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VOICE, VALUES, and
VISION:
The Development of Legacy in Elementary Art Education


Joan A. Schlough
Boston University




                           1
Table of Contents
Philosophy                  3
Philosophy References       4
Rationale                   5
Rationale References        23
Scope and Sequence          25
Voice Unit Plan             31
Brainwave                   35
Expressionism
Shout                       43
Values Unit Plan            51
Life is Good® Logos         55
My American Gothic          63
Vision Unit Plan            72
Wish Keeper                 76
Recycled Art                84
Assemblage
Unit Plan References        91




                        2
Philosophy Statement

        Artists contribute to understandings, communicating ideas about place and experiences. Art appreciation shapes
self-conception and worldview, helping people, as Albert Schweitzer wrote, to “devote themselves to that which comes
within their own sphere of influence and needs” (p. 277). Being an artist-teacher is the “investment…work in which one
gives authentic self to people,” (Meyer and Bergel, 2002, p. 84) and how art educators, who are also artists, are able to
embolden the lives of their students. Teaching art with Schweitzer’s Reverence for Life shows students “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 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 creative
process, and help students develop a creative process, authenticity, and voice (Daichendt, 2010). A creative process occurs
when one experiences making art, uses art media, develops preference for the ways to weave the elements and principles
of design independently, and when one asserts voice. Art appreciation and production sets the sails, and when one is able
to identify personally one has navigated a position. An art student, who sees differences, yet determines more similarities
in 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 art
based on personal characteristics, interests, experiences, who adheres to values, makes authentic art. To be authentic
requires courage. Alexenberg (2008) identifies moral courage in his eight realms of learning for educating artists for the
future. Alexenberg explains that “it is not enough for artists to rest content with their compassionate responses… they
must gain the strength and moral courage to use art to confront hatred, bigotry, racism…” (p. 331). An artist becomes
optimally 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 the
complex global terrain in which we now live, we should…give priority to respect for those with different backgrounds
and 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 their
worldviews.
        Intelligence, states Eisner (1998), is not just “constrained by the rules of logic. Human intellectual capacity is far
wider. 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
References

Alexenberg, 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
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 local

and then global commentary. Authentic art studio habits develop aesthetic preferences and begin

to 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 art

room students develop skills and come to understandings, “dispositions…artistic thinking and

behavior” (p. 1). There are eight Studio Habits of Mind, all of which are involved in the Legacy

Curriculum, where students are “learning to embrace problems of relevance within the art world

and/or personal importance, to develop focus and other mental states conducive to working and

persevering at art tasks” (p. 6). In the Legacy Curriculum students create art, using materials and

the elements and principles of design relating to the themes and subthemes. The Legacy

Curriculum also considers curriculum standards, mission statements, and community resources

and needs.

       The Two Rivers, Wisconsin public school district has adopted the National Common

Core Standards. The information relates to Math and English but the government emphasizes the

importance of arts education in its agenda as such, “The Agenda for Education in the United

States outlines the Obama-Biden plan to restore the promise of America's public education and

ensure that America's 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
are to “perform works of art, create their own works, and respond to works of art and the ideas

they impart” is made available through the Arts Education Partnership (2010, n.p.).

       The Wisconsin Department of Instruction aligns the art and design standards to the

national curriculum, stated in the mandate, “art, dance, and theater have used the National

Standards in those disciplines as a guide but have written their own standards” (Arts Education

Partnership, 2010, n.p.). Assessments, objectives, and art production references in the lesson

plans are made to the 2000 Wisconsin Department of Public Instruction Model of Academic

Standards 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 of

Work 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 the

materials is partly the style in which the student manipulates the art materials and partly the

preferences towards media. Students understand that artists use materials to evoke a different

response, express ideas, and learn about establishing their own voices, participating in the

lessons in the Voice Unit. One of the standards relating to how students use the materials is

Visual 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. Two

lessons with three-dimensional media are Initial Media Choices (IMC) and Recycled Art

Assemblages. All four lessons address the five general categories of the standards: Applications

of the Basics, Ability to Think, Skill in Communication, Production of Quality Work, and




                                                  6
Connections with Community, some especially so. For example, with IMC students learn how

an artist’s geography informs selection of media. One of the association questions is “Look at the

map…do you know why these parts are green and these are brown?” Students discover how the

art making differs between Northwest and Southwest Native American tribes, through the

exploration of climates that grow trees as opposed to those that do not. In addition to

interdisciplinary connection making, lessons make other connections.

       One of the association questions for Shout is “What is making the sound in Dove’s

painting…hint, you hear it all the time?” Students not only learn about how Arthur Dove’s

connection to the Long Island Sound informed his painting, Fog Horns, but they also link to

their own experiences living on Lake Michigan, hearing fog horns and understand the purposes

of 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 to

make literal and metaphoric connections” (p. 49). Art education accesses self-concepts, personal

experiences, and subsequent metaphoric connections. “All aspects of cultures must be examined

as the context in which art is produced. Not allowing ourselves to think this way is to continue to

minimize 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 and

Observe and particularly Cultural and Aesthetic Understanding. While the Legacy Curriculum is

theme-based, there is application of the elements and principles of design in the art projects. For

example, in the BWX lesson students use line and color expressively. Students look at actual

brainwaves to understand how lines take on different qualities, depending on whether the brain is

active or passive. Students draw lines, or perform lines according to their feelings and




                                                 7
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 like

unraveling ribbons. In addition to the elements of design, line and color, the BWX lesson focuses

on the principles movement and rhythm. Rhythm is explored conceptually when students explore

their 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 compositionally

through creating depth, and learning foreground, middleground, and background. Conceptually,

space is considered progressively, beginning with inward exploration, transitioning to outward

exploration. The depth students reach through inward exploration is evidenced by the written

paragraphs which accompany the BWX. Outward explorations culminate in the final lessons, in

the 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 their

private 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 as

deep as the viewer has a capacity to go…possibilities in art keep unfolding” (p. 121). The quality

of the design, the procedures of the delivery, and the attention to the standards, inherently meets

goals set forth by the mission statements.

Mission Statements

       Koenig Elementary School students attend an award winning school. The Action Plan

mission statement reads, “the Koenig staff is committed to implementing practices and strategies

with parents to build a positive learning environment and promote high achievement for every

student” (Koenig Elementary School, 2010, n.p.). The Action Plan reinforces the importance of

parent involvement detailing specifically how this unfolds. The new principal, one of the former




                                                 8
first grade teachers, reiterates the importance of community in her personal mission. The start of

her mission is almost identical to the state mission but also says that she “believes in the power

of ten: that is, the importance of building strong relationships between community, school and

home” (personal communication, July 21, 2010).

       The district’s mission is the state’s department of public instruction mission: “Every child

must graduate ready for further education and the workforce. We must align our efforts so our

students benefit from both college and career preparation, learning the skills and knowledge

necessary to be contributing members of our communities….” (Wisconsin Department of Public

Instruction, 2010, n.p.). Further in the state achievement goals are the buzz words: quality,

innovation, safe, respectable, accountability, and sustainable. Although the district does not

specifically render a mission statement, Two Rivers High School (2010) “strives to provide all

students with the academic, fine arts, vocational, and social skills necessary to become

competent, caring, and contributing members of a global society. All students will become more

responsible 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 “high

achievement” as opposed to the high school’s language, “more competent…more responsible.”

While each statement wants students to become contributors to the community, only Koenig

insists on community involvement at the school and stresses the role of the families with such

reverence, “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 “increase

learning.” The Legacy Curriculum is aligned with Koenig’s insistence, reverence, and




                                                 9
expectations. Lessons making powerful connections to the community are Propagandist’s Street

Team 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, and

respect. Setting expectations and forming procedures for classroom operations creates an

environment conducive for learning. It is within this safe and supportive environment that

students are “motivated, self-directed, and reflective learners, who independently manage their

goals 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 Curriculum

requires students to make decisions, persist through multiple steps and processes, and defend

choices, during critique and/or in writing. Students approach the material in the lesson, based on

how they best learn and provide evidences of their learning, based on how they can best express

their ideas and feelings.

        Nakayla, new to Koenig school in 2009, would not write a paragraph about her decisions

to use certain lines and colors in her BWX. Instead, Nakayla orally defended her use of lines and

colors in her BWX as the ones from her bedspread and thought about Hip Hop music, when she

painted. Allowing Nakayla to provide evidence of

her decisions orally nurtured Nakayla’s engagement

in her own learning. Retained in 2009, Nakayla

made new explorations in her 2010 BWX. Later in

this Rationale Statement, is Nakayla’s BWX from
                                                           Nakayla’s BWX from 2009, Navajo Hip Hop
2010 and her written paragraph.




                                                 10
Contributive.

       Reverence for Life, Albert Schweitzer’s Nobel Prize winning philosophy, shapes the

intent 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 it

be. 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 to

society” (Meyer, 2002, p. 276-277).

        Trenten, a gifted art student, explained why he was not wearing any socks. When he

tried 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 a

gifted artist, is also a student with an emotional-behavioral disorder (EBD). In a recent IEP

meeting, “school” was determined to be Trenten’s new incentive. If he is defiant, then he will be

unable 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. If

Trenten 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
The Wish Keeper lesson in the Vision Unit encourages students to think proactively, as if their

ideas for others are contributive. In 2009, Trenten created a Wish Keeper, and although this art

product 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 attendance

from the community, and since Trenten won a prize, the Koenig Elementary principal picked

Trenten 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 students

with disabilities attend. The special education department has faced reductions in staff but the

number of students, especially those with autism spectrum disorders, has increased. Keeping

environments the most conducive for learning has been most challenged be the severity of

behavioral 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 not

academics related, are offered before and after school, and ran by the staff and faculty. Koenig

students eat breakfast and two planned snacks, and more when needed. Koenig has a “Magic

Closet” for students to choose clothes, outerwear, and school supplies, if they need it. Students

are ready and willing to learn, having basic necessities met. Koenig school culture is one of

success, collaboration, and community. First hand experience of a sense community, ultimately

helps students learn Civic Literacy, an interdisciplinary theme included on the Partnership for

21st Century Skills Map and in the Legacy Curriculum.




                                                12
Students know that even if they need help learning, behaving appropriately, scheduling or

equipment considerations, an array of paraprofessionals, parents, staff, and faculty will help

them. Koenig staff and faculty expect that children will need education in many things besides

academics. Koenig Elementary School accepts students including those expelled by other

schools 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 are

doing; the measurable success is hard to comprehend, considering the other measurable numbers,

percentages and ratios, relating to student learning profiles; students receiving free lunches and

special education services.

       The Legacy Curriculum makes numerous interdisciplinary connections, placement within

personal, social, cultural, historical, and political context as shown in the Scope and Sequence

and full-length lesson plans. In Educating Artists for the Future, Alexenberg (2008) reveals his

eight 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 gain

the 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, and

evaluation skills….these examples [from the Skills Map] suggest ways that study of the arts can

help produce globally aware, collaborative, and responsible citizens” (p. 2). Each of the units in

the Legacy Curriculum, Voice, Values, and Vision, promote global concerns that Alexenberg

and the 21st Century Skills emphasize for art education.




                                                 13
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 not

just 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 their

personality, interests, feelings, and ideas. For Audrey Lorde (1984/2007) this artwork, the poetry

is not a luxury, it is “a vital necessity of our existence.” Poetry to Lorde means “a revelatory

distillation of experience” (p. 37). Revelations are a function of knowledge, carrying ideas and

generating thoughts into actions, distilling and liberating art making. “Communication…

articulating thoughts and ideas clearly and effectively” is the first skill on the 21st Century Skills

Map (2010, p.4).

       In students’ BWX watercolors, the syncretic meanings must be defended in written

paragraph or orally. Last year, Nakayla lacked the confidence to write about her artwork. This

year her writing is so much improved, she is more willing to try to write about her work. Last

year, Nakayla was too shy to participate in critique. Having had a year to practice the critique

process and get to know the other students better, Nakayla is not only ebullient during critique

but exemplifies how to make positive, and even helpful and specific comments. This year she

remembered the color term neutrals as naturals; a great mistake because she understands a

concept, if not the term. Shown below is the paragraph and BWX by Caroline and Nakayla:




                                                  14
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. Transitioning

conceptually to their immediate families, students think about what is important for their family

members to do, to be like, to feel, and to think. Students consider how it takes courage to

maintain 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
In a double-portrait, for the lesson called, My American Gothic, students share ideas

about people who are important to them and why. The building in the background, how the

people are dressed, and what the people are holding, will clue the viewer to familial values. In

2009, Ty chose Barack and Michelle Obama for his double-portrait. Haley’s shows the value of a

tradition, that her sister and she share. Both students reveal specifics about their culture, using

Grant Wood’s American Gothic “to draw on…to generate, evaluate, and select creative ideas to

turn into personally meaningful products” (Partnership for 21st Century Skills, 2010, p. 6). Here

is 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 their

outlook; what they hope their imprints will be on their futures or what they hope will be their

place in their family, community, and world. Students come to believe that their vision can be

helpful to others. “Vision precipitates in an artist’s voice and carries the artist’s hopes and

dreams to change the future and longings for a condition in the past. Vision is the voice’s




                                                  16
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, and

chestnuts, students illustrate the fun visual images that come to mind. Students strive to simply

state their visual illuminations of a plainly stated, yet powerful expression. Students “access and

evaluate information from a variety of sources accurately and creatively with an understanding

of 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 could

be 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
flexible times or simultaneously. If considerable time is allotted, then there are several other

considerations and benefits.

       Sensitivity.

       Values relate to PSTT, or propaganda, in that these determine how students feel about

themselves 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; values

relating to issues, facts, personal truths, and ideas. Art products students make are materials that

others 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 is

especially 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 in

the 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 matter

should be considered. For example, issues relating to intrapersonal relationships could begin at

the early elementary level as treating friends well, then late elementary as keeping secrets, then

at the middle school level as loyalty, and then at the high school level more mature ideas of

loyalty 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 the

takeaways around President Kennedy’s words, “Ask not what your country can do for you, ask

what you can do for your country?”




                                                 18
In addition to the considerations of the topics relating to values in PSTT, are the

constraints making the types of artwork, specifically using graphic software. The computer lab

has limited availability. Other media could be used for the PSTT projects, however, production

of the takeaways needs to be low-cost, computer generated, to actually produce freebies. The lab

is 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 early

summer. 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 of

students, in particular Art Club. Serious effort should be made for volunteer help, if taught to the

regular classes. Since PSTT, TRMP, and DIPI integrate alternate sites, these projects require

considerably more coordination. DIPI requires permission slips and possibly arranging for a van.

DIPI and maybe TRMP may require scheduling for rain dates. Considering the scheduling

constraints of an art teacher, based on experiences accompanying classes on their field trips,

attending classroom parties, and special presentations, coordinating work at alternate sites with

small groups, during the summer or on a weekend, may be advisable. Another option, as opposed

to going to smaller groups, is to make the clay dig aspect of the DIPI open to the entire

community, including the neighboring community of Manitowoc.

        Two Rivers sites are sometimes state as opposed to city parks. The Wisconsin

Department of Natural Resources is a larger entity to coordinate plans with, while the

Manitowoc Department of Parks and Recreation (MDPR) is smaller, with fewer stipulations to

hinder operations. My first choice of site for my student’s clay dig is Silver Creek Park in the

city of Manitowoc. This park, on the south side of Manitowoc, while not in Two Rivers, is only




                                                  19
eight miles south on Lake Michigan, about a 20 minute drive. A community clay dig here could

be coordinated with MDPR, both school districts, and the local museum, the Rahr West. This

creek’s clay is comparable to other clay from the Two River’s sites but has more cream-colored

clay. The park’s amenities make this a reasonable location for a group involving two

communities and many young children. The creek bed is wheelchair accessible in more than one

area of the park. The location is very suitable for the other portion of the lesson, where students

gather other natural materials, because there are well-defined areas where students can be kept in

range, while they are still able to wander. No special permits are required but the date needs to be

prearranged with the MDPR. There has been community digs here before, coordinated by the

Rahr 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. The

Two Rivers community, although eager to prepare their children for the global economy, are still

harboring strong taboos regarding the discourse of meaningful issues, necessitating the urgency

for students to be exposed to these issues and make personal connections in safe settings. Also

critical to opening discourse is providing students the opportunity to hold less antiquated or

separatist views. With careful vertical planning, the PSTT could be an effective way to teach

social justice in art education. Additionally beneficial, PSTT is designed to use software not art

room 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
conservation ethics. Many families enjoy boating, fishing, and hunting, and have a catch-and-eat

ethic. Using recycled materials honors that ethic and “local connections root us to place and

make us native to the Earth” (Gradle, 2008, p. 11).

       The rivers and surrounding areas supply the clay and the other material for the six

subsequent DIPI lessons. During the DIPI process, students enlist all of their senses, making

especially strong connections to environment. Gradle (2008) wrote, “place…is sometimes a

setting, but it is most often married to memory, imagination, and our embodied experiences in

such a way that words like emplaced, displaced, replaced, or out-of-place conjure up meanings

that are felt immediately and viscerally” (p. 6). We need to reacquaint with our environment to

get 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 zest

and self-confidence, we must educate them to be original as well as competent” (p. 12). Even

though 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). Art

educators, if prepared correctly, are in the position to foster our most important facility for being

contributive individuals in a community, voice.

       According to Meyer (2002), “today, at the beginning of the twenty-first century… we

recognize that we need to discuss creative ways in which life may be revered and maintained

around the world” (p. xvi). Feeling a passion for art, love for others as we love our selves, and

reverence for giving each moment our focus, brings forth many hands to worthy endeavors and

expands seconds into minutes. Albert Schweitzer said “reverence before the infinity of life




                                                  21
means the removal of the strangeness, the restoration of shared experiences and of compassion

and sympathy” (p. 68). Reverence consists of one’s values.

       The learning experience in the Legacy Curriculum correlates to life experiences and our

involvement living with others, our vision. The learning “integrates teaching with action research

and art making. It explores borderlands between art, science, technology and culture, integrating

knowing, 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, our

experiences meld and our lives connect. The Legacy Curriculum is authentic learning about

giving 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. Lorde

describes 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
References

Alexenberg, 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=38

Csikszentmihalyi, 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.pdf

Koenig Elementary School. (2010). Re: Action Plan. Retrieved from

       http://www.trschools.k12.wi.us/Koenig/web-content/2009-2010_pdf/action_plan.pdf

Linenger, 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
Manitowoc County Election Results. (2008). Re: Conservative base. Retrieved from

       http://www.manitowoc-county.com/upload/electionresults/November042008Elections

       Results111708.pdf

Meyer, 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.pdf

Sandell, 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.pdf

United States Government Department of Education. (2010) Re: Commitment to the arts. Retrieved

       from http://www2.ed.gov/teachers/how/tools/initiative/updates/040826.html

Wisconsin Department of Public Instruction. (2010) Re: Buzz words. Retrieved from

       http://dpi.wi.gov/sprntdnt/index.html

Wisconsin 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
SCOPE AND      Materials/ skills     Elements/      Exemplars/ resources                            Associations/ visualizations
        SEQUENCE                             principles

UNIT       VOICE
 1

Lesson 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
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
 2

Lesson 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
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.
                 pages




4 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…?
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
 3

Lesson Wish Keeper         Clay building/      Texture,      Images of other art containers: Lucas       • If you were all powerful, what would you like
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 Pak




2 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
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?
BOSTON UNIVERSITY
                                PROGRAMS IN EDUCATION
                                  Art Education Department

                          LEGACY CURRICULUM: VOICE UNIT

NAME: Joan Schlough                                                         CLASS: CFAAR 620

DESCRIPTIVE TITLE: VOICE. If students do not put their name on their artwork, will the
viewer be able to tell who made it? Students assert their voice as the very signature of their
artwork. The Voice Unit lessons teach how voice is not just style but a combination of style and
contribution (representation, opinion, and activism). While the Voice Unit focuses on aesthetic
preferences, the personal process, and media choices, students consider these decisions as part of
their experience.

   You only have to let the soft animal of your body love what it loves.

                                                                     From Wild Geese by Mary Oliver

GOALS: 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
•   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 Design
http://dpi.wi.gov/standards/pdf/art&design.pdf

INSTRUCTIONAL CONCEPTS: With voice, values, and vision, people are all able to be
authentic, communicative, and contributive of a legacy. The Voice Unit is one-third of the
Legacy Curriculum. Renee Sandell (2009) uses the formula Form + Theme + Context (FTC) to
equate art lessons as a balance of visual literacy within art education. All the lessons in the
Legacy 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 to
make revisions, start anew, and work supportively with others.
Envision: Students use sketching to develop ideas and construct meanings, individually and
collaboratively.
Observe: Students learn to attend to looking in order to really see things that might not otherwise
be seen.
Express: Students communicate through aesthetics, artist statements, collaborative journals, and
written wishes.
Reflect: Students judge the success of artwork by themselves and others through the use of
rubrics, 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, make
mistakes 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 own
work. Developing their own ideas about the purposes and meanings of art.




                                                32
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 Young
For all lessons:
Screen with a laptop, projector, and Internet use for exemplars and as image reference



                                                 33
Teacher models and student work samples

ASSESSMENT:
Rubrics, written or oral self-reflections, critique guides
Guided discussions, small group discussions, and one-on-one discussions
Word Wall vocabulary

Summative 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
BOSTON UNIVERSITY
                                PROGRAMS IN EDUCATION

                                        LESSON PLAN
                                    Art Education Department

TEACHER’S NAME Joan Schlough   LESSON ORDER Presented 1st in 1st unit
SCHOOL Koenig Elementary  GRADE 3/4 LENGTH OF LESSON 2, 60 min. periods

UNIT 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 visual
imagery and structures.” EEG’s of actual brainwaves appear as jagged periodic waves generated
by our active brains and change to low bumps or flat lines by our passive brains. Students will
consider 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 Mondrian

RELATIONSHIP TO LIFE:
This painting is alternative self-portraiture, using the idea of a brainwave to represent one’s
internal rhythm; students conceptualize how a wave (or a line) can be expressive and how some
colors express emotions. Students decide if a wavy line expresses the idea that someone is joyful
or nervous and make determinations if the color red might mean love, anger, or just that someone
really likes strawberries.

I. PROBLEM/ACTIVITY:
Students look at actual brainwaves and forms of alternative self-portraits, and paintings by
abstract 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
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 will
demonstrate 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, students
will 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 other
artists presented in class have accomplished alternative self-portraiture, students will orally
critique their own portrait and the portraits of their peers, clearly defending how portraiture was
achieved through brainwave imagery. (Bloom-Evaluation)

IV. RESOURCES AND MATERIALS:
Resources:
• Examples of actual brainwaves as shown by EEG’s
• PowerPoint about the lesson
Book: Children of Many Lands by Hanns Reich

Artist exemplars of alternative self-portraiture:




Figure 2: Coosje’s Thinking by     Figure 3: Untitled #14 by Gina Tamburri, who   Figure 4: Broom by



                                                  36
Oldenburg and van Bruggen            paints microscopic imagery                        Gaston Chaissac
Artist exemplars of expressionist painting:




Figure 5: Painting with       Figure 6: Wheatfield with Crows by Vincent Van Gogh              Figure 7: The Ballad of the Jealous
Three Spots by Wassily                                                                         Lover of Lone Tree Valley by Thomas
Kandinsky                                                                                      Hart Benton

Examples 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. Neutrals
because 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
Figure 13: BWX using white crayon resist           Figure 14: BWX without crayon resist
Materials:
1-watercolor paper 22x30”
watercolor paint
3-watercolor papers 2x6”
water to paint and rinse
1-#2 sable round brush
1#10 sable filbert brush
1-1/2” brush
pencil
sketch paper and paper for writing

Artist 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 Coosje's 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
Figure 9: Happy Jumpy by Nakayla                   Figure 12: swatch with dry brush
Figure 10: Desert of Blue by Dylan                 Figure 13: BWX using white crayon resist
Figure 16: Navajo Hip Hop by Nakayla               Figure 14: BWX without crayon resist

V. MOTIVATION
TOPIC 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
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. PROCEDURES
Day One
Body:
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, wash
and dry tables.
Closure for Day One: Review water color technique terms, matching swatches of types.

Day Two
Instructional 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 samples
Modeling 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
• 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 are
alternative self-portraiture, how the paintings relate to themselves.

VII. EVALUATIONS
Assessment tools:
Watercolor technique swatches: Using the swatches as pre-painting exercises, the teacher
observes 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 will
choose one of the five to use as a basis for their final painting. Only observation of completion of
the five sketches is made, opposed to making any observation based on the quality. Students will
complete 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
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
BOSTON UNIVERSITY
                                 PROGRAMS IN EDUCATION

                                         LESSON PLAN
                                     Art Education Department


TEACHER’S NAME Joan Schlough   LESSON ORDER Presented 2nd in 1st unit
SCHOOL Koenig Elementary  GRADE 3/4 LENGTH OF LESSON 3, 60 min. periods

UNIT Voice                  TITLE OF LESSON Shout

RELATIONSHIP 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 lesson
students begin to think of their voice as an outward expression, not just representative of inner
feelings.


    Get in touch with the natural, inner rhythms
         and pattern of life within oneself.

                                                           Figure 1: Charles Guignon On Being Authentic

RELATIONSHIP TO LIFE:
Alternative self-portraiture encourages students to apply syncretic meaning to their aesthetic
decisions. 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 and
effectively communicate with others.

I. PROBLEM/ACTIVITY:
Students make a two-dimensional, mixed-media, and mixed-technique artwork, using pattern to
visually represent their shout. Formal elements, as with line and color in the BWX lesson, may
be used expressively. Students build upon their inner exploration, using those lines and colors in
the 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
•   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 experience
using the techniques, and reviewing techniques through a YouTube video and teacher
demonstrations, 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 the
techniques by name and self-assessing the strengths and weakness, and defending how their
patterns expressed something about them in written form or through guided and one-on-one
discussions with the teacher. (Bloom-Comprehension and Analysis)

3. Through participation in class discussion, students will contribute their own thoughts and
questions 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
Teacher model:




               Figure 2: Teacher model of the Shout process and Shout


Artist exemplars showing aspects of lesson:




Figure 3: Arthur Dove, Fog Horns. Using       Figure 4: Prehistoric woman. Hands and dotted   Figure 5: Robert Rauschenberg, Small
visual 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
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 paint
magazines 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 Texture
primer

Materials 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 paper
writing paper
stiff paper for stenciling
pencils and erasers
tempera or acrylic paint
brushes
glue
scissors
magazines, and other collage paper, materials, and items for collage possibilities student brings

Artist quotes:
Figure 1: Guignon, C. (2004). On being authentic. Milton Park, United Kingdom: Routledge.

Teacher models:
Figure 2: Teacher model of Shout

Artist 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
•   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 it's 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. PROCEDURES
Day One
Body:
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
•  Demonstrate making stencils used to spray, squirt or spit inside shapes or around the outside
   by taping paper to window or using lightbox.
• Demonstrate making stencils for spraying outside of the shapes as well as inside shapes.
• Demonstrate how to use Knockdown Texture.
• Demonstrate taking notes about process.
• Show students how to work on different parts of their Shout, while waiting to use community
   resources and materials.
           o Only model and demonstrate a little bit of each of the above step, to conserve time
               and save parts of the work for Day Two demonstrations.
           o Knockdown Texture takes about three hours to dry.
• Demonstrate clean up.
• Distribution: Line up by tables, when called upon, to collect materials on the counter or in the
   back of the classroom. Return to counter, independently for more supplies, when needed.
   Call on students in pairs to take turns tracing silhouettes.
Checking for Understanding (30 min.)
• Students use sketching paper to plan composition.
• Students use stiff paper to create stencils.
• Students use another paper or surface for Shout.
• Students combine the steps of the process, using workflow checklist to remember
   components, and recording their steps as they are working.
           o If applying the Knockdown Texture a good strategy is to do so at the end of the
               period.
Clean-up: Put media and artwork away according to our procedures.
Closure for Day One: Teacher asks a vocabulary questions, students find the term on the Word
Wall, and then line up for dismissal.

Day Two
Body:
Instructional Input (10 min.)
• Read task analysis of work flow for Day Two written on board.
• Ask remaining guided questions and discuss additional samples of images with patterns.
• Read through checklist students use to remember components of process.
Modeling and Demonstration (15 min.)
• Repeat modeling and demonstration steps from Day One, adding to the work on the sample
    started on Day One.
• Demonstrate blocking in profile, hands, and bubble with paint. Talk aloud about how more
    than one outline can be used to make shapes look dynamic.
• Demonstrate spitting, spraying, printing, collaging, and painting, building surface with
    layers.
• Demonstrate choosing different stencils than the time before to add the next layers.
• Show how to switch colors for spitting, spraying, printing, collaging, and painting, building
    surface with layers.
• Demonstrate adding additional layers of prints and/or collage elements.



                                               48
A Legacy Curriculum
A Legacy Curriculum
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A Legacy Curriculum

  • 1. VOICE, VALUES, and VISION: The Development of Legacy in Elementary Art Education Joan A. Schlough Boston University 1
  • 2. Table of Contents Philosophy 3 Philosophy References 4 Rationale 5 Rationale References 23 Scope and Sequence 25 Voice Unit Plan 31 Brainwave 35 Expressionism Shout 43 Values Unit Plan 51 Life is Good® Logos 55 My American Gothic 63 Vision Unit Plan 72 Wish Keeper 76 Recycled Art 84 Assemblage Unit Plan References 91 2
  • 3. Philosophy Statement Artists contribute to understandings, communicating ideas about place and experiences. Art appreciation shapes self-conception and worldview, helping people, as Albert Schweitzer wrote, to “devote themselves to that which comes within their own sphere of influence and needs” (p. 277). Being an artist-teacher is the “investment…work in which one gives authentic self to people,” (Meyer and Bergel, 2002, p. 84) and how art educators, who are also artists, are able to embolden the lives of their students. Teaching art with Schweitzer’s Reverence for Life shows students “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 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 creative process, and help students develop a creative process, authenticity, and voice (Daichendt, 2010). A creative process occurs when one experiences making art, uses art media, develops preference for the ways to weave the elements and principles of design independently, and when one asserts voice. Art appreciation and production sets the sails, and when one is able to identify personally one has navigated a position. An art student, who sees differences, yet determines more similarities in 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 art based on personal characteristics, interests, experiences, who adheres to values, makes authentic art. To be authentic requires courage. Alexenberg (2008) identifies moral courage in his eight realms of learning for educating artists for the future. Alexenberg explains that “it is not enough for artists to rest content with their compassionate responses… they must gain the strength and moral courage to use art to confront hatred, bigotry, racism…” (p. 331). An artist becomes optimally 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 the complex global terrain in which we now live, we should…give priority to respect for those with different backgrounds and 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 their worldviews. Intelligence, states Eisner (1998), is not just “constrained by the rules of logic. Human intellectual capacity is far wider. 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. References Alexenberg, 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. 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 local and then global commentary. Authentic art studio habits develop aesthetic preferences and begin to 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 art room students develop skills and come to understandings, “dispositions…artistic thinking and behavior” (p. 1). There are eight Studio Habits of Mind, all of which are involved in the Legacy Curriculum, where students are “learning to embrace problems of relevance within the art world and/or personal importance, to develop focus and other mental states conducive to working and persevering at art tasks” (p. 6). In the Legacy Curriculum students create art, using materials and the elements and principles of design relating to the themes and subthemes. The Legacy Curriculum also considers curriculum standards, mission statements, and community resources and needs. The Two Rivers, Wisconsin public school district has adopted the National Common Core Standards. The information relates to Math and English but the government emphasizes the importance of arts education in its agenda as such, “The Agenda for Education in the United States outlines the Obama-Biden plan to restore the promise of America's public education and ensure that America's 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. are to “perform works of art, create their own works, and respond to works of art and the ideas they impart” is made available through the Arts Education Partnership (2010, n.p.). The Wisconsin Department of Instruction aligns the art and design standards to the national curriculum, stated in the mandate, “art, dance, and theater have used the National Standards in those disciplines as a guide but have written their own standards” (Arts Education Partnership, 2010, n.p.). Assessments, objectives, and art production references in the lesson plans are made to the 2000 Wisconsin Department of Public Instruction Model of Academic Standards 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 of Work 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 the materials is partly the style in which the student manipulates the art materials and partly the preferences towards media. Students understand that artists use materials to evoke a different response, express ideas, and learn about establishing their own voices, participating in the lessons in the Voice Unit. One of the standards relating to how students use the materials is Visual 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. Two lessons with three-dimensional media are Initial Media Choices (IMC) and Recycled Art Assemblages. All four lessons address the five general categories of the standards: Applications of the Basics, Ability to Think, Skill in Communication, Production of Quality Work, and 6
  • 7. Connections with Community, some especially so. For example, with IMC students learn how an artist’s geography informs selection of media. One of the association questions is “Look at the map…do you know why these parts are green and these are brown?” Students discover how the art making differs between Northwest and Southwest Native American tribes, through the exploration of climates that grow trees as opposed to those that do not. In addition to interdisciplinary connection making, lessons make other connections. One of the association questions for Shout is “What is making the sound in Dove’s painting…hint, you hear it all the time?” Students not only learn about how Arthur Dove’s connection to the Long Island Sound informed his painting, Fog Horns, but they also link to their own experiences living on Lake Michigan, hearing fog horns and understand the purposes of 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 to make literal and metaphoric connections” (p. 49). Art education accesses self-concepts, personal experiences, and subsequent metaphoric connections. “All aspects of cultures must be examined as the context in which art is produced. Not allowing ourselves to think this way is to continue to minimize 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 and Observe and particularly Cultural and Aesthetic Understanding. While the Legacy Curriculum is theme-based, there is application of the elements and principles of design in the art projects. For example, in the BWX lesson students use line and color expressively. Students look at actual brainwaves to understand how lines take on different qualities, depending on whether the brain is active or passive. Students draw lines, or perform lines according to their feelings and 7
  • 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 like unraveling ribbons. In addition to the elements of design, line and color, the BWX lesson focuses on the principles movement and rhythm. Rhythm is explored conceptually when students explore their 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 compositionally through creating depth, and learning foreground, middleground, and background. Conceptually, space is considered progressively, beginning with inward exploration, transitioning to outward exploration. The depth students reach through inward exploration is evidenced by the written paragraphs which accompany the BWX. Outward explorations culminate in the final lessons, in the 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 their private 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 as deep as the viewer has a capacity to go…possibilities in art keep unfolding” (p. 121). The quality of the design, the procedures of the delivery, and the attention to the standards, inherently meets goals set forth by the mission statements. Mission Statements Koenig Elementary School students attend an award winning school. The Action Plan mission statement reads, “the Koenig staff is committed to implementing practices and strategies with parents to build a positive learning environment and promote high achievement for every student” (Koenig Elementary School, 2010, n.p.). The Action Plan reinforces the importance of parent involvement detailing specifically how this unfolds. The new principal, one of the former 8
  • 9. first grade teachers, reiterates the importance of community in her personal mission. The start of her mission is almost identical to the state mission but also says that she “believes in the power of ten: that is, the importance of building strong relationships between community, school and home” (personal communication, July 21, 2010). The district’s mission is the state’s department of public instruction mission: “Every child must graduate ready for further education and the workforce. We must align our efforts so our students benefit from both college and career preparation, learning the skills and knowledge necessary to be contributing members of our communities….” (Wisconsin Department of Public Instruction, 2010, n.p.). Further in the state achievement goals are the buzz words: quality, innovation, safe, respectable, accountability, and sustainable. Although the district does not specifically render a mission statement, Two Rivers High School (2010) “strives to provide all students with the academic, fine arts, vocational, and social skills necessary to become competent, caring, and contributing members of a global society. All students will become more responsible 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 “high achievement” as opposed to the high school’s language, “more competent…more responsible.” While each statement wants students to become contributors to the community, only Koenig insists on community involvement at the school and stresses the role of the families with such reverence, “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 “increase learning.” The Legacy Curriculum is aligned with Koenig’s insistence, reverence, and 9
  • 10. expectations. Lessons making powerful connections to the community are Propagandist’s Street Team 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, and respect. Setting expectations and forming procedures for classroom operations creates an environment conducive for learning. It is within this safe and supportive environment that students are “motivated, self-directed, and reflective learners, who independently manage their goals 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 Curriculum requires students to make decisions, persist through multiple steps and processes, and defend choices, during critique and/or in writing. Students approach the material in the lesson, based on how they best learn and provide evidences of their learning, based on how they can best express their ideas and feelings. Nakayla, new to Koenig school in 2009, would not write a paragraph about her decisions to use certain lines and colors in her BWX. Instead, Nakayla orally defended her use of lines and colors in her BWX as the ones from her bedspread and thought about Hip Hop music, when she painted. Allowing Nakayla to provide evidence of her decisions orally nurtured Nakayla’s engagement in her own learning. Retained in 2009, Nakayla made new explorations in her 2010 BWX. Later in this Rationale Statement, is Nakayla’s BWX from Nakayla’s BWX from 2009, Navajo Hip Hop 2010 and her written paragraph. 10
  • 11. Contributive. Reverence for Life, Albert Schweitzer’s Nobel Prize winning philosophy, shapes the intent 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 it be. 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 to society” (Meyer, 2002, p. 276-277). Trenten, a gifted art student, explained why he was not wearing any socks. When he tried 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 a gifted artist, is also a student with an emotional-behavioral disorder (EBD). In a recent IEP meeting, “school” was determined to be Trenten’s new incentive. If he is defiant, then he will be unable 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. If Trenten 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. The Wish Keeper lesson in the Vision Unit encourages students to think proactively, as if their ideas for others are contributive. In 2009, Trenten created a Wish Keeper, and although this art product 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 attendance from the community, and since Trenten won a prize, the Koenig Elementary principal picked Trenten 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 students with disabilities attend. The special education department has faced reductions in staff but the number of students, especially those with autism spectrum disorders, has increased. Keeping environments the most conducive for learning has been most challenged be the severity of behavioral 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 not academics related, are offered before and after school, and ran by the staff and faculty. Koenig students eat breakfast and two planned snacks, and more when needed. Koenig has a “Magic Closet” for students to choose clothes, outerwear, and school supplies, if they need it. Students are ready and willing to learn, having basic necessities met. Koenig school culture is one of success, collaboration, and community. First hand experience of a sense community, ultimately helps students learn Civic Literacy, an interdisciplinary theme included on the Partnership for 21st Century Skills Map and in the Legacy Curriculum. 12
  • 13. Students know that even if they need help learning, behaving appropriately, scheduling or equipment considerations, an array of paraprofessionals, parents, staff, and faculty will help them. Koenig staff and faculty expect that children will need education in many things besides academics. Koenig Elementary School accepts students including those expelled by other schools 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 are doing; the measurable success is hard to comprehend, considering the other measurable numbers, percentages and ratios, relating to student learning profiles; students receiving free lunches and special education services. The Legacy Curriculum makes numerous interdisciplinary connections, placement within personal, social, cultural, historical, and political context as shown in the Scope and Sequence and full-length lesson plans. In Educating Artists for the Future, Alexenberg (2008) reveals his eight 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 gain the 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, and evaluation skills….these examples [from the Skills Map] suggest ways that study of the arts can help produce globally aware, collaborative, and responsible citizens” (p. 2). Each of the units in the Legacy Curriculum, Voice, Values, and Vision, promote global concerns that Alexenberg and the 21st Century Skills emphasize for art education. 13
  • 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 not just 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 their personality, interests, feelings, and ideas. For Audrey Lorde (1984/2007) this artwork, the poetry is not a luxury, it is “a vital necessity of our existence.” Poetry to Lorde means “a revelatory distillation of experience” (p. 37). Revelations are a function of knowledge, carrying ideas and generating thoughts into actions, distilling and liberating art making. “Communication… articulating thoughts and ideas clearly and effectively” is the first skill on the 21st Century Skills Map (2010, p.4). In students’ BWX watercolors, the syncretic meanings must be defended in written paragraph or orally. Last year, Nakayla lacked the confidence to write about her artwork. This year her writing is so much improved, she is more willing to try to write about her work. Last year, Nakayla was too shy to participate in critique. Having had a year to practice the critique process and get to know the other students better, Nakayla is not only ebullient during critique but exemplifies how to make positive, and even helpful and specific comments. This year she remembered the color term neutrals as naturals; a great mistake because she understands a concept, if not the term. Shown below is the paragraph and BWX by Caroline and Nakayla: 14
  • 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. Transitioning conceptually to their immediate families, students think about what is important for their family members to do, to be like, to feel, and to think. Students consider how it takes courage to maintain 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. In a double-portrait, for the lesson called, My American Gothic, students share ideas about people who are important to them and why. The building in the background, how the people are dressed, and what the people are holding, will clue the viewer to familial values. In 2009, Ty chose Barack and Michelle Obama for his double-portrait. Haley’s shows the value of a tradition, that her sister and she share. Both students reveal specifics about their culture, using Grant Wood’s American Gothic “to draw on…to generate, evaluate, and select creative ideas to turn into personally meaningful products” (Partnership for 21st Century Skills, 2010, p. 6). Here is 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 their outlook; what they hope their imprints will be on their futures or what they hope will be their place in their family, community, and world. Students come to believe that their vision can be helpful to others. “Vision precipitates in an artist’s voice and carries the artist’s hopes and dreams to change the future and longings for a condition in the past. Vision is the voice’s 16
  • 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, and chestnuts, students illustrate the fun visual images that come to mind. Students strive to simply state their visual illuminations of a plainly stated, yet powerful expression. Students “access and evaluate information from a variety of sources accurately and creatively with an understanding of 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 could be 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. flexible times or simultaneously. If considerable time is allotted, then there are several other considerations and benefits. Sensitivity. Values relate to PSTT, or propaganda, in that these determine how students feel about themselves 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; values relating to issues, facts, personal truths, and ideas. Art products students make are materials that others 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 is especially 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 in the 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 matter should be considered. For example, issues relating to intrapersonal relationships could begin at the early elementary level as treating friends well, then late elementary as keeping secrets, then at the middle school level as loyalty, and then at the high school level more mature ideas of loyalty 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 the takeaways around President Kennedy’s words, “Ask not what your country can do for you, ask what you can do for your country?” 18
  • 19. In addition to the considerations of the topics relating to values in PSTT, are the constraints making the types of artwork, specifically using graphic software. The computer lab has limited availability. Other media could be used for the PSTT projects, however, production of the takeaways needs to be low-cost, computer generated, to actually produce freebies. The lab is 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 early summer. 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 of students, in particular Art Club. Serious effort should be made for volunteer help, if taught to the regular classes. Since PSTT, TRMP, and DIPI integrate alternate sites, these projects require considerably more coordination. DIPI requires permission slips and possibly arranging for a van. DIPI and maybe TRMP may require scheduling for rain dates. Considering the scheduling constraints of an art teacher, based on experiences accompanying classes on their field trips, attending classroom parties, and special presentations, coordinating work at alternate sites with small groups, during the summer or on a weekend, may be advisable. Another option, as opposed to going to smaller groups, is to make the clay dig aspect of the DIPI open to the entire community, including the neighboring community of Manitowoc. Two Rivers sites are sometimes state as opposed to city parks. The Wisconsin Department of Natural Resources is a larger entity to coordinate plans with, while the Manitowoc Department of Parks and Recreation (MDPR) is smaller, with fewer stipulations to hinder operations. My first choice of site for my student’s clay dig is Silver Creek Park in the city of Manitowoc. This park, on the south side of Manitowoc, while not in Two Rivers, is only 19
  • 20. eight miles south on Lake Michigan, about a 20 minute drive. A community clay dig here could be coordinated with MDPR, both school districts, and the local museum, the Rahr West. This creek’s clay is comparable to other clay from the Two River’s sites but has more cream-colored clay. The park’s amenities make this a reasonable location for a group involving two communities and many young children. The creek bed is wheelchair accessible in more than one area of the park. The location is very suitable for the other portion of the lesson, where students gather other natural materials, because there are well-defined areas where students can be kept in range, while they are still able to wander. No special permits are required but the date needs to be prearranged with the MDPR. There has been community digs here before, coordinated by the Rahr 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. The Two Rivers community, although eager to prepare their children for the global economy, are still harboring strong taboos regarding the discourse of meaningful issues, necessitating the urgency for students to be exposed to these issues and make personal connections in safe settings. Also critical to opening discourse is providing students the opportunity to hold less antiquated or separatist views. With careful vertical planning, the PSTT could be an effective way to teach social justice in art education. Additionally beneficial, PSTT is designed to use software not art room 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. conservation ethics. Many families enjoy boating, fishing, and hunting, and have a catch-and-eat ethic. Using recycled materials honors that ethic and “local connections root us to place and make us native to the Earth” (Gradle, 2008, p. 11). The rivers and surrounding areas supply the clay and the other material for the six subsequent DIPI lessons. During the DIPI process, students enlist all of their senses, making especially strong connections to environment. Gradle (2008) wrote, “place…is sometimes a setting, but it is most often married to memory, imagination, and our embodied experiences in such a way that words like emplaced, displaced, replaced, or out-of-place conjure up meanings that are felt immediately and viscerally” (p. 6). We need to reacquaint with our environment to get 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 zest and self-confidence, we must educate them to be original as well as competent” (p. 12). Even though 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). Art educators, if prepared correctly, are in the position to foster our most important facility for being contributive individuals in a community, voice. According to Meyer (2002), “today, at the beginning of the twenty-first century… we recognize that we need to discuss creative ways in which life may be revered and maintained around the world” (p. xvi). Feeling a passion for art, love for others as we love our selves, and reverence for giving each moment our focus, brings forth many hands to worthy endeavors and expands seconds into minutes. Albert Schweitzer said “reverence before the infinity of life 21
  • 22. means the removal of the strangeness, the restoration of shared experiences and of compassion and sympathy” (p. 68). Reverence consists of one’s values. The learning experience in the Legacy Curriculum correlates to life experiences and our involvement living with others, our vision. The learning “integrates teaching with action research and art making. It explores borderlands between art, science, technology and culture, integrating knowing, 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, our experiences meld and our lives connect. The Legacy Curriculum is authentic learning about giving 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. Lorde describes 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. References Alexenberg, 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=38 Csikszentmihalyi, 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.pdf Koenig Elementary School. (2010). Re: Action Plan. Retrieved from http://www.trschools.k12.wi.us/Koenig/web-content/2009-2010_pdf/action_plan.pdf Linenger, 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. Manitowoc County Election Results. (2008). Re: Conservative base. Retrieved from http://www.manitowoc-county.com/upload/electionresults/November042008Elections Results111708.pdf Meyer, 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.pdf Sandell, 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.pdf United States Government Department of Education. (2010) Re: Commitment to the arts. Retrieved from http://www2.ed.gov/teachers/how/tools/initiative/updates/040826.html Wisconsin Department of Public Instruction. (2010) Re: Buzz words. Retrieved from http://dpi.wi.gov/sprntdnt/index.html Wisconsin 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. SCOPE AND Materials/ skills Elements/ Exemplars/ resources Associations/ visualizations SEQUENCE principles UNIT VOICE 1 Lesson 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. 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 2 Lesson 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. 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. pages 4 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. 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 3 Lesson Wish Keeper Clay building/ Texture, Images of other art containers: Lucas • If you were all powerful, what would you like
  • 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 Pak 2 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. 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. BOSTON UNIVERSITY PROGRAMS IN EDUCATION Art Education Department LEGACY CURRICULUM: VOICE UNIT NAME: Joan Schlough CLASS: CFAAR 620 DESCRIPTIVE TITLE: VOICE. If students do not put their name on their artwork, will the viewer be able to tell who made it? Students assert their voice as the very signature of their artwork. The Voice Unit lessons teach how voice is not just style but a combination of style and contribution (representation, opinion, and activism). While the Voice Unit focuses on aesthetic preferences, the personal process, and media choices, students consider these decisions as part of their experience. You only have to let the soft animal of your body love what it loves. From Wild Geese by Mary Oliver GOALS: 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. 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 Design http://dpi.wi.gov/standards/pdf/art&design.pdf INSTRUCTIONAL CONCEPTS: With voice, values, and vision, people are all able to be authentic, communicative, and contributive of a legacy. The Voice Unit is one-third of the Legacy Curriculum. Renee Sandell (2009) uses the formula Form + Theme + Context (FTC) to equate art lessons as a balance of visual literacy within art education. All the lessons in the Legacy 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 to make revisions, start anew, and work supportively with others. Envision: Students use sketching to develop ideas and construct meanings, individually and collaboratively. Observe: Students learn to attend to looking in order to really see things that might not otherwise be seen. Express: Students communicate through aesthetics, artist statements, collaborative journals, and written wishes. Reflect: Students judge the success of artwork by themselves and others through the use of rubrics, 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, make mistakes 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 own work. Developing their own ideas about the purposes and meanings of art. 32
  • 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 Young For all lessons: Screen with a laptop, projector, and Internet use for exemplars and as image reference 33
  • 34. Teacher models and student work samples ASSESSMENT: Rubrics, written or oral self-reflections, critique guides Guided discussions, small group discussions, and one-on-one discussions Word Wall vocabulary Summative 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. BOSTON UNIVERSITY PROGRAMS IN EDUCATION LESSON PLAN Art Education Department TEACHER’S NAME Joan Schlough LESSON ORDER Presented 1st in 1st unit SCHOOL Koenig Elementary GRADE 3/4 LENGTH OF LESSON 2, 60 min. periods UNIT 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 visual imagery and structures.” EEG’s of actual brainwaves appear as jagged periodic waves generated by our active brains and change to low bumps or flat lines by our passive brains. Students will consider 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 Mondrian RELATIONSHIP TO LIFE: This painting is alternative self-portraiture, using the idea of a brainwave to represent one’s internal rhythm; students conceptualize how a wave (or a line) can be expressive and how some colors express emotions. Students decide if a wavy line expresses the idea that someone is joyful or nervous and make determinations if the color red might mean love, anger, or just that someone really likes strawberries. I. PROBLEM/ACTIVITY: Students look at actual brainwaves and forms of alternative self-portraits, and paintings by abstract 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. 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 will demonstrate 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, students will 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 other artists presented in class have accomplished alternative self-portraiture, students will orally critique their own portrait and the portraits of their peers, clearly defending how portraiture was achieved through brainwave imagery. (Bloom-Evaluation) IV. RESOURCES AND MATERIALS: Resources: • Examples of actual brainwaves as shown by EEG’s • PowerPoint about the lesson Book: Children of Many Lands by Hanns Reich Artist 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. Oldenburg and van Bruggen paints microscopic imagery Gaston Chaissac Artist exemplars of expressionist painting: Figure 5: Painting with Figure 6: Wheatfield with Crows by Vincent Van Gogh Figure 7: The Ballad of the Jealous Three Spots by Wassily Lover of Lone Tree Valley by Thomas Kandinsky Hart Benton Examples 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. Neutrals because 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. Figure 13: BWX using white crayon resist Figure 14: BWX without crayon resist Materials: 1-watercolor paper 22x30” watercolor paint 3-watercolor papers 2x6” water to paint and rinse 1-#2 sable round brush 1#10 sable filbert brush 1-1/2” brush pencil sketch paper and paper for writing Artist 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 Coosje's 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. Figure 9: Happy Jumpy by Nakayla Figure 12: swatch with dry brush Figure 10: Desert of Blue by Dylan Figure 13: BWX using white crayon resist Figure 16: Navajo Hip Hop by Nakayla Figure 14: BWX without crayon resist V. MOTIVATION TOPIC 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. 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. PROCEDURES Day One Body: 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, wash and dry tables. Closure for Day One: Review water color technique terms, matching swatches of types. Day Two Instructional 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 samples Modeling 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. • 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 are alternative self-portraiture, how the paintings relate to themselves. VII. EVALUATIONS Assessment tools: Watercolor technique swatches: Using the swatches as pre-painting exercises, the teacher observes 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 will choose one of the five to use as a basis for their final painting. Only observation of completion of the five sketches is made, opposed to making any observation based on the quality. Students will complete 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. 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. BOSTON UNIVERSITY PROGRAMS IN EDUCATION LESSON PLAN Art Education Department TEACHER’S NAME Joan Schlough LESSON ORDER Presented 2nd in 1st unit SCHOOL Koenig Elementary GRADE 3/4 LENGTH OF LESSON 3, 60 min. periods UNIT Voice TITLE OF LESSON Shout RELATIONSHIP 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 lesson students begin to think of their voice as an outward expression, not just representative of inner feelings. Get in touch with the natural, inner rhythms and pattern of life within oneself. Figure 1: Charles Guignon On Being Authentic RELATIONSHIP TO LIFE: Alternative self-portraiture encourages students to apply syncretic meaning to their aesthetic decisions. 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 and effectively communicate with others. I. PROBLEM/ACTIVITY: Students make a two-dimensional, mixed-media, and mixed-technique artwork, using pattern to visually represent their shout. Formal elements, as with line and color in the BWX lesson, may be used expressively. Students build upon their inner exploration, using those lines and colors in the 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. 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 experience using the techniques, and reviewing techniques through a YouTube video and teacher demonstrations, 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 the techniques by name and self-assessing the strengths and weakness, and defending how their patterns expressed something about them in written form or through guided and one-on-one discussions with the teacher. (Bloom-Comprehension and Analysis) 3. Through participation in class discussion, students will contribute their own thoughts and questions 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. Teacher model: Figure 2: Teacher model of the Shout process and Shout Artist exemplars showing aspects of lesson: Figure 3: Arthur Dove, Fog Horns. Using Figure 4: Prehistoric woman. Hands and dotted Figure 5: Robert Rauschenberg, Small visual 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. 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 paint magazines 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 Texture primer Materials 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 paper writing paper stiff paper for stenciling pencils and erasers tempera or acrylic paint brushes glue scissors magazines, and other collage paper, materials, and items for collage possibilities student brings Artist quotes: Figure 1: Guignon, C. (2004). On being authentic. Milton Park, United Kingdom: Routledge. Teacher models: Figure 2: Teacher model of Shout Artist 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. 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 it's 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. PROCEDURES Day One Body: 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
  • 48. • Demonstrate making stencils used to spray, squirt or spit inside shapes or around the outside by taping paper to window or using lightbox. • Demonstrate making stencils for spraying outside of the shapes as well as inside shapes. • Demonstrate how to use Knockdown Texture. • Demonstrate taking notes about process. • Show students how to work on different parts of their Shout, while waiting to use community resources and materials. o Only model and demonstrate a little bit of each of the above step, to conserve time and save parts of the work for Day Two demonstrations. o Knockdown Texture takes about three hours to dry. • Demonstrate clean up. • Distribution: Line up by tables, when called upon, to collect materials on the counter or in the back of the classroom. Return to counter, independently for more supplies, when needed. Call on students in pairs to take turns tracing silhouettes. Checking for Understanding (30 min.) • Students use sketching paper to plan composition. • Students use stiff paper to create stencils. • Students use another paper or surface for Shout. • Students combine the steps of the process, using workflow checklist to remember components, and recording their steps as they are working. o If applying the Knockdown Texture a good strategy is to do so at the end of the period. Clean-up: Put media and artwork away according to our procedures. Closure for Day One: Teacher asks a vocabulary questions, students find the term on the Word Wall, and then line up for dismissal. Day Two Body: Instructional Input (10 min.) • Read task analysis of work flow for Day Two written on board. • Ask remaining guided questions and discuss additional samples of images with patterns. • Read through checklist students use to remember components of process. Modeling and Demonstration (15 min.) • Repeat modeling and demonstration steps from Day One, adding to the work on the sample started on Day One. • Demonstrate blocking in profile, hands, and bubble with paint. Talk aloud about how more than one outline can be used to make shapes look dynamic. • Demonstrate spitting, spraying, printing, collaging, and painting, building surface with layers. • Demonstrate choosing different stencils than the time before to add the next layers. • Show how to switch colors for spitting, spraying, printing, collaging, and painting, building surface with layers. • Demonstrate adding additional layers of prints and/or collage elements. 48