geography and culture inherent in that country as well as tell his/ her friend about the unique qualities of his/ her ‘home.’

Objectives: Students will:
1. gather ideas about their homes, communities, and what is important about these places
2. create a postage stamp (8x8 inches) about their special places
3. describe how their images represent their special places
4. be able to make use of collage elements of design when making images
5. gain an understanding of the thought processes that are involved in the making of collaged images

Requirements: Students will:
- gather magazines/ book/ misc. printed images that represent their homes/ special places as well as upload digital images
- collage images together to make one cohesive image (there must be at least 5 different images used)
- leave a 2”x2” square blank within their pieces
- complete the cohesive image with either pencil or colored pencil within the square
- choose a country outside the United States to send it to (possibly a country of their nationality) and research this country
- write a brief (fictitious) letter that would be placed inside the ‘stamped’ envelope to send to particular country
- included in the letter should be indications that the student understands the geography/ culture of the area
o e.g. If you are sending it to an area that is primarily dry/ desert climate, then you could include questions like: “How as the weather been their? I understand that you’ve been through a drought. Has it affected your family much? Tell me about those dances you have been performing in? (etc./ the questions and comments should indicate that you have an understanding of this place and what happens there)
o also included in the letter is an explanation of ‘the student’s’ home/ what is happening there that is unique/ that corresponds with the stamp image that is created

Supplies/ Materials:
1. magazines
2. books
3. possibly fabric
4. misc. image resources
5. scissors
6. pencils
7. colored pencils
8. white construction paper
9. glue
10. world map
11. digital camera

Resource Materials/ Visual Aids:
- various internet resources
- books on artists who utilize different types of collage
- cultural and geographical references for their letters
- power point to explain different options for creating collages as well as various collage artists and techniques

Teacher Preparation:
- online resource list
- prepare example
- world map (online)
- digital cameras
- develop power point
- create exemplar (perhaps not completely finished so students aren’t merely trying to mimic the ‘teacher’s’ copy

Introduction:
Students will be asked to think about what makes their ‘homes’ stand out to them. What is unique about ‘your’ home? They will be shown a power point with an introduction to different subject matter that has been utilized in the design of stamps all over the world. The power also be shown various collage techniques as well as artists who employed these techniques.

Directions:
- Find visuals that represent what is unique about your “home”
o Use magazines/ books/ newspapers/ uploaded digital images/ etc.
- Use collage elements to arrange the visuals so that a cohesive image can be read
o You must use at least 5 different visuals to make your image
o Leave a 1” blank border
- leave a 2”x2” section blank, as you will be (pencil/ colored pencil) drawing in this section to complete the cohesive image
- Cut the 1” blank border to reference the edge of a stamp
- Choose a country to send your stamp to/ research this country
- Write a letter to a “friend” in this country explaining the unique qualities of your “home”
o The letter should also have questions to your friend about his/ her “home” (indicative of your research on the culture and geography of the country)

Critique/ Evaluation/ Assessment:
Each student will shortly present his/her stamp and letter. They will then discuss various successful aspects of the postage stamps. How does it display unique things about someone’s home? Does the collage read as one cohesive image?

Extensions:
For those who finish early, they will be working on one of two things:

• - A second postage stamp that involves collaged images of the culture to which they are sending their letters
• o E.g. If a student is sending his/her letter to India, then he/she will be making a postage stamp they displays visuals which refer to India’s culture/ uniqueness
• - Or they will be working on their extension projects that are ongoing throughout the marking period.
• o Students are to have 4 artist critiques by the end of the marking period
• • Using the resource materials in class (internet/ books/ etc.), students will choose an artwork (to be approved by teacher) and critique this artwork
• • They will refer to their handouts which explain the critique process/ they can also refer to the critique that was done in class via power point with the aid of the instructor
• • They will write 3-4 sentences for each section: describe/ analyze/ interpret/ judge

Time Budget:
Day 1
- 15 minutes – Power point introduction (project/ materials/ collage elements)
- 25 minutes – gather materials/ resources and ideas
- 5 minutes – Clean up
Day 2
- 5 minutes – Recap
- 33 minutes – Work on collages/ research country
- 7 minutes – Clean up
Day 3
- 5 minutes – Recap
- 33 minutes – Work on collages/ research country
- 7 minutes – Clean up
Day 4
- 5 minutes – Recap
- 33 minutes – Work on collages/ research country
- 7 minutes – Clean up
Day 5
- 10 minutes – Hang work
- 25/30 minutes – Group critique/ presentations
- 5/10 minutes – Take down work

Vocabulary:
- collage
- mixed media
- culture
- geography

Safety Concerns:
The artistic materials should all be used appropriately, and as always, students’ work should be respectful in regards to a classroom setting.

12th Grade Art Curriculum

The Investigation of Art, History & Ourselves
12th Grade Art Curriculum
~ The primary intentions of this curriculum are to foster creative problem-solving and multi-dimensional expression through the means of art-making. While moving through each project, students will work towards developing deeper and more varied modes of thinking while experiencing new and traditional materials and the multitude of ways in which they can construct and re-invent these materials.


Art as Symbol
~ Symbols have been depicted since the earliest forms of communication between humans. They have been used to explain the types of cultures they’ve come from as well as major events that took place during those times. As artists, it is important for us to acknowledge the importance of symbols and how they can effectively be used to convey meaning.

(2 Weeks)
What can we learn about the lives of ancient cultures through their art and artifacts?
What does their art depict?
What type of aesthetic was used?
What can we learn about our own culture through our visual surroundings?
Objectives:

• Identify an ancient culture and what their art and/or artifacts symbolized
• Compare their various depictions to what we popularly depict in our culture
• Take one of their ideas/depictions and develop your own design from their original depiction
• Evaluate how well your image depicts the original idea

Habits of Mind:
Thinking flexibly - Creating, imagining, innovating - Remaining open to continuous learning
Assessment Tools:
Rubric/ Critique
Visual Resources/ Equipment:
Projector/ Internet/ Computers/ Art History Books/ Popular Magazines
Supplies: ($)
Pencils/ Sketchbook/ Paper/ Illustration Board/ Ink/ Brushes/ Artist Tape

Art as Shape
~ Shapes can be found anywhere one looks, and the employment of shapes has been the foundation of every creative enterprise throughout history. As artists, it is imperative that we understand how shapes relate within any and every art form. For our purposes here, we will investigate how shapes can have a harmonious relationship with one another.

(2 Weeks)
How can an artist create a harmonious relationship between positive and negative shape?
Objectives:

• Identify and define the two major elements of shape
• Demonstrate your understanding of the use of positive and negative shape through various ink sketches
• Design an inanimate object using two different colors only to denote positive and negative shape (the relationship should be harmonious)
• Evaluate the strengths and weaknesses of your design

Habits of Mind:
Persisting - Thinking flexibly - Striving for accuracy - Creating, imagining, innovating
Assessment Tools:
Rubric/ Critique
Visual Resources/ Equipment:
Projector/ Internet/ Computers/ Art History Books/ Magazines
Supplies: ($)
Pencils/ Sketchbook/ Paper/ Illustration Board/ Ink/ Acrylic Paint/ Brushes/ Artist Tape/ Tracing Paper


The Art of Color
~ Color has embodied many different qualities throughout Art History. As artists, it is important for us to study the different manners in which color has been utilized in art-making. For our purposes here, we will be studying how it has been used as a primary means of expression.

(2 Weeks)
Where in Art History is color used as a primary means of expression?
What color elements are being utilized?
Objectives:

• Identify an era/movement in Art History where color is the primary means of expression
• Demonstrate your understanding of the color elements being employed
• Explain why the artists of your particular era/movement use color the way they do
• Choose two elements of color that are strongly utilized by the artists you’re researching
• Create a painting using just those two color elements in either vertical or horizontal bands
• Evaluate your work by comparing the color elements of your artists’ work and your own piece

Habits of Mind:
Metacognition - Striving for accuracy - Listening with understanding and empathy
Assessment Tools:
Rubric/ Critique/ Presentation
Visual Resources/ Equipment:
Projector/ Internet/ Computers/ Art History Books
Supplies: ($$)
Pencils/ Sketchbook/ Paper/ Acrylic Paint/ Brushes/ Artist Tape/ Canvas/ Stretchers/ Pliers/ Staple Guns

The Art of Illusion
~ Developing the illusion of space has been a primary endeavor of artists for hundreds of years. As artists, it is necessary that we understand and when necessary employ the various methods for depicting illusory space. For our purposes here, we will be choosing two of these methods in the creation of a still-life.

(2 Weeks)
What artists throughout Art History have used a strong sense of illusory space in their artworks?
What types of space were utilized?
Objectives:

• Identify various artists throughout Art History that strongly employ illusory space
• Compare the different methods of creating illusory space
• Create a drawing of a still-life utilizing a combination of two different illusory elements
• Present your ideas and influences to the class
• Evaluate the strengths and weaknesses of your work

Habits of Mind:
Listening with understanding and empathy - Thinking and communicating with clarity and precision - Remaining open to continuous learning
Assessment Tools:
Rubric/ Critique/ Presentation
Visual Resources/ Equipment:
Projector/ Internet/ Computers/ Art History Books
Supplies: ($)
Pencils/ Sketchbooks/ Paper (heavy weight - 18x24 or larger)/ Pastels


The Art of the Figure
~ The figure has been a fixture in art for thousands of years. As artists, we must understand how and why the figure has been used throughout history in order to intelligently and successfully use it within our own works. For our purposes here, we will be using the gestural qualities of the figure to develop abstracted sculptures.

(3 Weeks)
What different periods in Art History use the figure as a primary subject of depiction?
What are some reasons artists chose to depict the female figure so often?
What two artworks during the turn of the 20th century challenged the typical manner in which women were depicted in art?
Why might these artworks have been seen as inappropriate?
Objectives:

• Identify different periods in Art History where the figure is used widely as a subject
• Explain why the figure was used as a primary subject during these different periods
• Compare and contrast the use of the female figure throughout different periods in Art History
• Create gesture drawings of the figure with stick and ink
• Use your two-dimensional gestural practices to design a three-dimensional gestural abstraction to be execute in clay
• Evaluate the strengths and weaknesses of your work

Habits of Mind:
Persisting - Thinking flexibly - Creating, imagining, innovating
Assessment Tools:
Rubric/ Critique
Visual Resources/ Equipment:
Projector/ Internet/ Computers/ Art History Books
Supplies: ($$$)
Pencils/ Ink/ Sketchbook/ Paper/ Clay/ Clay Shaping Tools/ Kiln


Art as Self

~ The self-portrait has been used by critics and artists alike as a psychological and metaphorical representation of the self. As artists, we need to seek to understand the many methods in which artists choose to represent themselves. For our purposes, we will create three depictions of ourselves using the ideas of representation, trace and symbol.

(3 Weeks)
What are some different ways artists have represented themselves throughout Art History?
Objectives:

• Identify various self-portraits made throughout Art History
• Compare the different methods of representation used by different artists
• Identify the basic measurements of the human head and face
• Use these measurements to make a representational self-portrait using pencil
• Using both digital and traditional media, create a self-portrait based on the idea of trace
• Study and compare various symbolic and/or non-representational self-portraits throughout Art History
• Create a symbolic/ non-representational self-portrait using mixed media and/or collaged materials
• Compare and contrast the similarities and differences of each of your pieces

Habits of Mind:
Persisting - Thinking Flexibly - Apply past knowledge to new situations
Assessment Tools:
Rubric/ Critique/ Writing
Visual Resources/ Equipment:
Projector/ Internet/ Computers/ Printers/ Art History Books
Supplies: ($$)
Pencils/ Sketchbook/ Paper/ Magazines/ Miscellaneous Collage Materials/ Acrylic Paint/ Brushes/ Glue (spray adhesive)/ Mirrors


Art as Narrative
~ For thousands of years, artists have used their work to tell a story, whether it be of a singular event or of a way of life. As artists, we must explore the different methods of artistically telling a story in order to strengthen our own uses of narrative. For our purposes here, we will be using narrative to create works about events from our own lives.

(2 Weeks)
How have artists used their artworks to tell a story?
What type of stories are being told?
How effective is their means of story-telling?
Objectives:

• Identify different artists throughout Art History that have used their works to tell a story
• Compare the different types of stories being told as well as how they are told/ depicted
• Choose one artwork to analyze and present to the class
• Create a narrative piece about an event that has happened in your life (something that has possibly personally affected you)
• Present your work to the class
• Evaluate the strengths and weaknesses of your work

Habits of Mind:
Thinking flexibly - Metacognition - Thinking and communicating with clarity and precision
Assessment Tools:
Rubric/ Critique/ Presentation/ Writing
Visual Resources/ Equipment:
Projector/ Internet/ Computers/ Art History Books/ Other Books
Supplies: ($$$)
Pencils/ Sketchbook/ Paper (heavy weight)/ Colored Ink/ Canvas/ Acrylic Paint/ Brushes/ Stretchers/ Pliers/ Staple Gun/ Gesso


Art as Response
~ Ever since art has been accessible, artists have been making work in response to other artworks. As artists, it is important for us to understand that we can critically and emotionally respond to another work of art. For our purposes here, we will be responding to works of art using the same medium as well as responding to works of art of a different medium with the hopes of developing an understanding of the similarities and differences between the two modes of response.

(3 Weeks)
How have artists responded to other art throughout Art History?
Why did they do this?
Objectives:

• Identify artists throughout Art History who have responded to other artworks with their own work
• Explain/ describe why the artists chose to respond to particular artworks
• Choose an artwork from Art History to respond to in the same medium
• Choose a work of art (any medium) to respond to in a different medium
• Compare and contrast the effectiveness of responding to art in the same medium vs. responding in a different medium

Habits of Mind:
Questioning and posing problems - Metacognition - Responding with wonderment and awe
Assessment Tools:
Rubric/ Critique/ Presentation/ Writing
Visual Resources/ Equipment:
Projector/ Internet/ Computers/ Art History Books/ Literature/ Audio-Video Equipment
Supplies: ($-$$$)
To be determined by the students


The Art of Defiance
~ Some of the most renowned artists in history have been those who opposed the traditional methods of art-making of their time periods. As artists, we must investigate these acts of defiance in order to understand how Art History has been affected by these decisions. For our purposes here, we will be creating works that defy some sort of pre-determined convention.

(3 Weeks)
How have artists made works that defied the traditional art of their day?
Objectives:

• Identify artists throughout Art History that have made work which opposed the traditional artwork of the time period
• Describe their acts of defiance and how they affected the way Art was viewed
• Compare different artists acts of defiance (how do they differ/ how are they similar)
• Choose either an idea of subject matter or medium to respond to
• Create a piece that defies the conventions of your chosen subject matter or medium
• Present your work to the class
• Evaluate the strengths and weaknesses of your work

Habits of Mind:
Metacognition - Questioning and posing problems - Thinking and communicating with clarity and precision
Assessment Tools:
Rubric/ Critique/ Presentation/ Proposal/ Writing/ Self-Reflection
Visual Resources/ Equipment:
Projector/ Internet/ Computers/ Art History Books/ Audio-Visual Equipment
Supplies: ($-$$$)
To be determined by the students


The Four Elements
~ Ideas such as the four elements have been utilized to much different degrees for thousands of years, across many disciplines, and throughout many cultures. As artists, we should explore ideas such as these in order to put our modes of thinking to the test. For our purposes here, we will be creating multi-paneled/ multi-dimensional pieces based on the idea of the four elements.

(3 Weeks)
How have artists used the four elements in their work?
What are some similarities and differences between environmental art and traditional art?
Objectives:

• Identify different artworks that use the ideas of earth, air, fire & water
• Explain how these artists used these elements
• Examine the similarities and differences between the different artworks
• Create a piece of your own that employs the ideas of the four elements (the piece must have at least two panels or cover two different dimensions)
• Present your work to the class
• Evaluate the strengths and weaknesses of your work

Habits of Mind:
Applying past knowledge to new situations - Questioning and posing problems - Gathering data through all senses
Assessment Tools:
Rubric/ Critique/ Presentation/ Proposal/ Writing/ Self-Reflection
Visual Resources/ Equipment:
Projector/ Internet/ Computers/ Art History Books
Supplies: ($-$$$)
To be determined by the students


Yin & Yang
~ The principles of yin & yang have been explored through many different disciplines and across many different cultures. As artists, it is important to explore ideas such as these in order to understand the varying reasons for making artwork. For our purposes here, we will be creating pieces based on the principles of yin &yang (which ultimately involve the idea of relationship, both literally and metaphorically).

(3 Weeks)
How have artists throughout Art History used the elements of yin & yang in their work?
Objectives:

• Identify different artists or cultures that have used the elements of yin & yang in their artworks
• Compare and contrast different works
• Describe different methods for employing the elements of yin & yang
• Create a piece based around the elements of yin & yang
• Present your work to the class
• Evaluate the strengths and weaknesses of your work

Habits of Mind:
Thinking flexibly - Gathering data through all senses - Questioning and posing problems
Assessment Tools:
Rubric/ Critique/ Presentation/ Proposal/ Writing/ Self-Reflection
Visual Resources/ Equipment:
Projector/ Internet/ Computer/ Art History Books
Supplies: ($-$$$)
To be determined by the students


Art as Monument
~ Artists have been creating monuments for thousands of years. As artists ourselves, we should investigate the different reasons and methods for creating monuments. For our purposes here, we will be developing monuments for any event or achievement from World History.

(3 Weeks)
What type of monuments have artists constructed throughout Art History?
Objectives:

• Identify different monuments made throughout Art History
• Explain/ describe why these monuments were made
• Analyze how effectively the monument represents what it is commemorating
• Choose any event or achievement in World History
• Create a monument for this event or achievement
• Present your work to the class
• Evaluate the strengths and weaknesses of your work

Habits of Mind:
Applying past knowledge to new situations - Gathering data through all senses - Questioning and posing problems
Assessment Tools:
Rubric/ Critique/ Presentation/ Proposal/ Writing/ Self-Reflection
Visual Resources/ Equipment:
Projector/ Internet/ Computers/ Art History Books/ World History Books
Supplies: ($-$$$)
To be determined by the students


Final Project
~ As artists, we must strive to find both the will and reason to keep creating. This is a dynamic that every artist faces, and it is important to understand that this is the nature of the creative impulse. For our purposes here, we will be creating artworks entirely of our own invention (both subject and medium will be determined individually).

(3-4 Weeks)
Why is art important?
Why is it important to you?
Why should it be important to other people?
Objectives:

• Develop an understanding of why art is important
• Describe its importance
• Choose any medium and subject
• Create a work based on your choice of medium and subject
• Present your work to the class
• Evaluate your strengths and weaknesses

Habits of Mind:
Metacognition - Applying past knowledge to new situations - Creating, imagining, innovating
Assessment Tools:
Critique/ Self Assessment/ Proposal/ Writing
Visual Resources/ Equipment:
Projector/ Internet/ Computers/ Art History Books/ Other
Supplies: ($-$$$)
To be determined by the students


Friday Debates
~ The purpose of this activity is to expand the thinking and curiosity of each student. Students often have strong opinions about various subjects but rarely have the opportunity to voice or think critically about their opinions. They will be engaged with issues related to the arts, philosophy, morality, ethics, and society. The intention of each will be to develop more well-rounded thinkers.

This will occur every Friday of the year
Objectives:

• The first and third Fridays of every month the students will be broken into two groups and given a question or statement to respond to
• In their groups, the students will be given a stance to gather information about and argue against the other group
• Students will be individually responsible for a one page analysis of both sides of the argument
• The second and fourth Fridays of every month the students will argue their points they’ve researched against one another

Visual Resources/ Equipment:
Projector/ Internet/ Computers/ Art History as well as other Historical Reference Books/ Audio-Visual Equipment
Supplies:
Pencils/ Paper/ Printer/ Ideas

Art As Self

~ This lesson has been developed within a 12th Grade High School Art Curriculum. The curriculum is also posted above ~

Teacher: Bryan Rice
Grade Level: 10th – 12th Grade
Title: Art as Self

Brief History/ Background:
The self-portrait has been used by critics and artists alike to serve as a psychological and metaphorical representation of the self. As artists, we need to seek to understand the many methods in which artists choose to represent themselves. In order to do this, we will be looking at the myriad different methods used in self-portraiture. Following our discussions, I will present the terms representation, trace and symbol to the class, and we will engage in a dialogue regarding the meanings of these words in relation to the arts. We will then use the ideas of representation, trace and symbol in conjunction with different technical media to explore self-portraiture.


Standards:
9.1.12 A/ B/ C/ D/ E/ J/ K
9.2.12 A/ B/ C/ F/ G/ I/ K/ L
9.3.12 A/ B/ C/ E/ F/ G
9.4.12 A/ D


Goal:
To create 3 self-portraits using very different approaches and media.

Objectives: Students will:
1. Identify various self-portraits made throughout Art History
2. Compare the different methods of representation used by different artists
3. Identify the basic measurements of the human head and face
4. Use these measurements to make a representational self-portrait using pencil
5. Using both digital and traditional media, create a self-portrait based on the idea of
trace
6. Study and compare various symbolic and/or non-representational self-portraits
throughout Art History
7. Create a symbolic/ non-representational self-portrait using mixed media and/or
collaged materials
8. Compare and contrast the similarities and differences of each of your pieces

Requirements: Students will:
- Create a representational self-portrait
- Create a self-portrait based on the idea of trace
- Create a symbolic/ non-representational self-portrait

Supplies/ Materials:
1. Pencils
2. Sketchbook
3. Paper
4. Magazines
5. Miscellaneous collage materials
6. Acrylic paint
7. Brushes
8. Palettes
9. Rags
10. Erasers
11. Glue (spray adhesive)
12. Mirrors

Resource Materials/ Visual Aids:
- Projector
- Internet
- InDesign/ Photoshop
- Printers
- Art History Books

Teacher Preparation:
- Prepare a power point which discusses each type of self-portrait with examples
- Gather supplies
- Gather and test resource materials
- Optional (have exemplar for each type of self-portrait)

Introduction:
We will begin this lesson by looking at many different examples of self-portraiture and discuss the differences/ similarities between them. I will then present each term to the class (representation, trace, symbol), and we will discuss what these terms mean as well as what they mean in relation to self-portraiture.

Directions:
- Create a representational self-portrait on 18x24” paper with pencil/graphite
- Create a self-portrait based on the idea of trace, using both digital and traditional media (size undetermined)
- Create a symbolic/ non-representational self-portrait using mixed media and/or collaged materials (size/dimension undetermined)

Closure:
We will have various class critiques of our work, and during these critiques we will discuss the different modes of representing ‘the self.’ How is each method successful? How is each method lacking? How can these methods be combined? How are they similar/different? What does this tell us about art-making? What does this tell us about ourselves?

Critique/ Evaluation/ Assessment:
- Rubric/ Critique/ Proposal/ Self Reflective Writing

Extensions:
- Art Extension Questions/ Formal Written Critiques

Time Budget:
Day 1
- 20 minutes – Presentation and discussion of lesson
- 30 minutes – Sketching and writing ideas
Day 2
- 5 minutes – Review
- 45 minutes – Begin Representational drawings
Day 3
- 50 minutes – Continue working on representational drawings/ think about next portion of assignment
Day 4
- 50 minutes – Continue working on representational drawings/ begin working on proposal for next assignment
Day 5
- 50 minutes – Finish working on representational drawings/ write out and hand in proposal for next project
Day 6
- 50 minutes – Class critique/ sketching
Day 7
- 50 minutes – Begin working on trace projects
Day 8
- 50 minutes – Continue working on trace projects
Day 9
- 50 minutes – Continue working on trace projects/ begin thinking about next project
Day 10
- 50 minutes – Continue working on trace projects/ begin writing proposal for next project
Day 11
- 50 minutes – Class critique/ sketching
Day 12
- 50 minutes – Continue working on trace projects/ hand in proposal for next project
Day 13
- 50 minutes – Begin gathering materials and working on symbol projects
Day 14
- 50 minutes – Continue working on symbols projects
Day 15
- 50 minutes – Continue working on symbols projects
Day 16
- 50 minutes – Continue working on symbols projects
Day 17
- 50 minutes – Continue working on symbols projects
Day 18
- 50 minutes – Class critique/ sketching


Vocabulary:
- Representation: portrayal, picture, rendering in visible form
- Trace: evidence that a place was occupied at one time
o E.g. an impression left on a pillow
- Symbol: an image(s) that represents someone or something

Safety Concerns:
Be sensitive to the ideas and feelings of everyone in the classroom. We are here to develop creative expression and expansive thinking; ignorance in any form will not be tolerated.