A Legacy Curriculum


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With voice, values, and vision elementary art students can begin to develop a legacy.
Students assign symbols to their interests, hobbies, favorite subjects and foods, personal and physical characteristics, and aspirations, drawing at least two symbols on small square cards. Students attach symbols to a large connect card to align symbols with other students’ symbols like dominoes. In addition to being able to move the entire domino card to different parts of the mind map or even different maps, each of the two symbols are moveable, as all of the aforementioned components are jpegs. Part of the experience includes exhibiting cards, using separate mind maps. Students experience how separate may not be equal and how sorting methods are demoralizing and rejoining offers renewal. Students attempt to connect with their peers or certain peers more frequently, by analyzing interests less rigidly, attaching and reattaching cards, and drawing more symbols to facilitate a match with a symbol of another.

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A Legacy Curriculum

  1. 1. VOICE, VALUES, andVISION:The Development of Legacy in Elementary Art EducationJoan A. SchloughBoston University 1
  2. 2. Table of ContentsPhilosophy 3Philosophy References 4Rationale 5Rationale References 23Scope and Sequence 25Voice Unit Plan 31Brainwave 35ExpressionismShout 43Values Unit Plan 51Life is Good® Logos 55My American Gothic 63Vision Unit Plan 72Wish Keeper 76Recycled Art 84AssemblageUnit Plan References 91 2
  3. 3. Philosophy Statement Artists contribute to understandings, communicating ideas about place and experiences. Art appreciation shapesself-conception and worldview, helping people, as Albert Schweitzer wrote, to “devote themselves to that which comeswithin their own sphere of influence and needs” (p. 277). Being an artist-teacher is the “investment…work in which onegives authentic self to people,” (Meyer and Bergel, 2002, p. 84) and how art educators, who are also artists, are able toembolden the lives of their students. Teaching art with Schweitzer’s Reverence for Life shows students “how they viewother people, their classmates, people in the town where they live, and those from different cultures….most importantly,their role and potential contributions to society” (p. 276). Art educators guide children to construct their own meaning,develop their values, to ultimately contribute a legacy. Artist-teachers, model authenticity of voice, illuminate the creativeprocess, and help students develop a creative process, authenticity, and voice (Daichendt, 2010). A creative process occurswhen one experiences making art, uses art media, develops preference for the ways to weave the elements and principlesof design independently, and when one asserts voice. Art appreciation and production sets the sails, and when one is ableto identify personally one has navigated a position. An art student, who sees differences, yet determines more similaritiesin artworks made around the world, is less sailor and more astronaut; one who can really see a larger set of stars,understand people as unique individuals that are a part of a collective whole. An art student, with a unique voice and a broad vision, has a way to navigate and hold course; one who makes artbased on personal characteristics, interests, experiences, who adheres to values, makes authentic art. To be authenticrequires courage. Alexenberg (2008) identifies moral courage in his eight realms of learning for educating artists for thefuture. Alexenberg explains that “it is not enough for artists to rest content with their compassionate responses… theymust gain the strength and moral courage to use art to confront hatred, bigotry, racism…” (p. 331). An artist becomesoptimally communicative as a tolerant listener, and as one who can deliver a message in a way which others care to listen.Gardner (2008), like Alexenberg, stresses having respectful and ethical mindsets in Five Minds for the Future, “In thecomplex global terrain in which we now live, we should…give priority to respect for those with different backgroundsand beliefs” (p. 119). “Good work…ultimately it must extend to the workplace, the nation, and the global community” (p.151). Values and voice amalgamate with a vision. In art education, students discover, explore, navigate, and position theirworldviews. Intelligence, states Eisner (1998), is not just “constrained by the rules of logic. Human intellectual capacity is farwider. The realization of this capacity is surely more likely as we create a richer, more nurturant culture for our students”(pp. 85-86). The visual arts help us think contextually, assert our own meaning, and “create a life worth living” (p. 86).Winner and Hetland (2008) contend that “the arts teach vital modes of seeing, imagining, inventing, and thinking” (p. 31).With voice, values, and vision, an art student authenticates, communicates, and contributes a legacy. 3
  4. 4. ReferencesAlexenberg, M. (Ed.). (2008). Educating artists for the future: Learning at the intersection of art, science, technology and culture. Bristol, United Kingdom: Intellect Books.Daichendt, G. J. (2010). Artist- teacher: A philosophy for creating and teaching. Bristol, UK: Intellect.Eisner, E. W. (1998). The misunderstood role of the arts in human development. In L. Bridges (Eds.), The kind of schools we need: Personal essays (pp. 77-86). Portsmouth, NH: Heinemann.Gardner, H. (2008). Five minds for the future. Boston, MA: Harvard Business Press.Meyer, M. & Bergel, K. (Eds.). (2002). Reverence for life: The ethics of Albert Schweitzer for the twenty-first century. Syracuse, NY: University Press.Winner, E. & Hetland, L. (2008). Art for art sake: School arts classes matter more than ever-but not for the reasons you think. Arts Education Policy Review, 109(5), pp. 29-31 4
  5. 5. Rationale Considering legacy, students think about how their story does and how will it matter.Voice, values, and vision are the parts of the legacy’s story. Through alternative self-portraiture,students will begin building their legacy, first internally, and then externally progressing to localand then global commentary. Authentic art studio habits develop aesthetic preferences and beginto establish how students will leave a legacy and what their voice looks like.Standards In Studio Thinking, Hetland, Winner, Veenema, and Sheridan (2007) wrote that in the artroom students develop skills and come to understandings, “dispositions…artistic thinking andbehavior” (p. 1). There are eight Studio Habits of Mind, all of which are involved in the LegacyCurriculum, where students are “learning to embrace problems of relevance within the art worldand/or personal importance, to develop focus and other mental states conducive to working andpersevering at art tasks” (p. 6). In the Legacy Curriculum students create art, using materials andthe elements and principles of design relating to the themes and subthemes. The LegacyCurriculum also considers curriculum standards, mission statements, and community resourcesand needs. The Two Rivers, Wisconsin public school district has adopted the National CommonCore Standards. The information relates to Math and English but the government emphasizes theimportance of arts education in its agenda as such, “The Agenda for Education in the UnitedStates outlines the Obama-Biden plan to restore the promise of Americas public education andensure that Americas children will again lead the world in achievement, creativity, and success”(2010, n.p.). Information supporting the importance of education in the arts, stating all students 5
  6. 6. are to “perform works of art, create their own works, and respond to works of art and the ideasthey impart” is made available through the Arts Education Partnership (2010, n.p.). The Wisconsin Department of Instruction aligns the art and design standards to thenational curriculum, stated in the mandate, “art, dance, and theater have used the NationalStandards in those disciplines as a guide but have written their own standards” (Arts EducationPartnership, 2010, n.p.). Assessments, objectives, and art production references in the lessonplans are made to the 2000 Wisconsin Department of Public Instruction Model of AcademicStandards for Art and Design. Materials. The Studio Habit of Mind most directly related to using art materials is Develop Craft.Using materials relates specifically to Application of the Basics and Production of Quality ofWork in the standards. The lessons in the Legacy Curriculum are types of alternative self-portraiture, asking students to make art related to their identity and place. Authentic use of thematerials is partly the style in which the student manipulates the art materials and partly thepreferences towards media. Students understand that artists use materials to evoke a differentresponse, express ideas, and learn about establishing their own voices, participating in thelessons in the Voice Unit. One of the standards relating to how students use the materials isVisual Communication and Expression. The two lessons using two-dimensional media included in the Legacy Curriculum,specifically designed to nurture voice are Brainwave Expressionism (BWX) and Shout. Twolessons with three-dimensional media are Initial Media Choices (IMC) and Recycled ArtAssemblages. All four lessons address the five general categories of the standards: Applicationsof the Basics, Ability to Think, Skill in Communication, Production of Quality Work, and 6
  7. 7. Connections with Community, some especially so. For example, with IMC students learn howan artist’s geography informs selection of media. One of the association questions is “Look at themap…do you know why these parts are green and these are brown?” Students discover how theart making differs between Northwest and Southwest Native American tribes, through theexploration of climates that grow trees as opposed to those that do not. In addition tointerdisciplinary connection making, lessons make other connections. One of the association questions for Shout is “What is making the sound in Dove’spainting…hint, you hear it all the time?” Students not only learn about how Arthur Dove’sconnection to the Long Island Sound informed his painting, Fog Horns, but they also link totheir own experiences living on Lake Michigan, hearing fog horns and understand the purposesof lighthouses. “Art is a vehicle through which meanings are conveyed” wrote Judith Simpson(1998). “Making sense of the world around us, our interactions, and experiences compels us tomake literal and metaphoric connections” (p. 49). Art education accesses self-concepts, personalexperiences, and subsequent metaphoric connections. “All aspects of cultures must be examinedas the context in which art is produced. Not allowing ourselves to think this way is to continue tominimize the importance of our field and its syncretic meaning in education” (p. 50). Aesthetics. The three Studio Habits of Mind most directly related to aesthetics are Express andObserve and particularly Cultural and Aesthetic Understanding. While the Legacy Curriculum istheme-based, there is application of the elements and principles of design in the art projects. Forexample, in the BWX lesson students use line and color expressively. Students look at actualbrainwaves to understand how lines take on different qualities, depending on whether the brain isactive or passive. Students draw lines, or perform lines according to their feelings and 7
  8. 8. experiences, according to a story, or how they think someone else might feel. When prompted,students perform joyful lines that look like undulating waves and peaceful lines that look likeunraveling ribbons. In addition to the elements of design, line and color, the BWX lesson focuseson the principles movement and rhythm. Rhythm is explored conceptually when students exploretheir internal rhythms, peace within, or lack of peace, which is to explore active rhythms. With many of the assignments the element of design space is addressed compositionallythrough creating depth, and learning foreground, middleground, and background. Conceptually,space is considered progressively, beginning with inward exploration, transitioning to outwardexploration. The depth students reach through inward exploration is evidenced by the writtenparagraphs which accompany the BWX. Outward explorations culminate in the final lessons, inthe Vision Unit. During the Wish Keeper lesson, students consider wishes as the seeds of change,thinking about what they would like to see different in the world. Students consider how theirprivate and public thoughts are change-agents. Housen’s (2001-2001) study Aesthetic Thought,Critical Thinking and Transfer, suggests “art can speak to all viewers…art can take a viewer asdeep as the viewer has a capacity to go…possibilities in art keep unfolding” (p. 121). The qualityof the design, the procedures of the delivery, and the attention to the standards, inherently meetsgoals set forth by the mission statements.Mission Statements Koenig Elementary School students attend an award winning school. The Action Planmission statement reads, “the Koenig staff is committed to implementing practices and strategieswith parents to build a positive learning environment and promote high achievement for everystudent” (Koenig Elementary School, 2010, n.p.). The Action Plan reinforces the importance ofparent involvement detailing specifically how this unfolds. The new principal, one of the former 8
  9. 9. first grade teachers, reiterates the importance of community in her personal mission. The start ofher mission is almost identical to the state mission but also says that she “believes in the powerof ten: that is, the importance of building strong relationships between community, school andhome” (personal communication, July 21, 2010). The district’s mission is the state’s department of public instruction mission: “Every childmust graduate ready for further education and the workforce. We must align our efforts so ourstudents benefit from both college and career preparation, learning the skills and knowledgenecessary to be contributing members of our communities….” (Wisconsin Department of PublicInstruction, 2010, n.p.). Further in the state achievement goals are the buzz words: quality,innovation, safe, respectable, accountability, and sustainable. Although the district does notspecifically render a mission statement, Two Rivers High School (2010) “strives to provide allstudents with the academic, fine arts, vocational, and social skills necessary to becomecompetent, caring, and contributing members of a global society. All students will become moreresponsible and increase their achievement in the academic setting” (n.p.). Delineating each statement shows the commonalities and emphasizes the nuances.Students at Koenig Elementary experience a success culture. Koenig’s focus is “highachievement” as opposed to the high school’s language, “more competent…more responsible.”While each statement wants students to become contributors to the community, only Koeniginsists on community involvement at the school and stresses the role of the families with suchreverence, “The mission of Koenig Elementary School is to blend our rich heritage as a family-oriented neighborhood school with an emphasis on high expectations for our future” (2008/2009,p. 4). Again, teaching in a success culture is to have “high expectations” not just to “increaselearning.” The Legacy Curriculum is aligned with Koenig’s insistence, reverence, and 9
  10. 10. expectations. Lessons making powerful connections to the community are Propagandist’s StreetTeam Takeaways (PSST), Two Rivers Mural Project (TRMP), and Dig it and Pick it (DIPI). Individual character development. The Koenig art room guidelines center on three ideas: work ethic, responsibility, andrespect. Setting expectations and forming procedures for classroom operations creates anenvironment conducive for learning. It is within this safe and supportive environment thatstudents are “motivated, self-directed, and reflective learners, who independently manage theirgoals and time to continuously improve as artists” as set forth by the Partnership for 21st Century(2010) art skills “initiative and self-direction” (p. 12). Each lesson in the Legacy Curriculumrequires students to make decisions, persist through multiple steps and processes, and defendchoices, during critique and/or in writing. Students approach the material in the lesson, based onhow they best learn and provide evidences of their learning, based on how they can best expresstheir ideas and feelings. Nakayla, new to Koenig school in 2009, would not write a paragraph about her decisionsto use certain lines and colors in her BWX. Instead, Nakayla orally defended her use of lines andcolors in her BWX as the ones from her bedspread and thought about Hip Hop music, when shepainted. Allowing Nakayla to provide evidence ofher decisions orally nurtured Nakayla’s engagementin her own learning. Retained in 2009, Nakaylamade new explorations in her 2010 BWX. Later inthis Rationale Statement, is Nakayla’s BWX from Nakayla’s BWX from 2009, Navajo Hip Hop2010 and her written paragraph. 10
  11. 11. Contributive. Reverence for Life, Albert Schweitzer’s Nobel Prize winning philosophy, shapes theintent of the Legacy Curriculum. Effective teachers educate students with the skills, knowledge,and understandings the students need. Rarely is learning limited within a discipline, nor should itbe. Art education is a discipline opportune for guiding students in “friendship, caring, service,and courage…how they view other people, their classmates, people in the town where they live,and those from different cultures ….most importantly, their role and potential contributions tosociety” (Meyer, 2002, p. 276-277). Trenten, a gifted art student, explained why he was not wearing any socks. When hetried to find some, his father told him to “Get the hell out.” He walked to school without socks,on a cold, snowy day because he preferred it to staying home. Trenten, who besides being agifted artist, is also a student with an emotional-behavioral disorder (EBD). In a recent IEPmeeting, “school” was determined to be Trenten’s new incentive. If he is defiant, then he will beunable to stay at school. One day, he made it until 9:30 a.m. and then was sent back home,issuing the teacher an invective as he left. Another defiant behavior is public urination. IfTrenten is comfortable enough to comply, he begins to build confidence in his wonderful art. Without guidance Trenten will mill around the room, inciting others, degrading the learning environment for everyone, including him.Wish Keeper, 2009 Bird Print, 2010 11
  12. 12. The Wish Keeper lesson in the Vision Unit encourages students to think proactively, as if theirideas for others are contributive. In 2009, Trenten created a Wish Keeper, and although this artproduct and others were always successful, Trenten still felt negatively about numerous things.In 2010, Trenten earned more outside affirmations of his art making with his bird print. In fact,he was awarded a first place prize in the district art show by the judges. Besides good attendancefrom the community, and since Trenten won a prize, the Koenig Elementary principal pickedTrenten up at his house and attended the art show reception with Trenten.Koenig Kids In the Two Rivers school district, Koenig Elementary is where all the elementary studentswith disabilities attend. The special education department has faced reductions in staff but thenumber of students, especially those with autism spectrum disorders, has increased. Keepingenvironments the most conducive for learning has been most challenged be the severity ofbehavioral issues, which is exacerbated by staff shortages. Koenig Elementary is a New Wisconsin Promise School for the sixth consecutive year.Despite the fact that fewer hands do more work, some of our programs and practices are notacademics related, are offered before and after school, and ran by the staff and faculty. Koenigstudents eat breakfast and two planned snacks, and more when needed. Koenig has a “MagicCloset” for students to choose clothes, outerwear, and school supplies, if they need it. Studentsare ready and willing to learn, having basic necessities met. Koenig school culture is one ofsuccess, collaboration, and community. First hand experience of a sense community, ultimatelyhelps students learn Civic Literacy, an interdisciplinary theme included on the Partnership for21st Century Skills Map and in the Legacy Curriculum. 12
  13. 13. Students know that even if they need help learning, behaving appropriately, scheduling orequipment considerations, an array of paraprofessionals, parents, staff, and faculty will helpthem. Koenig staff and faculty expect that children will need education in many things besidesacademics. Koenig Elementary School accepts students including those expelled by otherschools as they come and does not reject them if they still have to learn basic human behavior.The district superintendent and many others wonder how and what Koenig staff and faculty aredoing; the measurable success is hard to comprehend, considering the other measurable numbers,percentages and ratios, relating to student learning profiles; students receiving free lunches andspecial education services. The Legacy Curriculum makes numerous interdisciplinary connections, placement withinpersonal, social, cultural, historical, and political context as shown in the Scope and Sequenceand full-length lesson plans. In Educating Artists for the Future, Alexenberg (2008) reveals hiseight realms of learning. In the realm, Learning through Moral Courage, Alexenberg states that“it is not enough for artists to rest content with their compassionate responses …they must gainthe strength and moral courage to use art to confront hatred, bigotry, racism, terrorism, genocide,and cults of death and destruction” (p. 331). The Partnership for 21st Century Skills (2010)“illustrate how the arts promote work habits that cultivate curiosity, imagination, creativity, andevaluation skills….these examples [from the Skills Map] suggest ways that study of the arts canhelp produce globally aware, collaborative, and responsible citizens” (p. 2). Each of the units inthe Legacy Curriculum, Voice, Values, and Vision, promote global concerns that Alexenbergand the 21st Century Skills emphasize for art education. 13
  14. 14. Voice. If students do not put their name on their artwork, is the viewer able to tell who made it?Students assert their voice as the very signature of their artwork. Students learn that voice is notjust style but a combination of style and contribution; a representation, opinion, and activism.Hetland, Winner, Veenema, and Sheridan (2007) explain voice as Express, the Habit of Mind“learning to create works that convey an idea, a feeling, a personal meaning” (p. 6). The lessons,BWX, Shout, IMC, and Wabi-Sabi Mobiles, are four authentic ways that students express theirpersonality, interests, feelings, and ideas. For Audrey Lorde (1984/2007) this artwork, the poetryis not a luxury, it is “a vital necessity of our existence.” Poetry to Lorde means “a revelatorydistillation of experience” (p. 37). Revelations are a function of knowledge, carrying ideas andgenerating thoughts into actions, distilling and liberating art making. “Communication…articulating thoughts and ideas clearly and effectively” is the first skill on the 21st Century SkillsMap (2010, p.4). In students’ BWX watercolors, the syncretic meanings must be defended in writtenparagraph or orally. Last year, Nakayla lacked the confidence to write about her artwork. Thisyear her writing is so much improved, she is more willing to try to write about her work. Lastyear, Nakayla was too shy to participate in critique. Having had a year to practice the critiqueprocess and get to know the other students better, Nakayla is not only ebullient during critiquebut exemplifies how to make positive, and even helpful and specific comments. This year sheremembered the color term neutrals as naturals; a great mistake because she understands aconcept, if not the term. Shown below is the paragraph and BWX by Caroline and Nakayla: 14
  15. 15. Caroline’s BWX: Caroline’s Freckles Nakayla’s 2010 BWX: Happy Jumpy Values. The lessons within the Values Unit are: Life is Good® Logos, My American Gothic,Time Capsule Guess Book, Zoom, In/Out, Metamorphic Metaphors, and DIPI. Transitioningconceptually to their immediate families, students think about what is important for their familymembers to do, to be like, to feel, and to think. Students consider how it takes courage tomaintain values and establish traits, such as, self-sufficiency and perseverance. Sandell (2006)wrote, “the big idea, explored through specific themes and sub-themes, is revealed by the artists’chosen expressive viewpoint or perspective that reflects his or her culture and era” (p. 34). 15
  16. 16. In a double-portrait, for the lesson called, My American Gothic, students share ideasabout people who are important to them and why. The building in the background, how thepeople are dressed, and what the people are holding, will clue the viewer to familial values. In2009, Ty chose Barack and Michelle Obama for his double-portrait. Haley’s shows the value of atradition, that her sister and she share. Both students reveal specifics about their culture, usingGrant Wood’s American Gothic “to draw on…to generate, evaluate, and select creative ideas toturn into personally meaningful products” (Partnership for 21st Century Skills, 2010, p. 6). Hereis the 21st Century Skill, Creativity, as demonstrated by Ty and Haley: Vision. In the Legacy Curriculum, there are five lessons within the Vision Unit: Wish Keeper,Recycle Art Assemblage, Worldview Illumination, PSTT, and TRMP. Students reveal theiroutlook; what they hope their imprints will be on their futures or what they hope will be theirplace in their family, community, and world. Students come to believe that their vision can behelpful to others. “Vision precipitates in an artist’s voice and carries the artist’s hopes anddreams to change the future and longings for a condition in the past. Vision is the voice’s 16
  17. 17. absorption and reflection of perception. Vision communicates contribution and participation”(Stein, 1984, p.31). Students consider their worldviews and grow empathetic towards others,respectfully allowing room on the planet for opposing views. Astronaut, Jerry Linenger (2000),shared his unique perspective about the human condition as a result of going into space: I have been a U.S. naval officer for twenty years. I understand the necessity of armed forces. But I have also seen the undivided earth from space. When viewed from this perspective, the fighting amongst ourselves makes no sense whatsoever. Now, whenever I witness conflict in any form, I try to step back and examine the problem from a broader perspective…. I have learned we are 99.9 percent alike. Why we earthlings chose to concentrate on the .1 percent difference makes no sense…. We are all on the earth together, and the earth when viewed from space is not divided up piecemeal, but exists as a wondrous whole. (p. 247) In the Worldview Illumination, choosing from a list of idioms, adages, truisms, andchestnuts, students illustrate the fun visual images that come to mind. Students strive to simplystate their visual illuminations of a plainly stated, yet powerful expression. Students “access andevaluate information from a variety of sources accurately and creatively with an understandingof ethical and legal issues” (Partnership for 21st Century Skills, 2010, p. 8).Constraints The Two Rivers Mural Project (TRMP), Propagandist Street Team Takeaways (PSTT),and Dig It and Pick It (DIPI) have five, six, and seven lessons respectively. These lessons couldbe used in addition to or supplanting the other lessons, depending on constraints or opportunities.Using existing small groups, such as Art Club, will allow implementation of these units at more 17
  18. 18. flexible times or simultaneously. If considerable time is allotted, then there are several otherconsiderations and benefits. Sensitivity. Values relate to PSTT, or propaganda, in that these determine how students feel aboutthemselves and others, how they perceive the world, and how they act on their beliefs.Propaganda is a term used in this application for promoting something for meaningful discourse.Students choose values that matter to them and that they think should matter to others; valuesrelating to issues, facts, personal truths, and ideas. Art products students make are materials thatothers can takeaway for free. The people who take these materials (stickers, postcards, fliers,brochures, or pamphlets) and pass them out create a street team. Propaganda as its own theme isespecially suited for vertical planning. Some of the themes, even though grade level appropriate,are not necessarily ever deemed appropriate as a school topic. Two Rivers community, Northeastern Wisconsin, and a considerable number of people inthe rural Midwest, constitute a conservative base (Manitowoc County Election Results, 2008, p.1). With respect for the community’s values, child development regarding issues that mattershould be considered. For example, issues relating to intrapersonal relationships could begin atthe early elementary level as treating friends well, then late elementary as keeping secrets, thenat the middle school level as loyalty, and then at the high school level more mature ideas ofloyalty could be explored, such as, monogamy and sacrifice. Some issues relate to the antithesis,such as, mutiny, revolt, and treason. A student supporting sacrifice may pursue the design of thetakeaways around President Kennedy’s words, “Ask not what your country can do for you, askwhat you can do for your country?” 18
  19. 19. In addition to the considerations of the topics relating to values in PSTT, are theconstraints making the types of artwork, specifically using graphic software. The computer labhas limited availability. Other media could be used for the PSTT projects, however, productionof the takeaways needs to be low-cost, computer generated, to actually produce freebies. The labis more available, in the late spring, since it is used for testing in the beginning half of the year. Additional considerations. The TRMP and DIPI are suited for warmer weather, best taught in late spring or earlysummer. Therefore, these projects should be scheduled towards the end of the year, as well.Another commonality is that all three, TRMP, PSTT, and DIPI, are suited for small groups ofstudents, in particular Art Club. Serious effort should be made for volunteer help, if taught to theregular classes. Since PSTT, TRMP, and DIPI integrate alternate sites, these projects requireconsiderably more coordination. DIPI requires permission slips and possibly arranging for a van.DIPI and maybe TRMP may require scheduling for rain dates. Considering the schedulingconstraints of an art teacher, based on experiences accompanying classes on their field trips,attending classroom parties, and special presentations, coordinating work at alternate sites withsmall groups, during the summer or on a weekend, may be advisable. Another option, as opposedto going to smaller groups, is to make the clay dig aspect of the DIPI open to the entirecommunity, including the neighboring community of Manitowoc. Two Rivers sites are sometimes state as opposed to city parks. The WisconsinDepartment of Natural Resources is a larger entity to coordinate plans with, while theManitowoc Department of Parks and Recreation (MDPR) is smaller, with fewer stipulations tohinder operations. My first choice of site for my student’s clay dig is Silver Creek Park in thecity of Manitowoc. This park, on the south side of Manitowoc, while not in Two Rivers, is only 19
  20. 20. eight miles south on Lake Michigan, about a 20 minute drive. A community clay dig here couldbe coordinated with MDPR, both school districts, and the local museum, the Rahr West. Thiscreek’s clay is comparable to other clay from the Two River’s sites but has more cream-coloredclay. The park’s amenities make this a reasonable location for a group involving twocommunities and many young children. The creek bed is wheelchair accessible in more than onearea of the park. The location is very suitable for the other portion of the lesson, where studentsgather other natural materials, because there are well-defined areas where students can be kept inrange, while they are still able to wander. No special permits are required but the date needs to beprearranged with the MDPR. There has been community digs here before, coordinated by theRahr West. Waiting another two years for the next community (the lakeshore and nearby towns)dig is another plausible idea. Benefits warranting implementation. A vertical design for the PSTT lesson, considering which meaningful issues to choose,relates to state learning initiatives: skills in communication and connections to community. TheTwo Rivers community, although eager to prepare their children for the global economy, are stillharboring strong taboos regarding the discourse of meaningful issues, necessitating the urgencyfor students to be exposed to these issues and make personal connections in safe settings. Alsocritical to opening discourse is providing students the opportunity to hold less antiquated orseparatist views. With careful vertical planning, the PSTT could be an effective way to teachsocial justice in art education. Additionally beneficial, PSTT is designed to use software not artroom supplies. The other two projects, TRMP and DIPI are budget-friendly, as well. Students will paint the TRMP with recycled latex house paint interior or exterior,depending on the location. Two Rivers, and many other Wisconsin communities, share 20
  21. 21. conservation ethics. Many families enjoy boating, fishing, and hunting, and have a catch-and-eatethic. Using recycled materials honors that ethic and “local connections root us to place andmake us native to the Earth” (Gradle, 2008, p. 11). The rivers and surrounding areas supply the clay and the other material for the sixsubsequent DIPI lessons. During the DIPI process, students enlist all of their senses, makingespecially strong connections to environment. Gradle (2008) wrote, “place…is sometimes asetting, but it is most often married to memory, imagination, and our embodied experiences insuch a way that words like emplaced, displaced, replaced, or out-of-place conjure up meaningsthat are felt immediately and viscerally” (p. 6). We need to reacquaint with our environment toget back to our own sinew, bones, and musculature.Improving the life quality Csikszentmihalyi (1996) contends “if the next generation is to face the future with zestand self-confidence, we must educate them to be original as well as competent” (p. 12). Eventhough originality is not a trait or capacity tested in our schools today, each student has“potentially, all the psychic energy he or she needs to lead a creative life” (p. 344). Arteducators, if prepared correctly, are in the position to foster our most important facility for beingcontributive individuals in a community, voice. According to Meyer (2002), “today, at the beginning of the twenty-first century… werecognize that we need to discuss creative ways in which life may be revered and maintainedaround the world” (p. xvi). Feeling a passion for art, love for others as we love our selves, andreverence for giving each moment our focus, brings forth many hands to worthy endeavors andexpands seconds into minutes. Albert Schweitzer said “reverence before the infinity of life 21
  22. 22. means the removal of the strangeness, the restoration of shared experiences and of compassionand sympathy” (p. 68). Reverence consists of one’s values. The learning experience in the Legacy Curriculum correlates to life experiences and ourinvolvement living with others, our vision. The learning “integrates teaching with action researchand art making. It explores borderlands between art, science, technology and culture, integratingknowing, doing and making through aesthetic experiences that elegantly flow between intellect,feeling and practice to create and convey meaning” (Alexenberg, 2008, p. 231). In life, ourexperiences meld and our lives connect. The Legacy Curriculum is authentic learning aboutgiving a genuine self, as Audrey Lorde (1984/2007) wrote, “to pluck out some one aspect…eclipsing or denying the other…is a destructive and fragmenting way to life” (p. 120). All aspects of living, including learning are connected, and by combining our voice,values, and vision creates a contributive legacy, not possible without authenticity. Lordedescribes a genuine self: My fullest concentration of energy is available to me only when I integrate all the parts of who I am, openly, allowing power from particular sources of my living to flow back and forth freely through all my different selves, without restriction of externally imposed definition. Only then can I bring myself and my energies as a whole to the service of those struggles…. (pp.120-121) We sharpen self-definition by exposing the self in work and struggle together with those whom we define as different from ourselves, although sharing the same goals. (p. 123) 22
  23. 23. ReferencesAlexenberg, M. (2008). Autoethnographic identification of realms of learning for art education in a post-digital age. International Journal of Education through Art, (4)3, pp. 231-246.Alexenberg, M. (Ed.). (2008). Educating artists for the future: Learning at the intersection of art, science, technology and culture. Bristol, United Kingdom: Intellect Books.Arts Education Partnership. (2010) Re: Art education curriculum. Retrieved from http://www.aep- arts.org/database/results2.htm?select_state_id=38Csikszentmihalyi, M. (1996). Creativity: Flow and the psychology of discovery and invention. New York, NY: HarperCollins Publishers.Gradle, S. A. (2008). When vines talk: Community, art, and ecology. Art Education, 61(6), pp. 6-12.Hetland, L., Winner, E., Veenema, S., & Sheridan, K. M. (2007). Studio thinking: The real benefits of visual arts education. New York, NY: Teachers College Press.Housen, A. (2001-2002). Aesthetic thought, critical thinking and transfer. Arts and Learning Research Journal, 18(1), 99-131.Koenig Elementary School. (2008/09). Re: Community involvement. Retrieved from http://www.trschools.k12.wi.us/Koenig/web-content/2008-2009_pdf/2008-09%20%20parent %20handbook%20Koenig.pdfKoenig Elementary School. (2010). Re: Action Plan. Retrieved from http://www.trschools.k12.wi.us/Koenig/web-content/2009-2010_pdf/action_plan.pdfLinenger, J. (2000). Off the planet: Surviving five perilous months aboard the space station MIR. New York, NY: McGraw-Hill.Lorde, A. (2007). Sister outsider. Trumansberg, NY: Crossing Press. (Original work published 1984). 23
  24. 24. Manitowoc County Election Results. (2008). Re: Conservative base. Retrieved from http://www.manitowoc-county.com/upload/electionresults/November042008Elections Results111708.pdfMeyer, M. & Bergel, K. (Eds.). (2002). Reverence for life: The ethics of Albert Schweitzer for the twenty-first century. Syracuse, NY: University Press.Partnership for 21st Century Skills. (2010). Re: 21st Century Skills Map. Retrieved from http://arteducators.org/research/21st_Century_Skills_Arts_Map.pdfSandell, R. (2006). Form + theme + context: Balancing considerations for meaningful art learning. Art Education, 59(1), 33-37.Simpson, J. W. (1998). Myth, metaphors and meaning. In R. J. Saunders (Ed.), Beyond the traditional in art: facing a pluralistic society (pp. 48-50). Reston, VA: National Art Education Association.Stein, M. I. (1984). Anecdotes Poems and Illustrations for the Creative Process: Making the Point. Buffalo, NY: Bearly.Two Rivers High School. (2010). Re: Mission statement. Retrieved from http://www.trschools.k12.wi.us/TRHS/web-content/2009-2010-pdf/HANDBOOK.pdfUnited States Government Department of Education. (2010) Re: Commitment to the arts. Retrieved from http://www2.ed.gov/teachers/how/tools/initiative/updates/040826.htmlWisconsin Department of Public Instruction. (2010) Re: Buzz words. Retrieved from http://dpi.wi.gov/sprntdnt/index.htmlWisconsin Department of Public Instruction. (2000). Re: Model of academic standards for art and design education. Retrieved from http://dpi.wi.gov/standards/pdf/art&design.pdf 24
  25. 25. SCOPE AND Materials/ skills Elements/ Exemplars/ resources Associations/ visualizations SEQUENCE principlesUNIT VOICE 1Lesson Brainwave Watercolor/ Color, line/ Art images from Von Bruggen and How could someone’s thinking be a 1 Expressionism acting out lines, rhythm, Oldenburg, Van Gogh, Benton, Tamburri, toothbrush in a cup by a sink? (BWX) thumbnail movement, Kandinsky/ actual EEG’s, power point, What lines could you draw for this child sketches, unity Teacher and student samples of BWX, (student acts out a line for what she transparency, dry alternative self-portraiture visual, Children perceives a child in a picture is feeling)? brush, wet-on-wet of Many Lands by Hanns Reich 2 Shout Painting, printing, Simulated Art images from Arthur Dove, Cave What is making the sound in Dove’s stenciling/ texture in paintings, Robert Rauschenberg, Shepard painting…hint you hear it all the time? sketching to surface, Fairey YouTube video showing If caves and pottery had not have been develop ideas, line, shape, process/books and handouts with patterns painted with prints and patterns, what else layers and color/ from various cultures on pottery and could archeologists have learned from the overlap proportion, textiles, samples of simulated textures, artwork? repetition, teacher model and teacher samples showing What lines and colors from your BWX pattern painting with different amount of layers should you think about using for your talk overlapped. bubble pattern? 3 Initial Media Choosing media/ Form, Art images from Roni Horn, Harmony Look at the map…do you know why these Choices authentic choices color, Hammond, Northwest Indian sculpture, parts are green and these are brown? What in 2D drawing or texture/ Navajo textiles and pottery, student and does the land in the green parts of the map painting, 3D form, teacher samples of 2D media techniques, have that the brown parts do not have? What assemblage emphasis teacher model 2D and 3D. do we use in the art room that is brown? In what ways are artists like and not like
  26. 26. reporters? How would you be able to decide if you are mostly a 2D or a 3D artist? 4 Wabi-Sabi Clay and mobile Space, Art images of Asian, Celtic, Peruvian, and Why would something that looked a little Mobiles building, working form/ African cultures of charms, pendants, beads, funny seem very beautiful? with symbols, balance and miniatures. Images of mobiles and wind How would a small object help us feel like making simple chimes. Constructed mobiles and pieces of we belong to something larger than designs mobiles in different stages for ourselves…what are some little things that demonstration purposes. make us feel safe, loved, important? Images of Japanese wabi-sabi ceramics. What are some small symbols that you see Book Wabi Sabi by Mark Reibstein and Ed people wear? Young.UNIT VALUES 2Lesson Life is Good® Carving, printing/ Color, line, Art images from Keith Haring and Robert Was there ever a time you tried to change 1 Logos “less is more” shape/ Indiana. Deck art images of vintage something about yourself so you would be design, extending harmony, skateboard exhibit, Preserve and Collect. more like other people? The kind of clothes experience variety Images of student work with symbols from you wear…how you run…liking sports…? designing previous class work. Teacher model and Why would a radiant baby be a symbol for a symbols other print samples by teacher and students. man? What type of symbol could you make “Life is Good” t-shirts, The book Block to stand for a whole bunch of different Printing by Susie O’Reilly. people? 2 My American Multi-media Shape, Art images from Grant Wood, Winslow Is it okay for artists to make jokes about Gothic drawing/ building space Homer, Archibald Motley, Henry Ossawa people in their paintings…can you think of upon overlap, and Tanner, and teacher and student work. The how it might not be okay? developing ideas book My Painted House My Friendly Where do you think these artists live…what through sketching Chicken and Me by Angelou and Courtney- do the all like…what do some like others Review Clarke and The Artist in the Hayloft by might not? proportion and Prestel. Matching worksheet, template for If your mom and dad like to go boating, then
  27. 27. foreground, face proportions, teacher models showing what kind of building could you draw behind middleground, how to format composition. them? If your mom and your aunt went and background shopping, then what would they be holding?3 Time Capsule Colored pencils/ Value, Art images from Josh Agle (Shag), Gary What are your hobbies, your favorite toys, Guess Book using source texture, Panter, Jeremy Pinc, and Tom Biskup. shows or movies you watch? material to space three Google images, teacher image file with What do you think the words “HE DUTY” develop ideas, ways/ pictures from magazines, Teacher samples said on the bottle in Pinc’s painting, before drawing from unity, of books, during different stages of he painted over part of the label? observation, variety assembly. Teacher paintings using pop- What movies do you think Tom Biskup cutting holes in culture references from the 70’s, 80’s, and likes…what do you think Gary Panter reads? page, collating 90’s. pages4 Zoom Colored pencil Color, Art images by Piet Mondrian and Camille Do you think Jim Zwadlo knows about and/or other space, Corot. Art images by Jim Zwadlo. The Waldo? drawing media/ texture/ books Zoom and Re-Zoom by Istvan Banya, Are there changes in the texture and color as spatial thinking; unity Looking Down by Steve Jenkins, and you view something further away? different points of Where’s the Fly by Cohen and Barnet. Astronauts talk about feelings they have view from Teacher model and student samples. Use looking at the planet from space, knowing a observation and sketches from microscope work in science war is happening; they feel like we are all memory. class as starting point. connected. When do you feel small or tall, when you are walking on the beach…in a forest…down the crowed hallway…over an anthill?5 In/Out Colored pencil Color, Images of artwork showing exteriors and Have you ever felt trapped in…left out…out and/or other space, interiors, such as Turner’s Snow Storm and of luck…?
  28. 28. drawing media/ texture/ Van Gogh’s Bedroom. Teacher models and This is a painting about rain. How else could spatial thinking; unity student work. Snowy Day by Keats. Short this student make this painting look like it is different points of story I stand Here Ironing by Tillie Olsen raining? How did she make it feel like a view from or the poem The Tornado by Norman storm? observation and Russell. Also, reinterpretations of classics Can you tell which of these paintings are memory. in the Visions in Poetry Series from Kids about inside places…outside places…? Can Press. 6 Metamorphic Colored pencil Color, Images of Escher and zoomorphism in Think about how a burning match looks like Metaphors and/or other space, illuminated manuscripts. Images and the top of a palm tree in your teacher’s (Meta Meta) drawing media/ texture/ samples of teacher and student work. The drawing…are there ways that fire and palm spatial thinking; unity books from the Let’s-Read-and-Find-Out fronds are similar besides visually? imagining the series. Also, Metamorphosis of Flowers by Can you think of something to symbolize… transformation Nuridsany and Perennou. when your sister got her driver’s license… when you moved to a new house… when your grandma died…? 7 Dig it and Pick it Clay and natural Texture, Images and samples of pottery from Why do you think art objects from some (DIPI) objects/ color, different Native American tribes: Native American people have more clay art observing the form/ Southwest, Eastern Woodlands, Plains, and objects than wood…stone…textile…metal vicissitudes. variety and Basin, for example: Cherokee, Iroquois, art objects? Burnish and low- emphasis Pueblo, Hopi, Catawaba, Acoma, Where have you seen bricks the color of this fire, molds/casts Cheyenne, and Shoshoni. Additional clay in town? considerations in lesson plan and rationale. Did you lie down on the moss before you (See diagram of lessons in 4.1 submission.) picked a little for your baggie?UNIT VISION 3Lesson Wish Keeper Clay building/ Texture, Images of other art containers: Lucas • If you were all powerful, what would you like
  29. 29. 1 designing a lid color, Samaras, Images of Asian, student, and to change about the world? that holds a wish form/ teacher Wish Keepers. Critique sheet with Can you guess why this artist, who lives in and fits vessel emphasis, questions to accompany display, crossword Hawaii, makes Asian Wish Keepers…what proportion with clay working terms, reflection sheet, plant does the handle look like? and Wish Keeper Lid checklist. The Book Bento’s Dream Bottle by Nye and Pak2 Recycle Art Assemblage/ Texture, Art images from Louise Nevelson, Chris Do you think this artist lived in a city or the Assemblage authentic choices color, Murphy artist visit/ The books Recycled Re- country? with recycled and color, Seen: Folk Art from the Global Scrap Heap What other job do you think Chris Murphy found object texture, by Cerny and Trashformations by Herman. has besides being an artist…hint he uses form/ DVD i love trash by Brown and Mann. wire? balance, If your favorite sport is soccer or football, unity what is something that has a bright color and soft texture that both sports have in common?3 Worldview Multi-media Color, line, Art images from Rachel Carns, Roy What do you think a cartoon is…a poster…a Illumination drawing/ shape, Lichtenstein, Mardsen Hartley, Hokusai, diagram…a decoration…an illustration? compositional building Book of Kells, Babylon Lion, teacher Commercials try to get people to buy things. decisions, upon model, idiom list. The book A Little Peace In what ways are illuminated manuscripts building upon pattern and by Barbara Kerley. like commercials? What message do you “less is more” creating think the artist’s snarling lion has? design, sketching space and What images does “Don’t worry be happy” to develop ideas depth make you think of?4 Propagandist Graphics Color, line, Shepard Fairey, website/story. Art images Why is there so much red in some of these Street Team software, shape/ by Picasso, Goya, Rivera, and Sequiros. posters? What do you notice about the Takeaways producing low building Compare poster art from Cuba, China, people…how are they similarly posed to the (PSTT) cost items to be upon Russia, and America. Poster books by couple in American Gothic? given away for harmony, Cushing. Soviet posters in book by Lafont. How many people in your class would have
  30. 30. free, “less is variety Vertical plan for issues sorted by grade to start wearing a type of shoes until you did more” design level. (See chart in submission 4.1.) Go to too? www.freechild.org to research issues, change-agent process, and youth empowerment.5 Two Rivers Using recycled Color, line, Images of New Deal murals in WI. Possibly Many of the New Deal artists were visiting a Mural Project paint, drawing shape/ visits to murals and public artwork done by community just to do the artwork but were (TRMP) from life for ideas building WPA artists from Layton School of Art. expected to portray the community and its and using upon unity Images of murals in Ashland, WI. Teacher history. How can you best show the history sketching to and images of murals and examples of sketches of Two Rivers? develop ideas, creating and grids from other murals. Images of Do you see how the road in the Hana Mural grid enlargement space Rivers series done by teacher. Reference continues the entire 160’ without ever materials regarding rivers. running parallel to the bottom of the composition? How will you compose the rivers? How is that road like your rivers?
  31. 31. BOSTON UNIVERSITY PROGRAMS IN EDUCATION Art Education Department LEGACY CURRICULUM: VOICE UNITNAME: Joan Schlough CLASS: CFAAR 620DESCRIPTIVE TITLE: VOICE. If students do not put their name on their artwork, will theviewer be able to tell who made it? Students assert their voice as the very signature of theirartwork. The Voice Unit lessons teach how voice is not just style but a combination of style andcontribution (representation, opinion, and activism). While the Voice Unit focuses on aestheticpreferences, the personal process, and media choices, students consider these decisions as part oftheir experience. You only have to let the soft animal of your body love what it loves. From Wild Geese by Mary OliverGOALS: Students SHOULD:KNOW…• and remember information and ideas about the art and design around them and throughout the world (Content Standard A).UNDERSTAND…• the value and significance of the visual arts, media and design in relation to history, citizenship, the environment, and social development (Content Standard B).BE ABLE TO…• design and produce quality original images and objects, such as paintings, sculptures, designed objects, photographs, graphic designs, videos, and computer images (Content Standard C).• apply their knowledge of people, places, ideas, and language of art and design to their daily lives (Content Standard D).• produce quality images and objects that effectively communicate and express ideas using varied media, techniques, and processes (Content Standard E).• interpret visual experiences, such as artwork, designed objects, architecture, movies, television, and multimedia images, using a range of subject matter, symbols, and ideas (Content Standard G).• use their senses and emotions through art and design to develop their minds and to improve social relationships (Content Standard I).• reflect upon the nature of art and design and meaning in art and culture (Content Standard J). 31
  32. 32. • make connections among arts, other disciplines, other cultures, and the world of work (Content Standard K).• use their imaginations and creativity to develop multiple solutions to problems, expand their minds, and create ideas for original works of art and design (Content Standard L).Wisconsin’s Model Academic Standards for Art and Designhttp://dpi.wi.gov/standards/pdf/art&design.pdfINSTRUCTIONAL CONCEPTS: With voice, values, and vision, people are all able to beauthentic, communicative, and contributive of a legacy. The Voice Unit is one-third of theLegacy Curriculum. Renee Sandell (2009) uses the formula Form + Theme + Context (FTC) toequate art lessons as a balance of visual literacy within art education. All the lessons in theLegacy Curriculum use Sandell’s formula. In addition, these ideas contribute to the Voice Unit:• Teaching to encourage all voices, “avoiding stereotypes in terms of student interest and ability as well as media, style, subject matter” (Collins and Sandell, 1984, p. 189).• Hetland, Winner, Veenema, and Sheridan (2007) explain voice as Express, the Habit of Mind “learning to create works that convey an idea, a feeling, a personal meaning” (p. 6).• Robert K. Abbett stated that “an artist’s style will be the sum of his or her philosophy, interests, and personality, among other things, but will be arrived at via their technique” (Mitchell, 2007, p. 132).• “The teacher creates an environment in which meaning can be constructed by all students” (Simpson, et al., 1998, p. 295).ARTISTIC BEHAVIORS: In Studio Thinking, Hetland, Winner, Veenema, and Sheridan(2007) identify these eight habits:Develop Craft: Students learn technique and studio practices, using and properly caring for tools.Students learn studio conventions.Engage and Persist: Students follow classroom procedure, learn media technique, be willing tomake revisions, start anew, and work supportively with others.Envision: Students use sketching to develop ideas and construct meanings, individually andcollaboratively.Observe: Students learn to attend to looking in order to really see things that might not otherwisebe seen.Express: Students communicate through aesthetics, artist statements, collaborative journals, andwritten wishes.Reflect: Students judge the success of artwork by themselves and others through the use ofrubrics, oral and written words, and portfolios. Students are willing to redo process, components,or even the project, if remediation is considered necessary by the student.Stretch and Explore: Students reach beyond their capacities. Students play without a plan, makemistakes and capitalize from them.Understand the Art World Domain: Students view fine art, multicultural art, YouTube artists,and other outsider art. Students compare all of these images and other student work to their ownwork. Developing their own ideas about the purposes and meanings of art. 32
  33. 33. LESSONS IN THE VOICE UNIT:• Brainwave Expressionism (BWX): By looking at active and passive brainwaves, students consider how those waves or lines look different, depending on conditions. Students study expressionist artists and begin to use color and line expressively, ways in which to assert voice. Everyone knows a single line may convey an emotion. Piet Mondrian• Shout: Students use prints and stencils as a way to make a mark, using their fingers and hands. Students also consider the line, shape, color, and repetition in patterns as expressive. Get in touch with the natural, inner rhythms and pattern of life within oneself. Charles Guignon On Being Authentic• Initial Media Choices: Learning about the environment artists live in, students consider how a media may be representative of an artist’s surroundings, which becomes a basis for aesthetic preferences. Students choose media, using two-dimensional or three-dimensional processes in a monogram.• Wabi-Sabi Mobiles: Having established syncretic meaning for internal rhythm, outward expressions, and as a sense of place, students apply syncretic meaning to symbols that are common to their people. Considering how other peoples have used small objects, students build mobiles with their own small objects.RESOURCES AND MATERIALS:• Brainwave Expressionism: Pencils, crayons, sketching and painting paper, watercolor paint and brushes, writing paper Book: Children of Many Lands by Reich. Other resources: Printouts of EEG’s and Power Point of lesson• Shout: Drawing and painting media and implements. Collage materials and various adhesives Images and samples of patterns. Shepard Fairey YouTube video: http://www.youtube.com/watch?v=Z53XuUhLmuY&feature=related• Initial Media Choices: Drawing and painting media and implements. Assemblage materials and various adhesives. Samples and images of Northwest Indian sculpture and Navajo textiles and pottery• Wabi-Sabi Mobiles: Clay, clay working tools, glaze, and kiln Book: Wabi Sabi by Reibstein and YoungFor all lessons:Screen with a laptop, projector, and Internet use for exemplars and as image reference 33
  34. 34. Teacher models and student work samplesASSESSMENT:Rubrics, written or oral self-reflections, critique guidesGuided discussions, small group discussions, and one-on-one discussionsWord Wall vocabularySummative Assessment questions for Voice Unit: Give an example of alternative self-portraiture. What part of your personality can you match to a type of line? Which media or material best represents a part of your character? Could someone tell you made your artwork without your name on it? 34
  35. 35. BOSTON UNIVERSITY PROGRAMS IN EDUCATION LESSON PLAN Art Education DepartmentTEACHER’S NAME Joan Schlough LESSON ORDER Presented 1st in 1st unitSCHOOL Koenig Elementary GRADE 3/4 LENGTH OF LESSON 2, 60 min. periodsUNIT Voice TITLE OF LESSON Brainwave Expressionism (BWX)RELATIONSHIP TO THE LEGACY CURRICULUM: (BWX)On a small scale we make our own ripples in our inner ponds. Renee Sandell in her article Form+ Theme + Context wrote that during “the transformation process of creative expression,students generate artistic ideas that they elaborate, refine and finally shape into meaningful visualimagery and structures.” EEG’s of actual brainwaves appear as jagged periodic waves generatedby our active brains and change to low bumps or flat lines by our passive brains. Students willconsider their internal rhythms, or peace within, assigning syncretic meaning to their lines. Everyone knows that a single line may convey an emotion. Figure 1: Piet MondrianRELATIONSHIP TO LIFE:This painting is alternative self-portraiture, using the idea of a brainwave to represent one’sinternal rhythm; students conceptualize how a wave (or a line) can be expressive and how somecolors express emotions. Students decide if a wavy line expresses the idea that someone is joyfulor nervous and make determinations if the color red might mean love, anger, or just that someonereally likes strawberries.I. PROBLEM/ACTIVITY:Students look at actual brainwaves and forms of alternative self-portraits, and paintings byabstract expressionists. Students practice watercolor techniques, paint an expressive alternative-self portrait, write an artist statement, and participate in a critique.II. GOALS:KNOW…• that art is a basic way of communicating about the world (Performance Standard A.4.6).• creating or looking at art can bring out different feelings (Performance Standards I.4.1-7).• their own ideas about the purposes and meanings of art (Performance Standard J.4.5).UNDERSTAND…• ideas and meanings of other artwork (Performance Standards E.4.1, E.4.5 and G.4.1-4).• and apply the role of art criticism and aesthetic knowledge (Performance Standard J.4.7).• connections art makes to other subjects and life (Performance Standards K.4.1-3). 35
  36. 36. BE ABLE TO…• develop basic skills to produce quality art, following procedures, and looking at visual art. (Performance Standards C.4.1-10).• use basic language of art and problem-solving strategies (Performance Standards D.4.5-6).• communicate their own ideas and meanings (Performance Standards E.4.1, E.4.5, G.4.1-4).• show differences among colors…and other qualities of objects in their artwork (Performance Standard H.4.3).• develop conceptual thought processes, and learn to use metaphors to arrive at original ideas (Performance Standards L.4.1-7).III. OBJECTIVES:1. Once students practiced the activity of blending watercolors on 2” x 6” swatches, they willdemonstrate the technique of blended watercolors in their final 24” X 32” brainwave portraits.(Bloom-Application)2. Using brainwaves as a starting point, or an alternative idea approved by the teacher, studentswill generate the idea developing it into compositions through the use of five thumbnail sketches.(Bloom-Synthesis and Create)3. Having participated in class discussion about alternative self-portraiture, learned how otherartists presented in class have accomplished alternative self-portraiture, students will orallycritique their own portrait and the portraits of their peers, clearly defending how portraiture wasachieved through brainwave imagery. (Bloom-Evaluation)IV. RESOURCES AND MATERIALS:Resources:• Examples of actual brainwaves as shown by EEG’s• PowerPoint about the lessonBook: Children of Many Lands by Hanns ReichArtist exemplars of alternative self-portraiture:Figure 2: Coosje’s Thinking by Figure 3: Untitled #14 by Gina Tamburri, who Figure 4: Broom by 36
  37. 37. Oldenburg and van Bruggen paints microscopic imagery Gaston ChaissacArtist exemplars of expressionist painting:Figure 5: Painting with Figure 6: Wheatfield with Crows by Vincent Van Gogh Figure 7: The Ballad of the JealousThree Spots by Wassily Lover of Lone Tree Valley by ThomasKandinsky Hart BentonExamples of student BWX’s with written paragraphs:I am happy. Brown means I am sad I’m happy and I like to jump I made a colorful desert of blue. Neutralsbecause my grandpa might die. All everywhere. Orange, blue, purple, brown, greens, reds, blacks, yellow, orange,colors mean I like to play. yellow, and grey are happy colors. and violet. I made it a rainbow cause I like Red, black, green, brown, yellow, seeing a rainbow in my house. I tried making pink are sad colors. I’m so happy at cactus, sand, clouds, and the wind pushing the school. sand.Figure 8: Colors by Janice Figure 9: Happy Jumpy by Nakayla Figure 10: Desert of Blue by Dylan Teacher models for swatches and BWX: Figure 11: swatch with transparency Figure 12: swatch with dry brush 37
  38. 38. Figure 13: BWX using white crayon resist Figure 14: BWX without crayon resistMaterials:1-watercolor paper 22x30”watercolor paint3-watercolor papers 2x6”water to paint and rinse1-#2 sable round brush1#10 sable filbert brush1-1/2” brushpencilsketch paper and paper for writingArtist quotes:Figure 1: Mitchell, D. (with Haroun, L.). (2007). Finding your visual voice. Re: Mondrian quote. Cincinnati, OH: North Light Books.Figure 15: Oliver, M. (1986). Dream Work. [line from the poem Wild geese]. New York, NY: Atlantic Monthly Press.Artist exemplars:Figure 2: Oldenburg, C. & van Bruggen, C. (1983). Cross Section of a Toothbrush with Paste, in a Cup, on a Sink: Portrait of Coosjes Thinking. [Image of sculpture]. Haus Esters, Krefeld, Germany.Figure 3: Tamburri, G. (ca. 2000). Untitled No. 14 [Image of painting]. Scanned from Pittsburgh Tribune-Review.Figure 4: Chaissac, G. (ca. 1953). Broom [Image of painting]. Louis Carré & Cie Gallery, Paris, France.Figure 5: Kandinsky, W. (1914) Painting with Three Spots [Image of painting]. Collection Thyssen-Bornemisza, Madrid, Spain.Figure 6: Van Gogh, V. (1890). Wheatfield with Crows [Image of painting]. Van Gogh Museum, Amsterdam, Holland.Figure 7: Benton, T. H. (1934). The Ballad of the Jealous Lover of Lone Tree Valley [Image of painting]. Spencer Museum of Art, Lawrence, Kansas.Student samples: Teacher models:Figure 8: Colors by Janice Figure 11: swatch with transparency 38
  39. 39. Figure 9: Happy Jumpy by Nakayla Figure 12: swatch with dry brushFigure 10: Desert of Blue by Dylan Figure 13: BWX using white crayon resistFigure 16: Navajo Hip Hop by Nakayla Figure 14: BWX without crayon resistV. MOTIVATIONTOPIC QUESTIONS:• How much does/should a title or an artist statement tell us about the artwork? This is one of the last pictures that Van Gogh painted before he died. Does this give you a different idea about crows in a wheat field?You only have to let the soft animal of your body love what it loves. Figure 15: From Wild Geese by Mary Oliver• What does Mary Oliver mean…do you think Nakayla knew, when she thought of her blanket and music to paint her BWX?ASSOCIATION QUESTIONS:• Why do you think Nakayla chose the lines and colors in her painting? Figure 16: Navajo Hip Hop by Nakayla• How is the movement in Thomas Hart Benton’s painting telling the story? How could someone’s thinking be a toothbrush with toothpaste on it? Do you think their choices have something to do with their lives?• Can you make a painting like Kandinsky’s with only line and color, and maybe a few shapes and still show your personality or characteristics?• If you looked at a part of your skin or hair, under a microscope do you think you could paint a painting like Tamburri’s? Would you choose the same colors? Would your colors be tints, shades, or neutrals?VISUALIZATION QUESTION:• What lines would you draw for this child (have student demonstrate a line for a picture of a child from the book, Children of Many Lands)?• What if some one’s heart is beating fast? What colors or shapes would best show a fast heartbeat?• Can you think of other physical things about you that you could show in a line or a color? 39
  40. 40. TRANSITION QUESTIONS:• What if you were to tell an exciting story, acting out that story with a line, would that line have a certain quality? Like the story has ups and downs, would the line go up and down?• Do you think you could use line and color as symbols to express your feelings or your personality?• Who can explain to how our brainwaves explain something about us?• What do sharp, tall brainwaves mean as opposed to short, wavy brainwaves?• If you were sleepy, what kind of line do you think best shows your tiredness?VI. PROCEDURESDay OneBody:Instructional Input (10 min.)• Read task analysis of work flow for Day One written on the board.• Show examples of actual brainwaves as shown by EEG’s.• Show PowerPoint with examples self-portraiture alternatives by artists and examples of expressionist paintings.Modeling and Demonstration (10 min.)• Demonstrate wet-on-wet technique.• Demonstrate painting with transparency.• Demonstrate dry brush.• Demonstrate drawing thumbnail sketches.• Distribution: Line up by tables, when called, to collect materials on the counter or in the back of the classroom. Return to sink, or counter, independently for more supplies, when needed.Checking for Understanding (40 min.)• Students use 1 of the 2 x 6” papers to practice wet-on-wet.• Students use 1 of the 2 x 6” papers to practice transparency.• Students use 1 of the 2 x 6” papers to practice dry brush.Clean-up: Put paintings on drying rack, return paints and brushes according to procedures, washand dry tables.Closure for Day One: Review water color technique terms, matching swatches of types.Day TwoInstructional Input (5 min.)• Read task analysis of work flow for Day Two written on the board.• Opening reflection on 1st day progress. Point out how many of them blended their colors and tried other techniques, too, like dry-brush.• Review watercolor techniques within teacher and student BWX samplesModeling and Demonstration (10 min.)• Demonstrate making thumbnail sketches.• Demonstrate transferring idea from thumbnail sketch to BWX with and without crayon resist.• Demonstrate using watercolor techniques in BWX.Checking for Understanding (45 min.) 40
  41. 41. • Students make 5 thumbnail sketches of different compositions.• Students use composition idea and watercolor skills to paint BWX.• Students write artists’ statements about symbolism of colors and lines.Clean-up: Put paintings on drying rack, return paints and brushes according to our procedures,wash and dry tables according to our procedures.Closure for Day Two: Teachers and students hold oral critique and reveal why their images arealternative self-portraiture, how the paintings relate to themselves.VII. EVALUATIONSAssessment tools:Watercolor technique swatches: Using the swatches as pre-painting exercises, the teacherobserves the three techniques and then students proceed to the next exercise.Five thumbnail sketches will then be required showing the development of idea(s), students willchoose one of the five to use as a basis for their final painting. Only observation of completion ofthe five sketches is made, opposed to making any observation based on the quality. Students willcomplete a rubric.Oral defense or written paragraph: Allowing students freedom to defend their work in writing or orally, privately or publicly, eases initial discomfort with perceived inadequacies. Nakayla was retained in 3rd grade. Her second BWX journey brought a new comfort writing and leadership during the critique. She became confident giving positive, specific, and helpful comments.Critique log (written test available as a modification): Teacher assigns one student to tally other students’ comments. Students will be required to make at least one comment on their own work and one comment on a peer’s work. The students’ comments on their own work must convey how the image relates to themselves. The quality of the comment given to the peer should be helpful and specific. The information may be conveyed in a written paragraph as a modification.Critique: Have students look at other formal elements, such as composition and movement. How many of you feel your painting looks calm but you are not calm? How did your colors relate to your personality? Share how the different lines are something about your character. Are they strong? Have students read artists’ statements about symbolism of colors and lines. Transition to next lesson, which uses repetition in pattern, by pointing these principles out in the BWX’s.Rubric for BWX (see next page): 41
  42. 42. Brainwave Expressionism Check the boxes if you…A completed… 1 watercolor swatch showing wet-on-wet watercolor technique. 1 watercolor swatch showing dry brush technique. 1 watercolor swatch showing transparency. completed 5 thumbnail sketches, showing ideas of how to use different lines in your painting. wrote a paragraph about how the color and lines express things about your emotions, personality, or character. participated in the critique. Making one or more positive or at least helpful comments. have a final painting that is expressive and in watercolor, showing at least two of the techniques listed above.B I completed steps above and the swatches and thumbnails sketches helped me learn watercolor techniques but I could still use a little practice painting with watercolors.C I completed most of the steps shown above but I could still use a more practice painting with watercolors and sharing during critiques. 42
  43. 43. BOSTON UNIVERSITY PROGRAMS IN EDUCATION LESSON PLAN Art Education DepartmentTEACHER’S NAME Joan Schlough LESSON ORDER Presented 2nd in 1st unitSCHOOL Koenig Elementary GRADE 3/4 LENGTH OF LESSON 3, 60 min. periodsUNIT Voice TITLE OF LESSON ShoutRELATIONSHIP TO THE LEGACY CURRICULUM: (Shout)Students use prints and stencils as a way to make their mark, using their fingers and hands.Students also consider the line, shape, color, and repetition in patterns as expressive.Conceptually, students thought about Brainwaves an inner rhythm. This is the first lessonstudents begin to think of their voice as an outward expression, not just representative of innerfeelings. Get in touch with the natural, inner rhythms and pattern of life within oneself. Figure 1: Charles Guignon On Being AuthenticRELATIONSHIP TO LIFE:Alternative self-portraiture encourages students to apply syncretic meaning to their aestheticdecisions. The important application is not that a pattern is or is not strong, shy, brave, funny,complicated, etc.; it is whether or not students become able defending their assertions andeffectively communicate with others.I. PROBLEM/ACTIVITY:Students make a two-dimensional, mixed-media, and mixed-technique artwork, using pattern tovisually represent their shout. Formal elements, as with line and color in the BWX lesson, maybe used expressively. Students build upon their inner exploration, using those lines and colors inthe patterns to represent their visual shout.II. GOALS:KNOW…• that art is a basic way of communicating about the world (Performance Standard A.4.6).• creating or looking at art can bring out different feelings (Performance Standards I.4.1-7).• their own ideas about the purposes and meanings of art (Performance Standard J.4.5).UNDERSTAND…• expressive qualities of art changes from culture to culture (Performance Standard B.4.2). 43
  44. 44. • that their choices are shaped by their own culture (Performance Standard B.4.5).• ideas and meanings of other artwork (Performance Standards E.4.1, E.4.5 and G.4.1-4).• and apply the role of art criticism and aesthetic knowledge (Performance Standard J.4.7).BE ABLE TO…• develop basic skills to produce quality art, following procedures, and looking at visual art. (Performance Standards C.4.1-10).• use basic language of art and problem-solving strategies (Performance Standards D.4.5-6).• communicate their own ideas and meanings (Performance Standards E.4.1, E.4.5, G.4.1-4).• show differences among colors…and other qualities of objects in their artwork (Performance Standard H.4.3).• develop conceptual thought processes, and learn to use metaphors to arrive at original ideas (Performance Standards L.4.1-7).III. OBJECTIVES:1. Once students have been shown a model of the Shout artwork, having had previous experienceusing the techniques, and reviewing techniques through a YouTube video and teacherdemonstrations, students combine stenciling, printing, and painting in their own artwork,availing help from the teacher when needed. (Bloom-Comprehension, Application, and Create)2. Responding to their own process, students will list the steps in their process, identifying thetechniques by name and self-assessing the strengths and weakness, and defending how theirpatterns expressed something about them in written form or through guided and one-on-onediscussions with the teacher. (Bloom-Comprehension and Analysis)3. Through participation in class discussion, students will contribute their own thoughts andquestions as to the relevance and importance regarding the teacher model and exemplars,responding at least once to teacher prompts and replying at least once to other student comments.(Bloom-Synthesis and Evaluation)IV. RESOURCES AND MATERIALS:Resources:• Art vocabulary for Word Wall: pattern, print, stencil, repetition, simulated texture, overlap• Shepard Fairey YouTube video showing stencil layering:• http://www.youtube.com/watch?v=Z53XuUhLmuY• Hawaiian Kapa cloth and other visual aids with patterns: Native American pottery, Kente Cloth, and Ndebele houses.• Images of artwork with repetition and pattern: Elsworth Kelly, Paul Strand, Stuart Davis, Frank Stella, and Barnett Newman.Handout: Aboriginal Art. ArtaFacts 9(3).Books: Ndebele Painted Houses by Margaret Courtney-Clarke Kente Cloth Patterns to Color by Nancy Hall 44
  45. 45. Teacher model: Figure 2: Teacher model of the Shout process and ShoutArtist exemplars showing aspects of lesson:Figure 3: Arthur Dove, Fog Horns. Using Figure 4: Prehistoric woman. Hands and dotted Figure 5: Robert Rauschenberg, Smallvisual representation of sound. horse. Using hand as stencil. Rebus, 1956. Using multiple techniques in a 2-D “combine.” Materials for teacher to use with students: lamps tape lightbox 45
  46. 46. juice: cranberry, blueberry, pomegranate, or grape Other good staining liquids are non-alcoholic wine, tea, and coffee.squirters and sprayers: spray bottle, baster, condiment or glue bottle, or pipette Sprayers, basters, or other squirters are an option for students physically unable to spit, or with an aversion to spitting, or to completely substitute for spitting.spray paintmagazines and other types of paper, material, and collage possibilities Some materials for the collage component are difficult to cut, precutting the components, scissors with springs, or using materials that do not need to be cut, such as, paint swatches, stickers, and stamps, are other options.Knockdown TextureprimerMaterials for each student:16 x 28 ½” or 19 x 33” Bristol, Strathmore 300 series paper or other surface for Shout. Students may make suggestions and bring items but other surfaces available in the art room are reclaimed cupboard doors, recycled plastic containers, and cardboard boxes.sketch paperwriting paperstiff paper for stencilingpencils and eraserstempera or acrylic paintbrushesgluescissorsmagazines, and other collage paper, materials, and items for collage possibilities student bringsArtist quotes:Figure 1: Guignon, C. (2004). On being authentic. Milton Park, United Kingdom: Routledge.Teacher models:Figure 2: Teacher model of ShoutArtist exemplars:Figure 3: Dove, A. (1929). Fog Horns. [Image of painting]. Colorado Springs Fine Art Center.Figure 4: Prehistoric woman. (ca. 25,000 B.C.).Hand stencil and dotted horse. [Image of painting]. Re: hand stenciling. [Image of painting]. Pech Merle, Cabrerets, France.Figure 5: Rauschenberg, R. (1956). Small Rebus. [Image of combine]. MOCA, LA, CA.V. MOTIVATION:TOPIC QUESTION:• What do you think it means to create oneself as a work of art?ASSOCIATION QUESTIONS:• Looking at Dove’s painting, do the colors remind you of looking out at Lake Michigan sometimes? 46
  47. 47. • What is making the sound in Arthur Dove’s painting…hint you hear it all the time?• Can you explain how the cavewoman made the hand shapes and dots on the horse?• If caves, textiles, and pottery had not have been painted with prints and patterns, what else could archeologists have learned from the artwork?• What do you think Rauschenberg means, when he said that a painting is more like the real world if its made out the real world…what stuff can you identify in his Small Rebus…how is his rebus like the rebus that you made last year? VISUALIZATION QUESTIONS:• Since you may not use stamps, what might you include in your Shout…if you did use a stamp, how much more would it be?• What color would the sound of a fire alarm be…why?• What type of shape would the sound of a little bird make…an elephant…a snake?• If you made a picture of an onomatopoeia two years ago, how will this Shout artwork be similar?TRANSITION QUESTIONS:• How will the pattern in your shout bubble express your feelings or your personality?• Do you think any of this artwork is like a self-portrait?• What lines or colors from your BWX should you think about using for your shout bubble?• Why would it make sense for a student to include a ticket from a football game somewhere in the Shout artwork?• What students in your class might make their Shout on their skateboard decks?• What item could you use to make a pattern in your shout bubble?VI. PROCEDURESDay OneBody:Instructional Input (20 min.)• Read task analysis of work flow for Day One written on board.• Show images of Shout progression and Shout teacher model.• Review prior learning about color and line having syncretic meaning. Explain how the pattern in the shout bubble of the teacher model reflects the teacher’s character and personality.• Show examples of how other artists have used components of this lesson: visual sound, stenciling and printing with ones hands, and layering techniques.• Show part of Shepard Fairey YouTube Video.• Show examples of patterns and repetition. o Save some images to discuss Day Two.Modeling and Demonstration (10 min.)• Demonstrate tracing profile of head and silhouette of hands with a student helper. Warn students about the hot PAR on the lamp.• Demonstrate making a shout bubble. 47