Final Unit Presentation Mercedes Scarlett ARE 4352

Final Unit Presentation

Mercedes ScarlettARE 4352

PaintingRoger Shimomura

Roger Shimomura“Two Characters”

2003Slide n/a

Roger Shimomura“No Speakee English”

2003Slide #1

Roger Shimomura“Florence, South Carolina”2003Slide #2

Roger Shimomura“The History of Art Version 1 and Version 2”

2003Slide #3

Statement of Origin

My idea for this lesson was inspired by Shimomura’s stories that accompanied his works. The stories described the many forms of stereotyping and profiling that Shimomura experienced as a Japanese-American and brought attention to the question of identity. The concept also has roots in Olivia Gude’s article that emphasizes the many possibilities a good art curriculum holds, like providing “opportunity for students to…formulate a sense of who they are…” and helping them practice “attentive living.”

Objectives

• Students will identify and address stereotyping.

• Students will reflect on their own cultural identity and the cultural identity of others.

• Students will define cultural identity and perceived cultural identity.

• Students will complete a painting.Standards

C.1, C.2, C.3, S.1

Procedures

1. Introduce Roger Shimomura and his works.

2. Spend a few minutes discussing Shimomura’s works and the anecdotes accompanying them. Lead the discussion with the following points/ideas:

1. What do you notice about the work?

2. What does the work remind you of?

3. What do you think the work is about?Introduce and encourage the use of art terms discussed in class and specific to this lesson.

3. Point out how Shimomura uses anecdotes in his work.

1. Explain how art can be used as a tool to illustrate something or address and issue.

2. Focus on the message the artist is trying to convey. How does he feel? How would you feel? Is this okay? Etc.

4. Instruct the students to think of a time when they or someone else was profiled or stereotyped.

Procedures cont.

5. Instruct students to describe that moment in their sketchbooks, making sure to answer the questions: What happened? What was the profile/stereotype that was being acted off of? How did that profile/stereotype not apply to the subject? Students will also be instructed to create a rough draft of the image they intend to paint.

6. Once sketchbooks have been checked and approved students are permitted to begin their paintings.

7. Assist students as needed while they work. Allow multiple class periods for work time.

8. Upon completion of the assignment students will complete a silent gallery walk before they meet to present their work in a group critique. Focus on the following to lead the critique:

1. Did the student follow the assignment?

2. Is the student’s message clear? Do we know what he/she is trying to say?

3. Did the student show effort and growth?

4. What can be improved? What do you enjoy?

AssessmentItems:

1.Assignment rubric

2.Sketchbook (Planning/Artist Statement)

3.Final Product

4.Gallery Walk Passport

5.Studio Participation (Presentation)

DrawingMustafa Maluka

Erika Rothenberg

Mustafa Maluka“I don’t believe a word they are saying”2009Slide n/a

Mustafa Maluka“The answers get harder and harder”n/aSlide n/a

Statement of Origin

Each of Maluka’s portraits is titled with a unique quote. This inspired the idea for this lesson; the quotes and their connection to the subject in the portrait. I wanted to add an interview component to the assignment to get students comfortable with incorporating real world connections. This and Arthur Efland’s urge against the “school art” and Amy R. Gile’s urge towards meaning flu and authentic art making are what help design this lesson.

Objectives

• Students will isolate a quote that represents their subject.

• Students will complete a realistic portrait of a classmate.

• Students will learn interviewing techniques and etiquette.

• Students will conduct an interview to better understand their subject.Standards

C.2, C.3, S.1, H.2

Procedures

1. Introduce Mustafa Maluka and his works.

2. Spend a few minutes discussing Maluka’s works. Lead the discussion with the following points/ideas:




3. Point out how Maluka’s uses quotes to title his work. Ask the following questions:

1. How does the quote affect your impression of the individual in the portrait?

4. Hand out the Interview Questions worksheet and instruct the students to complete.

Procedures cont.

5. Instruct students to break into pairs, or pair them up yourself, and take turns conducting interviews with their partners using the completed worksheets. Students should record their answers.

6. Before, during, and after interviews are conducted, have students take reference photographs of one another and print out the picture.

7. Instruct students to chose a quote from their interview to inspire and guide the portrait they are going to create. The quote they use will be the title of their work.

8. Allow time for students to work on their portraits. Assist students as needed.






AssessmentItems:

1.Assignment rubric


3.Interview Worksheet

4.Final Product



SculptureAndrea Zittel

Andrea Zittel“A-Z 1994 Living Unit”1994Slide n/a

Andrea Zittel“A to Z Management and Maintainance Unit; Model 003”

1992Slide n/a

Statement of Origin

The practicality of Zittel’s work is a very refreshing reminder of how art is useful. This notion and the need to urge students to be creative and contributing members of their community is what inspired this lesson. I also saw an opportunity for students to practice and acquire the useful skill of writing a proposal.

Objectives

• Students will develop a practical idea.

• Students will write a five page proposal for a sculptural piece that is both useful and visually appealing.

• Students will demonstrate research skills.

• Students will draw a detailed diagram of their sculpture.

• Students will demonstrate technical writing skills.

StandardsC.2, C.3, O.1, H.3, F.1

Procedures

1. Introduce Andrea Zittel and her works using the mini documentary about her created by Art21 as a teaching aide.

2. Spend a few minutes discussing Zittel’s work. Lead the discussion with the following points/ideas:




3. Make sure to bring attention to the artist’s intent of function and practicality.

4. Instruct the students to think of something they could build that would be practical or functional, useful, and sculptural.

Procedures cont.

5. Go over each page of the assignment Proposal Packet and answer any questions to make sure students understand what is required of them.

6. Students will use research materials and skills to compose a 5-7 page proposal that will describe their project.

7. Students will include a detailed preliminary sketch with their proposal.

8. Students should be prepared to present their proposal.

Assessment

Items:

1.Assignment rubric


3.Final Product


Assessment

CeramicYoko Sekino-Bove

Yoko Sekino-Bove“Old Maiden’s Jar”2014Slide #8

Yoko Sekino-Bove“What Cannot be Cured Must be Endured”2013Slide #9

Statement of Origin

Sekino-Bove’s work takes colloquialisms and common quotes and incorporates them into her art. Her finished work is a marriage of form and thought which creates a singular tangible piece. This unity of language and the physical is what inspired this lesson. I loved the idea of students thinking semantically, converting it abstractly, and transforming it into something physical.

Objectives

• Students will demonstrate critical thinking skills by creating a visual representation of their quote.

• Students will demonstrate understanding of form by designing a ceramic piece.

• Students will construct a figure that demonstrates thought and form.Standards

C.1,C.2, C.3, O.1, O.3, H.2

Procedures

1. Introduce Yoko Sekino-Bove and her works.

2. Spend a few minutes discussing Sekino-Bove’s work. Lead the discussion with the following points/ideas:




3. Bring attention to the artist’s use of quotes and colloquialisms. Point out how the artist takes these phrases and incorporates them into her work’s form and design.

4. Instruct students to brainstorm quotes and colloquialisms that they are familiar with. It could be something a family member used to say or something they hear used in day to day conversation.

Procedures cont.

5. instruct students to sketch a design that incorporates their word or phrase into its form and design.

6. If the facilities are available, have students construct their work out of clay. Otherwise, have students construct their design out of paper.

7. Allow students time to work in class. Assist students as need while they work.






AssessmentItems:

1.Assignment rubric


3.Final Product



MediaJean JullienTED Gallery

Jean Jullien“Apple”2015Slide #10

Jean Jullien“Before Instagram”2012Slide #11

Jean Jullien“Modern Living”

2014Slide #12

Statement of Origin

Technology pervades our everyday lives. Most students now have never experienced a life without technology. This fact, along with the need to encourage students to be conscious consumers is what inspired this lesson. I was also influenced by Rose K. Goldsen’s article that dives into the questions of how much of a role television has in our homes and lives, how much control it has over its audience, and how far reaching its influence stretches.

Objectives

• Students will demonstrate observation and critical thinking skills by addressing how we use technology.

• Students will complete a full poster that comments on technology use in our life.

StandardsC.1,C.2, C.3, H.2, F.1

Procedures

1. Introduce Jean Jullien and his works.

2. Spend a few minutes discussing Jullien’s works. Lead the discussion with the following points/ideas:




3. Address Jullien’s commentary on technology use and media consumption.

4. Instruct the students to think about the role technology and media play in their own lives.

Procedures cont.

5. Direct students in their assignment. Students will create a fully colored poster in the medium of their choice that commons on the use of technology or the consumption of media in their lives.

6. Allow time for students to work in class. Assist students as needed while they work.

7. Upon completion of the assignment students will complete a silent gallery walk. From their passport they will choose one artist from the assignment and complete a full critique using either the Feldman Model or the Alternative Method of critique.

8. Students will present their work and ideas.

AssessmentItems:

1.Assignment rubric


3.Final Product

4.Critique paper


What Inequality Looks Like

DateSlide #13

http://ideas.ted.com/gallery-what-inequality-looks-like/

Statement of Origin

This lesson was inspired by and is a direct response to the TED article ad gallery by Helen Walters, “What Inequality Looks Like.” Inspired by Gude, I want my students to be global observers by looking beyond their everyday lives. I plan to expand this lesson further with an online/social component that will emulate the TED gallery.

Objectives

• Students will identify an instance of inequality.

• Students will explain why they chose their inequality and suggest a way to counter it.

• Students will create an image that expresses the instance of inequality that they chose.

StandardsC.1,C.2, C.3, S.1, H.1, H.2, H.3

Procedures

1. Introduce the TED article by Helen Walters.

2. Spend a few minutes discussing the pictures in the gallery and the topic of inequality. Lead the discussion with the following points/ideas:


2. How do the photographs show inequality?Introduce and encourage the use of art terms discussed in class and specific to this lesson.

3. Instruct students to think of an instance that demonstrates inequality. If students need help generating ideas, they are permitted to research the topic, however, an inequality personal or important to the student is preferred for this assignment.

4. Instruct students in their assignment. They are to research their topic further and, in no more than one page, discuss that inequality. They must answer the questions of why the situation is unfair, why they chose it or why it is important to them, and they must suggest a way to counter the situation.

Procedures cont.

5. Students will then create an image in the medium of their choice that illustrates their inequality.

6. Upon completion of the assignment students will complete a silent gallery walk. From their passport they will choose one artist from the assignment and complete a full critique using either the Feldman Model or the Alternative Method of critique.

7. Students will present their work and ideas.

AssessmentItems:

1.Assignment rubric


3.Final Product

4.Critique paper


References• Bunting, Joe. "Six Ways to Ask Better Questions in Interviews - The Write

Practice." The Write Practice RSS. N.p., 22 Sept. 2011. Web. 27 Mar. 2015.

• "Main Campus." Texas A&M University-Commerce: Tips for Writing Good Interview Questions:. N.p., n.d. Web. 27 Mar. 2015.

• Scanlan, Chip. "How Journalists Can Become Better Interviewers." Poynter. N.p., n.d. Web. 27 Mar. 2015.

• Fricke, Yutta. Project Proposal Writing. Helsinki: Abilis Foundation, 2003. Abilis. Ministry for Foreign Affairs of Finland. Web.

• Walters, Helen. "Gallery: What Inequality Looks like." Ideastedcom. TED, 03 June 2014. Web. 27 Mar. 2015.

• Gude, O. (2007). Principles of Possibility: Considerations for a 21st-Century Art & Culture Curriculum. Art Education, (1). 6.

• Carlton, Cajsa. "Jean Jullien's "US"" Cool Hunting. N.p., 11 Dec. 2014. Web. 27 Mar. 2015.

• "POOR TRAITS." Jean Jullien. N.p., n.d. Web. 27 Mar. 2015.

• Goldsen, R (1977). The show and tell machine: How television works and works you over. New York: Dial Press.

• "AccessCeramics: Yoko Sekino-Bove." AccessCeramics: Yoko Sekino-Bove. N.p., n.d. Web. 27 Mar. 2015.

• "My Path." Yoko Sekino-Bové. N.p., n.d. Web. 27 Mar. 2015.

• "Andrea Zittel." Andrea Zittel. N.p., n.d. Web. 26 Mar. 2015.

• "Andrea Zittel." PBS. PBS, n.d. Web. 26 Mar. 2015.

• "Artstor." Artstor. N.p., n.d. Web. 26 Mar. 2015.

• "Erika Rothenberg." Laguna Art Museum Laguna Beach CA. N.p., n.d. Web. 26 Mar. 2015.

• "Mustafa Maluka (South African, Born 1976)." Mustafa Maluka on Artnet. N.p., n.d. Web. 26 Mar. 2015.

• "Mustafa Maluka, "A Place So Foreign" | Art | Reviews, Guides, Things to Do, Film - Time Out New York." Time Out New York. N.p., n.d. Web. 26 Mar. 2015.

• Stevenson, Michael. "Michael Stevenson." Michael Stevenson. N.p., n.d. Web. 26 Mar. 2015.

• Efland, A. (1976). The School Art Style: A Functional Analysis. Studies in Art Education, (2). 37.

• Giles, R. “‘School Art’ Versus Meaningful Artistically Authentic Art Education,” NAEAAdvisory, Ed. Christine Davis, National Art Education Association, Winter 1999.

• "Roger Shimomura: Narrative Biography and Resume." Roger Shimomura: Narrative Biography and Resume. N.p., n.d. Web. 22 Mar. 2015. Accessed Narrative biography

• "Roger Shimomura." Flomenhaft Gallery. N.p., n.d. Web. 22 Mar. 2015.

• "Roger Shimomura | Greg Kucera Gallery | Seattle." Roger Shimomura | Greg Kucera Gallery | Seattle. N.p., n.d. Web. 22 Mar. 2015.

• "Roger Shimomura." ArtSlant. N.p., n.d. Web. 22 Mar. 2015.

Documents

Final Unit Presentation Mercedes Scarlett ARE 4352