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

Joan A. SchloughBoston University

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Table of Contents

Philosophy 3

Philosophy References 4

Rationale 5

Rationale References

23

Scope and Sequence

25

Voice Unit Plan 31

Brainwave Expressionism

35

Shout 43

Values Unit Plan 51

Life is Good® Logos 55

My American Gothic 63

Vision Unit Plan 72

Wish Keeper 76

Recycled Art Assemblage

84

Unit Plan References

91

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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.

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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

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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

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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

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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

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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

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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

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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

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

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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.

The Wish Keeper lesson in the

Vision Unit encourages students to

think proactively, as if their ideas for

Wish Keeper, 2009 Bird Print, 2010

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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.

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

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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.

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.

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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:

Caroline’s BWX: Caroline’s Freckles

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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).

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

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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

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.

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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

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.

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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?”

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.

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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

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

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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

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

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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

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,

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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)

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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).

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

SCOPE AND

SEQUENCE

Materials/ skills Elements/ principles

Exemplars/ resources Associations/ visualizations

UNIT 1

VOICE

Lesson 1

Brainwave Expressionism (BWX)

Watercolor/ acting out lines, thumbnail sketches, transparency, dry brush, wet-on-wet

Color, line/ rhythm, movement, unity

Art images from Von Bruggen and Oldenburg, Van Gogh, Benton, Tamburri, Kandinsky/ actual EEG’s, power point, Teacher and student samples of BWX, alternative self-portraiture visual, Children of Many Lands by Hanns Reich

How could someone’s thinking be a toothbrush in a cup by a sink?What lines could you draw for this child (student acts out a line for what she perceives a child in a picture is feeling)?

2 Shout Painting, printing, stenciling/ sketching to develop ideas, layers and overlap

Simulated texture in surface, line, shape, color/ proportion, repetition, pattern

Art images from Arthur Dove, Cave paintings, Robert Rauschenberg, Shepard Fairey YouTube video showing process/books and handouts with patterns from various cultures on pottery and textiles, samples of simulated textures, teacher model and teacher samples showing painting with different amount of layers overlapped.

What is making the sound in Dove’s painting…hint you hear it all the time?If caves and pottery had not have been painted with prints and patterns, what else could archeologists have learned from the artwork?What lines and colors from your BWX should you think about using for your talk bubble pattern?

3 Initial Media Choices

Choosing media/ authentic choices in 2D drawing or painting, 3D

Form, color, texture/ form,

Art images from Roni Horn, Harmony Hammond, Northwest Indian sculpture, Navajo textiles and pottery, student and teacher samples of 2D media techniques,

Look at the map…do you know why these parts are green and these are brown? What does the land in the green parts of the map 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 Mobiles

Clay and mobile building, working with symbols, making simple designs

Space, form/ balance

Art images of Asian, Celtic, Peruvian, and African cultures of charms, pendants, beads, and miniatures. Images of mobiles and wind chimes. Constructed mobiles and pieces of mobiles in different stages for demonstration purposes.Images of Japanese wabi-sabi ceramics. Book Wabi Sabi by Mark Reibstein and Ed Young.

Why would something that looked a little funny seem very beautiful?How would a small object help us feel like we belong to something larger than ourselves…what are some little things that make us feel safe, loved, important?What are some small symbols that you see people wear?

UNIT 2

VALUES

Lesson 1

Life is Good® Logos

Carving, printing/ “less is more” design, extending experience designing symbols

Color, line, shape/ harmony, variety

Art images from Keith Haring and Robert Indiana. Deck art images of vintage skateboard exhibit, Preserve and Collect. Images of student work with symbols from previous class work. Teacher model and other print samples by teacher and students. “Life is Good” t-shirts, The book Block Printing by Susie O’Reilly.

Was there ever a time you tried to change something about yourself so you would be more like other people? The kind of clothes you wear…how you run…liking sports…? Why would a radiant baby be a symbol for a man? What type of symbol could you make to stand for a whole bunch of different people?

2 My American Gothic

Multi-media drawing/ building upon overlap, and developing ideas through sketching

Shape, space

Art images from Grant Wood, Winslow Homer, Archibald Motley, Henry Ossawa Tanner, and teacher and student work. The book My Painted House My Friendly Chicken and Me by Angelou and Courtney-

Is it okay for artists to make jokes about people in their paintings…can you think of how it might not be okay?Where do you think these artists live…what do the all like…what do some like others

Review proportion and foreground, middleground, and background

Clarke and The Artist in the Hayloft by Prestel. Matching worksheet, template for face proportions, teacher models showing how to format composition.

might not?If your mom and dad like to go boating, then what kind of building could you draw behind them? If your mom and your aunt went shopping, then what would they be holding?

3 Time Capsule Guess Book

Colored pencils/ using source material to develop ideas, drawing from observation, cutting holes in page, collating pages

Value, texture, space three ways/ unity, variety

Art images from Josh Agle (Shag), Gary Panter, Jeremy Pinc, and Tom Biskup. Google images, teacher image file with pictures from magazines, Teacher samples of books, during different stages of assembly. Teacher paintings using pop-culture references from the 70’s, 80’s, and 90’s.

What are your hobbies, your favorite toys, shows or movies you watch?What do you think the words “HE DUTY” said on the bottle in Pinc’s painting, before he painted over part of the label?What movies do you think Tom Biskup likes…what do you think Gary Panter reads?

4 Zoom Colored pencil and/or other drawing media/ spatial thinking; different points of view from observation and memory.

Color, space, texture/ unity

Art images by Piet Mondrian and Camille Corot. Art images by Jim Zwadlo. The books Zoom and Re-Zoom by Istvan Banya, Looking Down by Steve Jenkins, and Where’s the Fly by Cohen and Barnet. Teacher model and student samples. Use sketches from microscope work in science class as starting point.

Do you think Jim Zwadlo knows about Waldo?Are there changes in the texture and color as you view something further away?Astronauts talk about feelings they have looking at the planet from space, knowing a war is happening; they feel like we are all 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 and/or other

Color, space,

Images of artwork showing exteriors and interiors, such as Turner’s Snow Storm and

Have you ever felt trapped in…left out…out of luck…?

drawing media/ spatial thinking; different points of view from observation and memory.

texture/ unity

Van Gogh’s Bedroom. Teacher models and student work. Snowy Day by Keats. Short story I stand Here Ironing by Tillie Olsen or the poem The Tornado by Norman Russell. Also, reinterpretations of classics in the Visions in Poetry Series from Kids Can Press.

This is a painting about rain. How else could this student make this painting look like it is raining? How did she make it feel like a storm?Can you tell which of these paintings are about inside places…outside places…?

6 Metamorphic Metaphors(Meta Meta)

Colored pencil and/or other drawing media/ spatial thinking; imagining the transformation

Color, space, texture/ unity

Images of Escher and zoomorphism in illuminated manuscripts. Images and samples of teacher and student work. The books from the Let’s-Read-and-Find-Out series. Also, Metamorphosis of Flowers by Nuridsany and Perennou.

Think about how a burning match looks like the top of a palm tree in your teacher’s drawing…are there ways that fire and palm fronds are similar besides visually?Can you think of something to symbolize… 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 (DIPI)

Clay and natural objects/ observing the vicissitudes. Burnish and low-fire, molds/casts

Texture, color, form/ variety and emphasis

Images and samples of pottery from different Native American tribes: Southwest, Eastern Woodlands, Plains, and Basin, for example: Cherokee, Iroquois, Pueblo, Hopi, Catawaba, Acoma, Cheyenne, and Shoshoni. Additional considerations in lesson plan and rationale. (See diagram of lessons in 4.1 submission.)

Why do you think art objects from some Native American people have more clay art objects than wood…stone…textile…metal art objects?Where have you seen bricks the color of this clay in town?Did you lie down on the moss before you picked a little for your baggie?

UNIT 3

VISION

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 that holds a wish and fits vessel

color, form/ emphasis, proportion

Samaras, Images of Asian, student, and teacher Wish Keepers. Critique sheet with questions to accompany display, crossword with clay working terms, reflection sheet, and Wish Keeper Lid checklist. The Book Bento’s Dream Bottle by Nye and Pak

to change about the world?Can you guess why this artist, who lives in Hawaii, makes Asian Wish Keepers…what plant does the handle look like?

2 Recycle Art Assemblage

Assemblage/ authentic choices with recycled and found object

Texture, color, color, texture, form/ balance, unity

Art images from Louise Nevelson, Chris Murphy artist visit/ The books Recycled Re-Seen: Folk Art from the Global Scrap Heap by Cerny and Trashformations by Herman. DVD i love trash by Brown and Mann.

Do you think this artist lived in a city or the country?What other job do you think Chris Murphy has besides being an artist…hint he uses wire?If your favorite sport is soccer or football, what is something that has a bright color and soft texture that both sports have in common?

3 Worldview Illumination

Multi-media drawing/ compositional decisions,building upon “less is more” design, sketching to develop ideas

Color, line, shape, building upon pattern and creating space and depth

Art images from Rachel Carns, Roy Lichtenstein, Mardsen Hartley, Hokusai, Book of Kells, Babylon Lion, teacher model, idiom list. The book A Little Peace by Barbara Kerley.

What do you think a cartoon is…a poster…a diagram…a decoration…an illustration? Commercials try to get people to buy things. In what ways are illuminated manuscripts like commercials? What message do you think the artist’s snarling lion has?What images does “Don’t worry be happy” make you think of?

4 Propagandist Street Team Takeaways (PSTT)

Graphics software, producing low cost items to be given away for

Color, line, shape/ building upon harmony,

Shepard Fairey, website/story. Art images by Picasso, Goya, Rivera, and Sequiros. Compare poster art from Cuba, China, Russia, and America. Poster books by Cushing. Soviet posters in book by Lafont.

Why is there so much red in some of these posters? What do you notice about the people…how are they similarly posed to the couple in American Gothic?How many people in your class would have

free, “less is more” design

variety Vertical plan for issues sorted by grade level. (See chart in submission 4.1.) Go to www.freechild.org to research issues, change-agent process, and youth empowerment.

to start wearing a type of shoes until you did too?

5 Two Rivers Mural Project (TRMP)

Using recycled paint, drawing from life for ideas and using sketching to develop ideas, grid enlargement

Color, line, shape/ building upon unity and creating space

Images of New Deal murals in WI. Possibly visits to murals and public artwork done by WPA artists from Layton School of Art. Images of murals in Ashland, WI. Teacher images of murals and examples of sketches and grids from other murals. Images of Rivers series done by teacher. Reference materials regarding rivers.

Many of the New Deal artists were visiting a community just to do the artwork but were expected to portray the community and its history. How can you best show the history of Two Rivers? Do you see how the road in the Hana Mural continues the entire 160’ without ever running parallel to the bottom of the composition? How will you compose the rivers? How is that road like your rivers?

BOSTON UNIVERSITYPROGRAMS 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).

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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.LESSONS IN THE VOICE UNIT:

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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.

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 paperBook: 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 adhesivesImages 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 kilnBook: Wabi Sabi by Reibstein and Young

For all lessons:Screen with a laptop, projector, and Internet use for exemplars and as image referenceTeacher models and student work samples

ASSESSMENT:

Everyone knows a single line may convey an emotion.

Piet Mondrian

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Rubrics, written or oral self-reflections, critique guidesGuided discussions, small group discussions, and one-on-one discussionsWord 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?

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BOSTON UNIVERSITYPROGRAMS IN EDUCATION

LESSON PLANArt Education Department

TEACHER’S NAME Joan Schlough LESSON ORDER Presented 1st in 1st unitSCHOOL 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).

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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’sPowerPoint about the lesson

Book: Children of Many Lands by Hanns Reich

Artist exemplars of alternative self-portraiture:

Figure 2: Coosje’s Thinking by Oldenburg and van Bruggen

Figure 3: Untitled #14 by Gina Tamburri, who paints microscopic imagery

Figure 4: Broom by Gaston Chaissac

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Artist exemplars of expressionist painting:

Figure 5: Painting with Three Spots by Wassily Kandinsky

Figure 6: Wheatfield with Crows by Vincent Van Gogh Figure 7: The Ballad of the Jealous Lover of Lone Tree Valley by Thomas Hart Benton

Examples of student BWX’s with written paragraphs:

I am happy. Brown means I am sad because my grandpa might die. All colors mean I like to play.

I’m happy and I like to jump everywhere. Orange, blue, purple, yellow, and grey are happy colors. Red, black, green, brown, yellow, pink are sad colors. I’m so happy at school.

I made a colorful desert of blue. Neutrals brown, greens, reds, blacks, yellow, orange, and violet. I made it a rainbow cause I like seeing a rainbow in my house. I tried making cactus, sand, clouds, and the wind pushing the 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

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Figure 13: BWX using white crayon resist Figure 14: BWX without crayon resistMaterials:1-watercolor paper 22x30”watercolor paint3-watercolor papers 2x6”water to paint and rinse1-#2 sable round brush1#10 sable filbert brush1-1/2” brushpencilsketch paper and paper for 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:Figure 8: Colors by JaniceFigure 9: Happy Jumpy by NakaylaFigure 10: Desert of Blue by DylanFigure 16: Navajo Hip Hop by Nakayla

Teacher models:Figure 11: swatch with transparencyFigure 12: swatch with dry brushFigure 13: BWX using white crayon resistFigure 14: BWX without crayon resist

V. MOTIVATIONTOPIC QUESTIONS:

How much does/should a title or an artist statement tell us about the artwork? This is one of the last pictures that Van Gogh painted before he died. Does this give you a different idea about crows in a wheat field?

You only have to let the soft animal

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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?

TRANSITION QUESTIONS:What if you were to tell an exciting story, acting out that story with a line, would that line have a certain quality? Like the story has ups and downs, would the line go up and down?Do you think you could use line and color as symbols to express your feelings or your personality?Who can explain to how our brainwaves explain something about us?What do sharp, tall brainwaves mean as opposed to short, wavy brainwaves?If you were sleepy, what kind of line do you think best shows your tiredness?

VI. PROCEDURESDay One

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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 TwoInstructional Input (5 min.)

Read task analysis of work flow for Day Two written on the board.Opening reflection on 1st day progress. Point out how many of them blended their colors and tried other techniques, too, like dry-brush.Review watercolor techniques within teacher and student BWX 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.)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. EVALUATIONSAssessment 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.

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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):

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ACheck the boxes if you…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.

Brainwave Expressionism

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BOSTON UNIVERSITYPROGRAMS IN EDUCATION

LESSON PLANArt Education Department

TEACHER’S NAME Joan Schlough LESSON ORDER Presented 2nd in 1st unitSCHOOL 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).that their choices are shaped by their own culture (Performance Standard B.4.5).

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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, overlapShepard Fairey YouTube video showing stencil layering:http://www.youtube.com/watch?v=Z53XuUhLmuYHawaiian 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-ClarkeKente Cloth Patterns to Color by Nancy Hall

Teacher model:

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Figure 2: Teacher model of the Shout process and Shout

Artist exemplars showing aspects of lesson:

Figure 3: Arthur Dove, Fog Horns. Using visual representation of sound.

Figure 4: Prehistoric woman. Hands and dotted horse. Using hand as stencil.

Figure 5: Robert Rauschenberg, Small Rebus, 1956. Using multiple techniques in a 2-D “combine.”

Materials for teacher to use with students:lampstapelightboxjuice: cranberry, blueberry, pomegranate, or grape

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Other good staining liquids are non-alcoholic wine, tea, and coffee.squirters and sprayers: spray bottle, baster, condiment or glue bottle, or pipette

Sprayers, basters, or other squirters are an option for students physically unable to spit, or with an aversion to spitting, or to completely substitute for spitting.

spray paintmagazines and other types of paper, material, and collage possibilities

Some materials for the collage component are difficult to cut, precutting the components, scissors with springs, or using materials that do not need to be cut, such as, paint swatches, stickers, and stamps, are other options.

Knockdown Textureprimer

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 paperwriting paperstiff paper for stencilingpencils and eraserstempera or acrylic paintbrushesgluescissorsmagazines, 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?What is making the sound in Arthur Dove’s painting…hint you hear it all the time?

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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. PROCEDURESDay OneBody: Instructional Input (20 min.)

Read task analysis of work flow for Day One written on board.Show images of Shout progression and Shout teacher model.Review prior learning about color and line having syncretic meaning. Explain how the pattern in the shout bubble of the teacher model reflects the teacher’s character and personality.Show examples of how other artists have used components of this lesson: visual sound, stenciling and printing with ones hands, and layering techniques.Show part of Shepard Fairey YouTube Video.Show examples of patterns and repetition.

o Save some images to discuss Day Two.Modeling and Demonstration (10 min.)

Demonstrate tracing profile of head and silhouette of hands with a student helper. Warn students about the hot PAR on the lamp.Demonstrate making a shout bubble. 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.

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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 TwoBody: 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.Talk aloud about decisions to add additional layers, color choices, using different stencils, blocking in areas to define lost shapes or to add definition.Demonstrate taking notes about process.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.

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Checking for Understanding (35 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 checklist to remember components, and recording the steps they take as they are working. Circulate to help students take notes.Students add pattern to shout bubble.Students begin to add collage element.

Clean-up: Put media and artwork away according to our procedures.Closure for Day Two: Look at Rauschenberg’s Small Rebus. Make suggestions, based on Small Rebus, as to what items students could combine for their Shout.

Day ThreeBody: Instructional Input (5 min.)

Read task analysis of work flow for Day Three written on board.Read the artist statement written to accompany teacher model.

Modeling and Demonstration (5 min.)Based on class progress, repeat any demonstrations necessary.Demonstrate taking notes about process and think aloud about how some parts may inform the artist statement.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 (50 min.)Students finish combining the steps of the process.Students check off the work flow list and write the steps of their process.Students write how the pattern in their shout bubble, and any other part of their Shout is alternative self-portraiture.Circulate, asking students about their work, to help them generate their thoughts for critique and their artist statements.

Clean-up: Put media away according to our procedures. Put up Shouts for final critique.Closure for Day Three: Students share artist statements and explain process, during a critique. Transition to next lesson, Initial Media Choices, by asking about choices made in surface, process, and collage elements.

VII. EVALUATION:Assessment tools:Topic and Association Questions with art images

Checklist for work flow is a written list of possible steps in a process. Items included on the checklist are: Profile, hands, head, bubble, stencils, hand and finger prints, Knockdown Texture, multiple layers of printing and stenciling, and a pattern in the shout bubble.

Artist statements: The teacher will match the student evaluation of which steps were strong, weak, or missing to the actual artwork. Students explain inspiration for pattern and defend the

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pattern as a type of alternative self-portraiture. To best articulate statement, the student should use art terms, artist names or artist culture. Students reflect upon process, sometimes comparing theirs to other artists or students. Would a viewer be able to tell this was their visual voice if the student’s name was not on the artwork?

Record process: Students kept track of their process, then reveal their process and intentions in a written list or orally. The order of the procedures may vary; some students will not make as many layers as other students. To vary materials, procedures, and methods; to develop one’s own process is one of the students’ learning objectives. All students should be making adaptations and modifications based on their learning profiles. Assessing this process is dependent upon the artist’s statement. Fair assessment requires flexibility in the manner students report the process. The teacher can catch the students starting a step and help them document their steps, either by giving reminders or by helping take the notes.

Teacher observations: Through guided discussions, while viewing art exemplars closely using the Association Questions and during critique, teacher observes students’ conceptual thought processes, which can be evidenced in their questions and responses.

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BOSTON UNIVERSITYPROGRAMS IN EDUCATION

Art Education Department

LEGACY CURRICULUM: VALUES UNIT

NAME: Joan Schlough CLASS: CFAAR 620

DESCRIPTIVE TITLE: VALUES . 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.

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).develop perception, visual discrimination, and media literacy skills to become visually educated people (Content Standard H).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).make connections among arts, other disciplines, other cultures, and the world of work (Content Standard K).

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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 Values 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 Values Unit:

The teacher uses integrated assessment tools, matched to the objectives, aligned with state standards, and taught in context. (Beattie,1997, Gardner,1990, Wiggins and McTighe, 2006)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.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).The teacher “finds out what goes on in their heads and their worlds” (Simpson, 1995, p. 29)“The central notions of a child’s experience are key to meaning, and visual expression is critical to the growth of one’s creativity and divergent thinking abilities” (Simpson, et al., 1998, p. 325).

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.

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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.

LESSONS IN THE VALUES UNIT: Life is Good® Logos : Students assign symbols to their interests, hobbies, favorite subjects

and foods, personal and physical characteristics, and aspirations. First students draw a sketch, then transfer it to a block to be carved, and then print the symbol.

What shapes your identity…is determined by what you identify with: the life-defining ideals and projects that make you who you are.

Charles Guignon On Being Authentic

My American Gothic : In a double-portrait, students share ideas about 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.

Time Capsule Book: Students draw space three ways in the pages of this book. The outer page with the peep hole gives a small clue to the item on the next page, which just a portion can be seen through the peephole. When the viewer turns the page, the item of value can be viewed in its appropriate setting. The background will give the item context. Students pretend their book will be found 20,000 years from now and choose items that they think will important from an archeological standpoint.

Zoom: Using a paper folded in threes, students draw the same scene in their yard, neighborhood, community, very close, farther away, and very far away. Students see the art of the aerial view in books and by other artists. When students zoom out on a scene, they choose to isolate the objects that will remain in view the longest, asserting their ideas about what is the most important in their particular view.

In/Out: Drawing one place, showing the interior and exterior in the same picture, students apply what they value from their home, neighborhood, or community for source material. Students consider the environmental affects on their setting through the study of visual and written images showing weather.

Metamorphic Metaphors: Images of Escher and zoomorphism in illuminated manuscripts will inform the images of student drawings, which show metamorphosis of an event in the students’ experiences, lives, families, or communities.

Dig it and Pick it: Students go on a clay dig and collect natural materials for a series of projects to examine media in various states. Students consider art objects from some Native American people and why some have more clay art objects than wood, stone, textile, or metal art objects? Students learn about the natural resources of their own community.

RESOURCES AND MATERIALS: Life is Good® Logos : Sketching and drawing paper and implements, printing blocks, ink,

and implements. Images from vintage skateboard show, Life is Good® clothing

I received a storm of protest from Iowa farm wives because they thought I was caricaturing them. One of them actually threatened,

over the telephone, ‘to come over and smash my head.’Grant Wood’s intent in American Gothic

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Book: Block Printing by O’Reilly My American Gothic : Sketching and drawing paper and implements

Books: My Painted House My Friendly Chicken by Angelou and Courtney-Clarke and The Artist in the Hayloft by PrestelPeople by Philip Yenawine

Time Capsule Book: Sketching and drawing paper and implements, scissors Zoom: Sketching and drawing paper and implements

Books: Zoom and Re-Zoom by Banya,Looking Down by JenkinsWhere’s the Fly by Cohen and Barnet

In/Out: Sketching and drawing paper and implementsBook: Snowy Day by Keats. Short fiction: I Stand Here Ironing by OlsenPoetry: The Tornado by RussellVisions in Poetry series: Noyes’ The Highwayman, illustrated by Kimber

Metamorphic Metaphors: Sketching and drawing paper and implementsBooks: Metamorphosis of Flowers by Nuridsany and Perennou

Let’s-Read-and-Find-Out series: Frogs and butterflies Dig it and Pick it : Clay, earth kiln, natural materials. Images of pottery from Native American tribes

For all lessons:Screen with a laptop, projector, and Internet use for exemplars and as image referenceTeacher models and student work samples

ASSESSMENT: Rubrics, written or oral self-reflections, critique guidesGuided discussions, small group discussions, and one-on-one discussionsChecklist, Word Wall vocabulary, Matching Quiz

Summative Assessment questions for Values Unit:Give an example of a symbol that a group of people use.How can you show respect for a feeling, way of life, type of personal characteristic, or feature about a place with your artwork?In what ways were you courageous, telling about your values, in your artwork?

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BOSTON UNIVERSITYPROGRAMS IN EDUCATION

LESSON PLANArt Education Department

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

UNIT Values TITLE OF LESSON Life is Good® Logos (L is G )

RELATIONSHIP TO THE LEGACY CURRICULUM: (Life is Good® Logos)During the Values Unit, students transition conceptually from ideas about themselves to ideas about their immediate families, thinking about what is important for their family members to do, to be like, to feel, and to think. Using their experiences within their family units, students choose a trait much as a clan or family would to adorn their crest on their coat of arms.

What shapes your identity…is determined by what you identify with: the life-defining ideals and projects that make you who you are.

Figure 1: Charles Guignon On Being Authentic

RELATIONSHIP TO LIFE:In celebratory prints for recognition of diversity and recognition of shared values, students create value logos as a way of sharing and promoting a certain value. Students cherish their family as contributive to their own identities.

I. PROBLEM/ACTIVITY:Students assign symbols to their interests, hobbies, favorite subjects and foods, personal and physical characteristics, and aspirations. First students draw a sketch, then transfer it to a block to be carved, and then print the symbol.

II. GOALS:KNOW…

that art is a basic way of communicating about the world (Performance Standard A.4.6).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).connections art makes to other subjects and life (Performance Standards K.4.1-3).

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).

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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 seen many examples of ways to carve, students carve their own block, print their L is G Logo, and apply what they have learned about printing, such as reversal, lining up the block, proper use of the roller, and applying the proper amount of ink, succeeding more and more with experimentation. (Bloom- Application and Analysis)

2. Having learned about “less is more design” through the closely study of artists’ work that exemplifies the idea, students design a symbol for a value they have, revising the design if they realize it is too complicated. (Bloom-Synthesis and Evaluation)

3. Using prior learning about symbols, students convert an idea based on an interest, experience, favorite, or a dream into a design for their L is G Logo, independently and with input from their peers. (Bloom-Synthesis and Create)

IV. RESOURCES AND MATERIALSResources:

Art vocabulary for Word Wall: symbol, “less is more” design, harmony, variety, run, edition, roller plate, reversal, symmetrySamples of Life is Good® t-shirtsSamples of various paper and cloth forms with printed imagesSamples of blocks and prints showing and correct reversals using textSamples of blocks and prints showing symmetrical designs

Books:Block Printing by Susie O’ReillySigns & Symbols by Gerd Arntz

Artist exemplars:

Figure 2: Love (1967) by Robert Indiana Figure 3: Radiant Baby (ca 1978) by Keith Haring

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Artist exemplars cont.:

Figure 4: Images of deck art: Vintage skateboards from Preserve and Collect exhibit that show contrast, “less is more” design, and use of visual culture combined with values.

Teacher models:

Give it to get it Get better with age Hear the peace within

Figure 5: Teacher models of drawn symbols made into carved blocks

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Give it to get it Get better with age Hear the peace within

Figure 6: Teacher models of printed materials using the blocks from Figure 5Materials:8 ½ x 11” sketching paperpencilcolored pencilsblack felt-tipped pens (Sharpie)dark or ebony pencilcutters, brayers, plates, t-shirt boardsprinting ink for paper, textile ink, fabric pensmaterial for printing: T-shirts, other clothes, bags, and material cut into bannerspaper for printing: cards, postcards, paper bags, book covers, and folders, etc.NASCO Safety-Kut pieces, cut into 4 x 4 squares.

Use NASCO’s 18 x 26,” “Big” Sheet. Other similar block materials are Blick Easy-to-cut and Sax Safe N' E-Z. Other options are recycled Styrofoam meat trays, or collect CD’s offering free online service, etc. and then scratch into the surface like an etching.

Instructional quote and images:Figure 1: Guignon, C. (2004). On being authentic. [Re: Values Unit, L is G Logos Lesson

Plan]. Milton Park, United Kingdom: Routledge.Figure 7: Yellow star worn by prisoners identified as Jewish in WWII Nazi concentration

camps, during the Holocaust.Figure 8: Pink triangle worn by male prisoners identified as homosexuals in WWII Nazi

concentration camps, during the Holocaust

Artist exemplars:Figure 2: Indiana, R. (1967) Love. [Image of serigraph]. Retrieved from

http://astrodreamer.squarespace.com/storage/robert-indiana-love.jpgFigure 3: Haring, K. (ca. 1978-1990) Radiant Baby. [Image of graffiti-logo]. Retrieved from

http://images.artnet.com/artwork_images/972/12970t.jpgFigure 4: Deck art, vintage skateboards from the show Preserve and Protect, July 31st, 2010,

Two Rivers, WI.

Teacher models:Figure 5: Teacher models of drawn symbols made into carved blocksFigure 6: Teacher models of printed materials using the blocks from Figure 5

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V. MOTIVATIONTOPIC QUESTION:

Look at these symbols. Is there one that you’d like to wear? What if you would get in trouble if you didn’t wear the symbol?

Figure 7: Yellow star Figure 8: Pink triangleASSOCIATION QUESTIONS:

Why would a radiant baby be a symbol for a man?Do you think many people would like Robert Indiana’s symbol?How does the deck art use images from TV and books?Do you think any of this artwork is like a self-portrait?

VISUALIZATION QUESTIONS:Was there ever a time you tried to change something about yourself so you would be more like other people? The kind of clothes you wear…how you run…liking sports…?What type of feelings, connections, ideas, dreams or interests do you think any of the symbols we looked at represent?Do you think you could visually express an important relationship?

TRANSITION QUESTIONS:What type of symbol could you make to stand for a group of your friends…your family…your pet?Do you think you could pick symbols to express your feelings or your personality?What type of symbol could you make to stand for a dream of life?

VI. PROCEDURESDay OneBody: Instructional Input (15 min.)

Read task analysis of work flow for Day One written on board.Review what is known about symbols. Remember the symbols students made in previous years to represent themselves. Show examples of how other artists have used symbols and brainstorm symbols we know, including logos, icons, and emoticons.Show examples of printing blocks and reversals. Show components of steps: list of ideas, sketch, colored sketch, symmetrical designs, variety of printed surfaces, etc.Talk about “less is more” design in conjunction with Association Questions.

Modeling and Demonstration (15 min.)Demonstrate sketching, show students’ samples of sketches, emphasize how this is a quick drawing.

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Demonstrate coloring sketch, using one colored pencil for the printed color and another for the background color; the surface color that is to be printed. Explain this is a method to get an idea of color contrast.Demonstrate how to transfer design, using a dark pencil. Idea can be drawn directly on block.Demonstrate how to shade in the parts to carve on the block.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.

Checking for Understanding (30 min.)Students sketch at least four ideas by folding a sheet of 8 ½ x 11” paper in fourths and putting a sketch in each quarter.Students look at books Signs & Symbols for inspiration, if necessary.Students experiment with two colors to identify which colors contrast with the printing surface color and to isolate their design parts.Students revise design if it is too complicated.Students transfer design onto block. Students shade in parts to carve on the block.

Clean-up: Put media and artwork away according to our procedures.Closure for Day One: Read through checklist and guided writing sheet. Students should use time until next session to determine if their L is G Logo represents a value and think of a fitting caption.

Day TwoBody: Instructional Input (15 min.)

Read task analysis of work flow for Day Two written on board.Explain how some parts of the design will be cut and some will not be cut. The part that does not get cut out will hold the ink. Show the difference in the samples.Remind students about reversals, using symmetrical designs, and lining up the block on the printing surface.Review art terms and uses for materials and tools.

Modeling and Demonstration (15 min.)Demonstrate proper and improper carving of the block, including set-up and clean-up, and what to do if a student does get cut. Demonstrate walking with cutter, as if carrying scissors. Explain consequences, if one does not behave attentively with cutter. Demonstrate printing. Point out how to draw an arrow on back to show which way to hold block.Demonstrate putting printed materials on drying rack.Show location in the room to get and return materials.Demonstrate how to clean plate, roller, and block. Show students how to do this in an assembly line, which is similar to other clean up procedures in the art room.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

Checking for Understanding (30 min.)Students carve block.Students print.

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Students redo block, if necessary, and explore with more techniques.Students refer to book, Block Printing, for ideas about techniques, if necessary.Students print an edition, practicing on paper first.Students print their shirts or other cloth items only after having time to experiment with process.

Clean-up: Put materials, tools, and artwork away according to our procedures.Closure for Day Two: Review vocabulary and have students consider some of the exemplars; are their designs as simple, yet equally strong? Has anybody thought of a caption for their logo?

Day ThreeBody: Instructional Input (5 min.)

Read task analysis of work flow for Day Three written on board.Review prior learning about color contrast.Ask students about their own designs; how have they made an idea using “less is more” design? Has anyone redone their design, if so can we see your improvements?

Modeling and Demonstration (10 min.)Demonstrate more printing techniques.Show what a print will look like improperly rolled; without contact in corners, smearing, missed spots, and drips.Demonstrate the right amount of ink by having students listen for tacky sound.Show how to make prints using more than one color by printing surface multiple times in a pattern or grid. Show how to use more than one color on the block at one time.Demonstrate how to fill out checklist and guided writing sheet.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.

Checking for Understanding (45 min.)Circulate to determine if students are making explorations, experimenting with printing methods, and possibly innovating ways to print with color.Students print cloth items.

Clean-up: Put media and artwork away according to our procedures.Closure for Day Three: Students model shirts if they are dry and share guided writing sheets. Ask students which logo seems like the one they would or would not like to wear and why do they say that? Find out which students share the same values with similar logos or the same values but very different logos. Does anyone need help writing a caption?

VII. EVALUATIONS:Exemplars, images, and samples of printed materials are shown in conjunction with the Topic and Association Questions.

Based on this list of ideas or an idea that the student independently derived, students explain in writing or orally how they used their idea as a logo.

Lists of ideas for L is G Logo:Interests: drawing, painting, skateboarding, sewing, swimming, fishing, biking, hunting,

football, fashion, exploring, hiking, nature, science, math

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Characteristics: strong, smart, funny, silly, short, tall, freckles, brown eyes, curly hair Favorites: pizza, peanut butter and jelly, smoothies, ice cream, spaghetti, pad ThaiDreams: Peace, happiness, coexist, stop world hunger, no poverty, disease curesCareers: astronaut, firefighter, fashion designer, singer, actor, engineer, builder

Checklist for L is G Logo: Students are given ample amount of time to explore and revise. Even if students believe their result is unsuccessful, the prints are collected to show a cumulative body of work, in which teacher bases progress considering the entire edition. The Checklist for the L is G Logo helps students know if their explorations and revisions have been thorough.

These are the items on the Checklist:I carved a symmetrical design.My design shows a simple image in the foreground.I carved a texture in the background.I printed complete prints, without leaving corners unprinted.I don’t have splotches or drips.I explored using different or alternating colors.I printed multiple times on one piece of paper with a grid or pattern.

Guided writing sheet: Students explain how they conveyed a value based on an idea from their own lives in writing or orally. The best defense is given when students are able to use art vocabulary, and make references to samples and exemplars. Students use the guided writing sheet to help them explain the syncretic meaning of their logo.

These are the questions on the Guided Writing Sheet:1. Which interest, characteristic, favorite, dream, or career idea helped you design a

symbol to use for your logo?2. How did you start to think this idea could be a value or an idea that you treasure?3. Can you write a caption for your logo?

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BOSTON UNIVERSITYPROGRAMS IN EDUCATION

LESSON PLANArt Education Department

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

UNIT Values TITLE OF LESSON My American Gothic

RELATIONSHIP TO THE LEGACY CURRICULUM: (My American Gothic)As part of the progression from internal ideas to external expressions, students move to their next immediate surroundings, further investigating the role of family and community to their identity.

I received a storm of protest from Iowa farm wives because they thought I was caricaturing them. One of them actually threatened, over the telephone, ‘to come over and smash my head.’

Figure 1: Regarding Grant Wood’s intent in American Gothic

RELATIONSHIP TO LIFE: Students share ideas about who is 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.

I. PROBLEM/ACTIVITY:Students draw a double-portrait of two people, who are important to them in their lives.

II. GOALS:KNOW…

that art is a basic way of communicating about the world (Performance Standard A.4.6).their own ideas about the purposes and meanings of art (Performance Standard J.4.5).

UNDERSTAND…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).connections art makes to other subjects and life (Performance Standards K.4.1-3).

BE ABLE TO…develop basic skills to produce quality art, following procedures, and looking at visual

art. (Performance Standards C.4.1-10).communicate their own ideas and meanings (Performance Standards E.4.1, E.4.5, G.4.1-

4).

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show differences among colors…and other qualities of objects in their artwork (Performance Standard H.4.3).

III. OBJECTIVES:1. Using the sets of exemplars and the Associative Questions, students closely observe double-portraits through comparisons and contrasts with the artwork and in relation to what the learn about the artists, responding at least once to teacher prompts and replying at least once to other student comments. (Bloom-Comprehension and Analysis)

2. Having studied the settings, wardrobes, and implements in the samples, models, and exemplars, students create their own double-portrait as a response to their familial or other values, supporting their inclusions verbally in front of the class, with their tablemates, or one-on-one with the teacher or a classmate. (Bloom-Application and Synthesis)

3. Having studied the proportions of the face, ideas of space, such as foreground, middleground, and background, and the use of overlapping, students will draw a composition, using the sketching process to best develop the composition, with a willingness to revise and explore new ideas through sketching. (Bloom-Evaluation and Create)

IV. RESOURCES AND MATERIALSResources:

art vocabulary for Word Wall: portrait, template, proportion, parody, symmetry, valueimage file, containing pictures of different environments and architectureGoogle Images, for students to research work tools, wardrobe, architecture, environmentsproportion visual aid for face, face template, compositional guidelists of similarities between the artists whose artwork is used as exemplars, how their

ideas and experiences, and identities influenced their workexamples of American Gothic parodies, show Cornflakes commercial on YouTube

Books: My Painted House My Friendly Chicken and Me by Angelou and Courtney-ClarkeThe Artist in the Hayloft by Prestel.People by Philip Yenawine

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Teacher model of My American Gothic:

Figure 2: Teacher’s retired parents Figure 3: Teacher’s young parents

Brian’s model: Student samples of My American Gothic:

Figure 4: Brian with his brother.

Figure 5: Sketch of Ayana’s parents as superheroes and sketch of Roni’s brother and sister, who live in the city

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Figure 6: Ty’s President and First Lady. Figure 7: Haley, her sister, and their dog.Artist exemplars: Sets of double-portraits for comparing and contrasting values, shown in conjunction with the Association Questions. Also accompanying these images is a list of similarities between artists.

Figure 8: Alice Neel, Two Girls in Spanish Harlem, 1941 Figure 9: Frida Kahlo, The Two Fridas, 1939

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Figure 10: Grant Wood, American Gothic, 1930 Figure 11: Archibald Motley, Jazz Singers, 1934

Figure 12: Henry Ossawa Tanner, The Banjo Lesson, 1893

Figure 13: Winslow Homer, Eight Bells, 1887

Materials:sketching paper, 9 x 12”drawing paper, 18 x 24”crayonscolored pencilsfine-tipped felt pens and markers3H pencils and erasers

Artist quote:Figure 1: Biel, S. (2005). American Gothic: A life of America’s most famous painting. New

York, NY: W. W. Norton and Company.

Teacher models:Figure 2: Teacher model of My American Gothic in a pencil sketchFigure 3: Teacher model of My American Gothic in crayon, colored pencil, and marker.Figure 4: Brian’s model of My American Gothic in pencil.

Student samples:

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Figure 5: My American Gothic sketch samples by Ayanna and RoniFigure 6: My American Gothic in crayon and marker by Ty.Figure 7: My American Gothic in crayon and marker by Haley.

Artist exemplars:Figure 8: Neel, A. (1941). Two girls in Spanish Harlem. [Image of painting].Figure 9: Kahlo, F. (1939). Two Fridas. [Image of painting].Figure 10: Wood, G. (1930). American Gothic. [Image of painting].Figure 11: Motley, A. (1929). Blues. [Image of painting].Figure 12: Tanner, H. O. (1893). Banjo lesson. [Image of painting].Figure 13: Homer, W. (1887) Eight bells [Image of painting]

V. MOTIVATIONTOPIC QUESTION:

Frida Kahlo said, “Only a mountain knows the insides of another mountain?” What do you think that means?

ASSOCIATION QUESTIONS:(Figures 8 and 9)

What can you tell about these two girls…two women? Alice Neel, who painted these girls, felt at home living in the same neighborhood as these

girls for 25 years. Do you think these girls will want to go live in a different neighborhood when they grow up? Why do you say that?

The locations are similar, in a way, what do you think about the colors of the two paintings? Which colors look right to you? Why do you say that?

Can you imagine why this artist made a double self-portrait? Why can you see her hearts?Frida Kahlo had a hard time with her health and her husband. Which hard time do you

think this painting was affected by the most? What is the Frida not bleeding holding in her hand?

(Figures 10 and 11)One of these paintings the artist lives in the country, one the city, can you tell me which

is which? Archibald Motely makes living in this neighborhood look really fun. What parts of living

in a city are not fun? He did not really live in this neighborhood. Do you think he missed some parts of the story?

What can you tell me about these people’s feelings? Do you think this man and woman go dancing…listen to any music…smoke?

The model for the woman is really the artist’s sister, who he made with a long face. Why?

Do you think Grant Wood liked the people in Iowa? Do you think sometimes an artist may not feel the same way about a painting as the person looking at it?

(Figures 12 and 13)What do you think Homer and Wood had in common?How is the sea in Homer’s painting like the room in Tanner’s painting? Tanner and Motely both have ideas about music, show their people inside, and show their

people enjoying each other but which painting seems more real to you? Why do you say that?

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How is Motely’s painting like Wood’s painting?How is the sea in Homer’s painting like the dancers in Motely’s painting?If you were to draw Lake Michigan in the background of your double-portrait, what

would your people be doing…holding in their hands?

VISUALIZATION QUESTIONS:What colors or patterns that you have used in your other work would make sense using in

your double-portrait?What type of things do you know about that will help you tell us about your people?Do you think anyone will want to smash your head after you are done with your picture?

TRANSITION QUESTIONS:What do you admire about the people in your double-portrait?What will your people hold…do they enjoy doing what they are doing….their work…

their companion?Do you understand how a painting of someone else is a painting of yourself? What parts

of yourself…interests…feelings…experiences…are shown in your double-portrait?

VI. PROCEDURES:Day OneBody: Instructional Input (20 min.)

Read task analysis of work flow for Day One written on the board.Show examples of parodies and Cornflakes commercial.Closely study exemplars using sets of Association Questions

Modeling and Demonstration (10 min.)Show how to set up composition to draw to people from the waist up.Demonstrate how to transfer sketch to larger paper, keeping the good and revising the not

so good, drawing lightly with a 3H pencil.Talk aloud about how to make choices about wardrobe, held implements, background

space, and overlapping.Distribution: Students line up by table to get other supplies. Teacher passes out large

paper when students are ready.Checking for Understanding (30 min.)

Students use sketching to develop idea on the 9 x 12” paper.Students draw their best version on their large 18 x 24” paper.

Clean-up: Put media and artwork away according to our procedures.Closure for Day One: Encourage students to think about the people in their portrait until the next session and come prepared to put their ideas in the picture.

Day TwoInstructional Input (20 min.)

Read task analysis of work flow for Day Two written on the board.Read People and My Painted House My Friendly Chicken and Me.Review Word Wall art vocabulary.

Modeling and Demonstration (10 min.)

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Show how to finish the drawing, using pencil only or other drawing media.Show how to layer colored-pencils and crayons for different skin colors.Talk aloud about compositional decisions made to create a feeling.Distribution: Students line up by table to get supplies.

Checking for Understanding (30 min.)Students begin to fully render their American Gothic.Circulate to encourage students to make their people holding things before they leave the

pencil step.Clean-up: Put media and artwork away according to our procedures.Closure for Day Two: Ask students if anyone thought about a characteristic that they admire about a person but do not know of ways to show that. Discuss ways to make a person, look strong, brave, funny, smart, etc. Ask students if they think artists ever draw things differently than they really are to create a feeling…remember American Gothic.

Day ThreeInstructional Input (10 min.)

Read task analysis of work flow for Day Three written on the board.Picture walk Artist in the Hayloft. Show more parodies of American Gothic.Ask students if they think they are making a parody of their people.

Modeling and Demonstration (10 min.)Based on class progress demonstrate as indicated to review or to clarify.Distribution: Students line up by table to get supplies.

Checking for Understanding (40min.)Students complete their American Gothic.Students complete matching quiz.Students write about their people.

Clean-up: Put media and artwork away according to our procedures.Closure for Day Three: Compare this drawing to the drawing students did before they began to learn facial proportions. Display double-portraits in window of the department store downtown, in the front lobby of the school, and in the district art show. Have students write about their portraits, saying why the people are important to them and what is important to the people. VII. EVALUATIONS:Exemplars, images, and samples of printed materials are shown in conjunction with the Topic and Association Questions. Teacher will evaluate student contributions to class discussion by basing the depth of understanding on their insights, use of art vocabulary, and if they can explain how things do or do not relate to their own personal lives. Students can keep a tally of their response and reply to be sure they are contributing.

Matching Quiz (see next page):

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Matching Quiz Name___________________

Write the term on the line under the picture it best describes.

Word Bank

symmetry value portrait

American Gothic parody template

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BOSTON UNIVERSITYPROGRAMS IN EDUCATION

Art Education Department

LEGACY CURRICULUM: VISION UNIT

NAME: Joan Schlough CLASS: CFAAR 620

DESCRIPTIVE TITLE: VISION . Students reveal their outlook; what they hope their imprints will be on their futures; 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.

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).the role of, and be able to use, computers, video, and other technological tools and equipment. (Content Standard F)

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).develop perception, visual discrimination, and media literacy skills to become visually educated people (Content Standard H).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).make connections among arts, other disciplines, other cultures, and the world of work (Content Standard K).

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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 Vision 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 Vision Unit:

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).Students integrate “studio habits of mind” in process of creating and thinking about art and other learning. (Winner and Hetland, 2008, p. 29-31).Students are “less cautious, self-aware, skeptical, objective, and intellectual, and more venturesome, un-self conscious, trusting, subjective, and emotional” (Wong, 2007, p. 216).“Help learners to find meaning in a very complex visual world as well as a mode with which to express and communicate their own worldly messages” (Simpson, et al., 1998, p. 334).“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 absorption and reflection of perception. Vision communicates contribution and participation” (Stein, 1984, p.31).

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.

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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.

LESSONS IN THE VISION UNIT Wish Keeper : 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.

When I get older I will be stronger.They’ll call me freedom just like a wavin’ flag.

K’naan from Troubadour

Recycled Art Assemblage : Students reduce their carbon footprints by using recyclables. Students build an assemblage that has syncretic meaning and may also encase a message of their vision.

Oh, I love trash! Anything dirty or dingy or dusty

Anything ragged or rotten or rusty Yes, I love trash

Oscar the Grouch

Worldview Illuminations : Students learn about how one word can be a powerful expression. Students learn how an idiom, adage, truism, or a chestnut is a meaningful, powerful word or phrase that brings fun visual images to mind. Students learn that words can be more damaging than sticks or stones.Propagandist Street Team Takeaways : With graphics software students produce low cost items to be given away for free. Students build upon their learning of “less is more” design. Students examine social issues dealing with youth empowerment in the community. Students synthesize what they have learned from other artists in order to use art in the change-agent process.Two Rivers Mural Project : Students use recycled paint, draw from life for ideas, and use sketching to develop ideas. The mural painting process includes learning about grid enlargement and the New Deal murals in WI. Students consider a communities set of expectations to portray the community and its history.

RESOURCES AND MATERIALS: Wish Keeper : Clay, clay working tools, glaze, paper, raffia, sticks, and kiln

Books: Bento’s Dream Bottle by Nye and PakWabi Sabi by Reibstein and YoungHaiku by Donegan

Recycled Art Assemblage : Assemblage materials and various adhesivesBooks: Recycled Re-Seen by Cerny

Trashformations by HermanDVD: i love trash by Brown and Mann

Worldview Illuminations : Various types of paper for sketching and drawing.

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Book: A Little Peace by Kerley.Propagandist Street Team Takeaways : Graphics software, computer lab access

Books: ¡REVOLUCIÓN!: Cuban poster art by CushingAgitate! educate! organize!: American labor posters by Cushing and Drescher.

Two Rivers Mural Project : Outdoor wall, recycled exterior paint, image resources about rivers and murals.Website: www.cobaltshining.biz for River series by teacher

For all lessons:Screen with a laptop, projector, and Internet use for exemplars and as image referenceTeacher models and student work samples

ASSESSMENT: Rubrics, written or oral self-reflections, critique guidesGuided discussions, small group discussions, and one-on-one discussionsChecklist, display board guiding questions, Word Wall art vocabulary

Summative Assessment questions for Vision Unit:What idea, opinion, or view can you think of that many artists have shared through their artwork?Can you think of ways people have used color to shape views?How does the history of your community shape its future?

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BOSTON UNIVERSITYPROGRAMS IN EDUCATION

LESSON PLANArt Education Department

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

(minimum time needed for working with clay)UNIT Vision TITLE OF LESSON Wish Keepers

RELATIONSHIP TO THE LEGACY CURRICULUM: (Wish Keepers)Wish Keepers have a lid, which can extend a wish into the vessel. Students consider wishes as the seeds of change, thinking about what they would like to see different in the world, if they had ultimate power to make it happen. Students consider how their private and public thoughts may help them to take actions needed to affect change.

When I get older I will be stronger. They’ll call me freedom just like a wavin’ flag.

Figure 1: K’naan from Troubadour

RELATIONSHIP TO LIFE: If we let go of our dreams, we let go of our lives. An ingredient to vision is intention, whether an intention is a wish, dream, plan, goal, or ideal. Physically crafting our intentions bring out tangible actions. Self-belief is the first step to affecting change in one’s life.

I. PROBLEM/ACTIVITY:Students look at wish keepers and wish pots from Asian artists from several countries, and ethnically Asian artists, from Hawaii, using those vessels to inspire their own ideas. Students are asked to create a lid to function as a wish keeper lid, and are told to choose the most appropriate method of clay building to use for their vessel.

II. GOALS:KNOW…

that art is a basic way of communicating about the world (Performance Standard A.4.6).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).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).connections art makes to other subjects and life (Performance Standards K.4.1-3).

BE ABLE TO…develop basic skills to produce quality art, following procedures, and looking at visual art. (Performance Standards C.4.1-10).

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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. Having had the experience of working with slab and coil construction, students will design a lid for a wish keeper made with one of these methods, independently and with the help of the teacher. (Bloom-Synthesis and Create)

2. Through teacher instruction and class discussion, students will conceive of a wish that has a global ramification, independently, choosing whether to keep it private or share it publicly. (Bloom-Synthesis and Evaluation)

3. Having heard and seen materials regarding wish keepers or Asian and Asian ethnicity artists, students will develop an understanding as to how culture influences design, with the help of the teacher and the other students, gradually over time. (Bloom-Analysis and Evaluation)

IV. RESOURCES AND MATERIALSWord Wall, exemplars, visual aids, posters, clay vessels, and bulletin boards. Samples of haikus.

Figure 1: Quote from K’naan’s song Wavin’ off of the Troubadour album

Figure 2-8: Teacher models, student sample, and other exemplars and of wish keepers:Figure 2: Asian-style wish keeper exemplarsFigure 3: Teacher model of wish keeper with Asian-style lidFigure 4: Student sample of wish keeperFigure 5: Teacher model of flower lid wish keeperFigure 6: Teacher model of flower lid wish keeper with lid open and view of rolled up wishFigure 7: Matthew Lovein wish keeperFigure 7: Matthew Lovein wish keeper

Figure 9-16: Assessment toolsFigure 9: Bulletin board displays about places and origins connecting artists to their places.Figure 10: Bulletin board displays about places and origins connecting artists to their places.Figure 11: Bulletin board displays about places and origins connecting artists to their places.Figure 12: Bulletin board display about the importance of rivers to artists Figure 13: Bulletin board display about the importance of rivers to artists Figure 14: Bulletin board display about how a place can be a feelingFigure 15: Bulletin board display about Ms. Schlough’s placesFigure 16: Word Wall with clay terms to be used with crossword puzzleBooks:Wabi Sabi by Mark Reibstein and Ed YoungHaiku by Patricia Donegan

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Bento’s Dream Bottle by Ney and Pak

Figure 2-8: Teacher models, student sample, and other exemplars and of wish keepers:

Figure 2: Exemplar wish pots and wish keepers from Korea, China, Japan, and US (Hawaii).

Figure 3: Teacher model Figure 4: Student sample

Figures 5 and 6: Teacher models Figures 7 and 8: Mathew Lovein wish keepers

Figure 9-16: Assessment tools

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Figures 9-11: Bulletin board displays about places and origins connecting artists to their places.

Figures 11-12: Bulletin board displays about how rivers have been important to artists; Nile river in Egypt and Two Rivers, WI.

Figures 13-15: Bulletin board display about how a place can be a feeling, Ms. Schlough’s places, and the Word Wall.

Questions to accompany bulletin board displays and exemplars (Figures 2-16):1. What are some shapes' names and their three-dimensional forms (3D)? (Bloom-Knowledge)2. How can you keep the slabs of a clay project stay up, while the slab is still moist and floppy?

(Bloom-Application)3. What do you do to the slabs to build a joint? (Bloom-Application)4. Why would Native American Indian cultures make forms in wood on the Northeast Coast or the

United States and make forms in clay in the Southwest portion of the United States? (Bloom-Synthesis)

5. Which of the wish keepers is the best? Why? (Bloom-Evaluation)6. Use clay working terms from the Word Wall for your crossword puzzle. (Bloom-Knowledge)

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7. What vessel, pot, or box has the most texture? (Bloom-Knowledge)8. Can you tell something about Ms. Schlough (the teacher) or the other artists, the places they are

from, or their stories by their artwork? (Bloom-Analysis)9. What techniques were important to use in order to keep coils and slabs from pulling apart and

clay rings and beads from falling off the clay body? (Bloom-Synthesis)10. Which is the most complicated? Why? (Bloom-Evaluation)

MaterialsFor teacher:KilnTape clay working canvas unto tables

Per student:clay, clay working toolsslip cupnewspaper for holding vessel form, if necessaryplastic pieces to wrap clayglaze, brushes for glazesticksraffiapencil and paperreflection sheets and rubric

Per group: crossword and guided questions

V. MOTIVATION:TOPIC QUESTION:

Have you ever thought something happened and then it did?

ASSOCIATION QUESTIONS:Do you think people who think positively are able to accomplish things more?What wish do you have for the world?Why is there a flower on the lid of the teacher’s Wish Keeper…why is the glaze on the vessel green…do you think this is a hint for what the wish is?

VISUALIZATION QUESTIONS:How could you show things about yourself, your family, or your heritage in your lid design?Can you guess the reasons why this artist, who lives in Hawaii, makes Asian Wish Keepers…what plant does the handle look like?Can you think of a new way to get the wish to hang from your lid?

TRANSITION QUESTIONS:If this is a gift for someone, what could you put on the lid on or on the container so they would think you made the Wish Keeper for them?What symbol could you use to show something you like, want, hope for, or dream?

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VI. PROCEDURES:Day OneBody: Instructional Input (15 min.)

Read task analysis of work flow for Day One written on boardShow examples of wish keepers.Explain group question and crossword puzzle work.

Modeling and Demonstration (10 min.)Review techniques to make coil and slab vessels.Demonstrate making a lid with slabs and pinch pots.Distribute supplies by sending students by table to collect certain items.

Checking for Understanding (35 min.)Students use clay to build a vessel.Students use clay to build a lid.

Clean-up: Wrap clay projects in plastic, put away extra clay, dry clay, and tools according to our procedures, if necessary wash and dry tables according to our procedures.Closure for Day One: Review clay working vocabulary that is on the crossword puzzle. When a student finds the term on the Word Wall that student may line up to be dismissed.

Day TwoBody: Instructional Input (10 min.)

Read task analysis of work flow for Day Two written on boardClosely examine the bulletin board items in conjunction with guiding questions.

Modeling and Demonstration (10 min.)Teacher reviews requirements for a lid by reading through checklist as a class, pointing out the items from the list with the models.Hand out crossword puzzle and guiding questions. Students are instructed to work on those, when the wishkeepers are in the kiln.Distribute supplies by sending students by table to collect certain items.

Checking for Understanding (40 min.)Students continue working on vessel and start lids. Some students finish.Students may refer to book Wabi Sabi, which was read in Unit One, Lesson Four, for inspiration.Students work on puzzles and questions, when the wish keepers are in the kiln.Some students write wish haiku.

Clean-up: Wrap clay projects in plastic, put away extra clay, dry clay, and tools according to our procedures, if necessary wash and dry tables according to our procedures.Closure for Day Two: Check in on any group work with questions from bulletin boards. Review clay working vocabulary that is on the crossword puzzle. When a student finds the term on the Word Wall that student may line up to be dismissed.

Day ThreeBody: Instructional Input (10 min.)

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Read task analysis of work flow for Day Three written on boardClosely examine the bulletin board items in conjunction with the guiding questions.

Modeling and Demonstration (10 min.)Review techniques to make coil and slab vessels.Demonstrate making a lid with slabs and pinch pots.Distribute supplies by sending students by table to collect certain items.

Checking for Understanding (35 min.)The remaining students finish their Wish Keeper.Some students glaze wish keeper.Circulate the room, checking on mastery of concepts and art vocabulary. Visit groups and pairs working on bulletin boards, crosswords, and haikus.

Clean-up according to our procedures.Closure for Day Three: Check in on any group work with questions from bulletin boards. Review clay working terminology that is on the crossword puzzle. When a student finds the term on the Word Wall that student may line up to be dismissed.

Day FourBody: Instructional Input (15 min.)

Read task analysis of work flow for Day Four written on boardRead Bento’s Dream Bottle to class.Review art vocabulary and other concepts that need to be touched upon, as discovered from last period, when circulating and talking to students one-on-one and in small groups.

Modeling and Demonstration (5 min.)Demonstrate how to add raffia, sticks, and wishes to lids.Distribute supplies by sending students by table to collect certain items.

Checking for Understanding (40 min.)Students add wishes and sticks and raffia to lid.Finish crossword puzzle, guiding questions, and checklist.Some students write a haiku for their wish.Teacher circulates around the room for one-on-one demonstrations or discussions.

Clean-up according to our procedures.Closure for Day Four: Group discussion and completion of checklist:

How many of you feel your lid functions as you intended?How many of you think your wish keeper is beautiful and/or really cool?Which wish keeper is the best? Why do you think so?

Reflection:To bolster this lesson, linking the activity to the Japanese culture and providing an interdisciplinary link, students can work in small groups writing a haiku wish instead of a one word or short description of wish.

VII. EVALUATIONS:Some students write haiku wishes with a partner as a modification, further linking the activity to the Japanese culture and providing an interdisciplinary link. Students complete reflections and checklists. Students will work in groups answering guiding questions about the bulletin boards.

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Teacher will use the Word Wall, other ceramic samples, and a crossword puzzle to teach art vocabulary. The questions should be answered in small groups.

Assessment tools (not in original format)Wish keeper student reflection:

1. What is your wish? If you want to keep your wish private, then is there something you would like to share about your wish without saying what your wish is?

2. What is one small step you could take today to help your wish happen?3. What is something big that would have to happen in order for your wish to happen?

Wish keeper adult/student reflection:1. What did your beginning artist tell you about this project?2. Which parts of the clay building process did your artist describe to you?3. What is something about the artwork that makes you know your artist was the one who

created it?4. What condition was the artwork when it arrived home?

Rubric:Students will use the checklist for the wish keeper lid, determining if objectives were met.

A

My lid…My lid fits.My lid does not slide or fall off my wish keeper.My lid can hang a wish or hold a wish.My lid has texture that matches the container.I used 2-3 layers of glaze.I glazed the wish keeper completely.I thought of a new way to make a lid or way to contain a wish.

B I checked off all of the above but my lid could fit better.

C I completed a wish keeper and have a wish. I checked at least four of the boxes.

D I did not finish all of the lid parts or paint the glaze as well as I should have. I checked three or fewer boxes. I don’t have a wish.

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BOSTON UNIVERSITYPROGRAMS IN EDUCATION

LESSON PLANArt Education Department

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

UNIT Vision TITLE OF LESSON Recycled Art Assemblage (RAA)

RELATIONSHIP TO THE LEGACY CURRICULUM: (Recycled Art Assemblages)Students begin to realize the impact of environmental irresponsibility, participate in an earth friendly art project, and develop a message regarding their hope for the environment, formulating their vision for others. Students build an assemblage that has syncretic meaning and may also encase a message of their vision.

Oh, I love trash! Anything dirty or dingy or dusty

Anything ragged or rotten or rusty Yes, I love trash

Figure 1: Oscar the Grouch

RELATIONSHIP TO LIFE: Students reduce their carbon footprints by using recyclables. Students learn about the three-rotating arrow symbol representing reduce, reuse, and recycle. Through this lesson, students learn about a fourth “R” for renewal. Students develop a positive outlook for our planet and in the process feel renewal within them; find their own conservation of ideals with hope.

I. PROBLEM/ACTIVITY:Students assemble recycled materials to build an animal that holds a conservation vision, which represents the students’ ideas about coexisting on one planet as one of the species of many.

II. GOALS:KNOW…

that art is a basic way of communicating about the world (Performance Standard A.4.6).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).

BE ABLE TO…develop basic skills to produce quality art, following procedures, and looking at visual art. (Performance Standards C.4.1-10).

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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 the DVD i love trash, preview some of the other exemplars, samples and teacher models, students make their own authentic selection of materials, plan a list of materials to gather, and sketch ideas for a design, independently and with help from their peers. (Bloom-Comprehension and Application)

2. Using what they have learned about Chris Murphy’s and the other RAA exemplars, students will build their own RAA with syncretic meaning, working on their own RAA collaboratively and individually. (Bloom-Synthesis, Create, and Evaluation)

IV. RESOURCES AND MATERIALS:Art vocabulary for Word Wall: symbol, design, media, armature, assemblageLists of ideas for vision messages about conservation, ex. energy use and poachingList of ideas about animal symbolism, ex. ox = strength

Website: Chris Murphy’s website http://www.myowndevices.org/p01.htm

Books: Trashformations by HermanRecycled Reseen by Cerny

DVD: i love trash by Brown and Mann

Teacher model of Recycled Art Assemblage:

Figure 2: Little Bird New Rx. Front, back, and showing egg message.

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Student sample:

Figure 3: Claudia’s Kitty

Artist exemplars:

Figure 4: Chris Murphy fish assemblage Figure 5: Chris Murphy dragonfly assemblage

Figure 6: Louise Nevelson, Untitled, 1964 Figure 7: Louise Nevelson, Untitled, ca. 1985

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For teacher to use with students:safety gogglesa variety of cutters

Per student:pencil and paperrecyclables and found objects brought in by each studenta broad selection of assemblage materials: paint swatches, toy parts, bottles, wire and wood pieces, remnants and chunks of items from kitchen, garage, and basement, etc.assorted ways to adhere pieces: glue guns, Liquid Nails, wire, tape, glue, etc.

Quote and other figure:Figure 1: Oscar the Grouch quoteFigure 8: Recycle Art sign to put in display case with student RAA’s.

Teacher model:Figure 2: Teacher model of RAA showing front, back, and egg message and enclosure.

Student sample:Figure 3: Claudia’s Kitty.

Artist exemplars:Figure 4: Murphy, C. (n.d.) Fish. Retrieved from http://www.myowndevices.org/p04.htmFigure 5: Murphy, C. (n.d.) Dragonfly. Retrieved from http://www.myowndevices.org/p05.htmFigure 6: Nevelson, L. (1964). Untitled. [Image of sculpture]. Estate of the artist. Retrieved

from http://www.askyfilledwithshootingstars.com/wordpress/?p=274Figure 7: Nevelson, L. (1985). Untitled. [Image of sculpture]. Estate of the artist. Retrieved

from http://www.askyfilledwithshootingstars.com/wordpress/?p=274

V. MOTIVATION:TOPIC QUESTION:

How can we coexist as one of the species on this planet?

ASSOCIATION QUESTION:What other job do you think Chris Murphy has besides being an artist…hint he uses wire?Louise Nevelson grew up in the country. She made her first assemblage using scraps from her father’s lumberyard. Her sculpture sometimes symbolized plants, gardens, or rooms. Do you think she lived in a city or the country, when she made this sculpture?

VISUALIZATION QUESTIONS:If you lived in China, what plant would make sense for use in artwork?In Kung Fu Panda, which animal do you think would most likely be the Kung Fu Warrior…the tiger, praying mantis, snake, or stork?Why is a Panda a funny idea for a warrior?What animal is most like your character?

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What type of material is feathery, strong, rough, funny…?

TRANSITION QUESTIONS:If you want to choose a bird for your animal because it can fly, which part of the bird will be important to show in your assemblage?What type of material starts feathery…can you make look feathery…how can you make wings look like they are flapping?What type of message is your RAA going to contain?

VI. PROCEDURES:Day OneBody: Instructional Input (5 min.)

Read through task analysis of work flow for Day One written on board.Show model and exemplars of RAA’s.Ask Association Questions about Chris Murphy in conjunction with exemplars and work he brought.

Modeling and Demonstration (35 min.)Chris Murphy talks about and answers questions about his work.

Checking for Understanding (20 min.)Students start to sketch their ideas for their RAA’s.Chris Murphy and teacher circulate to speak with students in small groups.

Clean up: Put away media and artwork according to class procedures.Closure for Day One: Thank Chris for visiting class. Give Chris a thank you gift for visit.

Day TwoBody: Instructional Input (20 min.)

Read through task analysis of work flow for Day Two written on board.Show part of i love trash DVD.Ask the rest of the Association Questions in conjunction with exemplars.Read through idea lists and guiding questions to use for written defense as it pertains to the teacher model.

Modeling and Demonstration (10 min.)Demonstrate sketching, talking aloud about how idea has syncretic meaning, and sharing ideas that come to mind about media choices.Demonstrate building armature for a RAA.

Checking for Understanding (30 min.)Students finish sketching their ideas for their RAA’s.Students build armature for their own RAA.Teacher circulates to help students with cutting and types of adhesives.

Clean up: Put away media and artwork according to class procedures.Closure for Day Two: Class discussion about items gathered or that students might gather for their own RAA.

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Day ThreeBody: Instructional Input (10 min.)

Read through task analysis of work flow for Day Three written on board.Share answers to guiding questions as they relate to teacher model.Share lists about ideas for animals with syncretic meaning, and ideas about conservation visions.Talk about how model conveys the idea of the message because of how the media was handled and other design decisions.

Modeling and Demonstration (10 min.)Demonstrate how to continue building RAA.Talk aloud about how to manipulate a design to make the form convey a certain meaning.

Checking for Understanding (40 min.)Students finish their armature.Students work towards completing their RAA.Students conceal or have the RAA encase a message using the list of ideas to help them think of something related to the environment.Students write artist statement for RAA as to why the RAA represents them.

Clean up: Put away media and artwork according to class procedures.Closure for Day Three: Students share which animals they have chosen and the symbolism.Students may not need an entire fourth day, if not critique time can be split in between Day Three and Day Four.

Day FourInstructional Input (5 min.)

Read through task analysis of work flow for Day Four written on board.Modeling and Demonstration (5 min.)

Teacher model and demonstrates procedures from Day Three, as necessary.Checking for Understanding (50 min.)

Students finish RAA’s, referring to Herman and Cerny books for inspiration, if necessary.Students complete their artist statements, using the guiding questions to help them write or orally present the defense of their RAA.

Clean up: Put away media and artwork according to class procedures.Closure for Day Four: Hold group critique at the end of the 3rd or 4th class period or both. Display RAA in cases in lobby area. Send Chris Murphy images of artwork with thank you letter.

Figure 8: Recycle Art sign for display case.

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VI. EVALUATIONS:Students will defend their choices in written artist statement or oral format.

Guiding questions:1. What animal did you choose for your assemblage? Why?2. How is your RAA animal an animal that means something about you, your character, or your

ideas?3. Does your RAA hold a message about conservation?4. How did you choose media for or make other design decisions in your RAA that

communicate that message to the viewer?

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