SECONDARY VISUAL ARTS CURRICULUMGrade Level 10th Semester 20 weeks Author:

Amber Doherty

Class General Art Group Members: Ashley F, Sarah T., Kim, Larry, Julia, Jessica, Ashleigh

UNIT 1: 6 weeks UNIT 2: 4 weeks UNIT 3: 6 weeks UNIT 4: 4 weeksTitle Narrative Assemblages Identity Portraits Juxtaposition Telling a Different StoryTheme Lake Michigan Portraits Juxtaposition TransformationDescription Through group reading and individual

study, students will explore short stories, poems, and myths that depict aquatic/ coastal life or themes. Possibility for a field trip to Lake Michigan. Show the students images of the artists’ work and discuss them with the students. The students will then write their own short story or poem that involves a narrative and either takes place under the sea, on the coast, or has aquatic themes. The students will make sketches that demonstrate an exploration of how to visually represent their narrative. Using the interior of a found object (music box, jewelry box, old suitcase, tuber ware, etc.), will create a narrative assemblage using both 2 dimensional and 3 dimensional objects depicting a scene or narrative.

Students will be introduced to the works of Ray Johnson, Mel Keiser, and Rick Lewis. The students will discuss the meaning behind their works through class discussion, power points, and handouts that ask critical thinking questions. The students will then learn how to proportionally draw their faces and will create a series of 3 small-scale mixed-media portraits that incorporate aspects of identity or popular culture. At least one of these portraits will be made in collaboration with another student.

Students will be introduced to the works of Lei Xue, Banksy, Oppenheim, Ai Wei Wei, and Marian Drew. The students will discuss the meaning behind their works through class discussion, power points, and handouts that ask critical thinking questions. Students will explore familiar objects by placing and arranging them in strange compositions and juxtapositions to communicate new ideas. They will paint, arrange cut out images, photograph an object, etc. to create strange compositions. The students will create 3 small series depicting the object in different contexts.

Students will be introduced to the works of Wayne White, David Irvine, Banksy, and Duchamp. The students will discuss the meaning behind their works through class discussion, power points, and handouts that ask critical thinking questions.Students will undergo a postmodern exploration of familiar narratives to communicate new ideas with strange juxtapositions. Using an old image with a scene (painting from a thrift store, an old record cover, school photo, poster/banner, game box, etc.), students will visually depict and write their own short story. They will first write an introduction to the scene that was originally represented, and transform the story in some way. Next, the students will try to pin point the climax of the transformation and depict it in the scene by visually altering the original image in some way and in turn altering the ending of their story.

Practice Studio Pract. (60%)

-Narrative Assemblages -Mixed Media

Crit/Hist Study (40%)

-Reading short stories, poems, or myths about the ocean.

Studio Pract. (60%)

-Identity portraits using mixed media and

Crit/Hist Study (40%)

-Artwork of Mel Keiser, Ray Johnson, and Rick

Studio Pract. (60%)

-3 small artworks with the juxtaposition of an object.

Crit/Hist Study (40%)

-Artwork of Lei Xue, Banksy, Oppenheim,Ai Wei Wei, and Marian Drew.

Studio Pract. (60%)

-Painting a juxtaposing climax into a scene to create a narrative.

Crit/Hist Study (40%)

-Critical thinking questions.-Artworks of

SECONDARY VISUAL ARTS CURRICULUM-Sketches/ development of a scene.

-Critical thinking questions on handout. -Writing and developing a short story/narrative.-Artwork of Rhea Freitag,Jephan de Villiers, Malia Landis, and Katharine Morling

collaboration.-Proportionally draw a face.

Lewis.--Critical thinking questions on handout.

-Critical thinking questions on handout.

Wayne White, David Irvine, Banksy, and Duchamp.

Objectives Students will be able to: Students will be able to: Students will be able to: Students will be able to: -Write a short story or poem that involves a narrative containing specific themes.- Make sketches that demonstrate an exploration of an object or environment. - Create a narrative assemblage using both 2 dimensional and 3 dimensional objects depicting a scene or narrative.-Discuss the works of Freitag, Jephan de Villiers, Malia Landis, and Katharine Morling through writing and orally answering critical thinking questions.

-Discuss the works of Johnson, Keiser, and Lewis through writing and orally answering critical thinking questions.-Proportionally draw faces.-Collaboratively create mixed media portraits.

-Discuss the works of Lei Xue, Banksy, Ai Wei Wei, Marian Drew, and Oppenheim through writing and orally answering critical thinking questions.-Create 3 small series depicting the juxtaposition of an object to show it in different contexts.

-Interpret the imagery in 1 image (from a thrift store, album cover, photograph, game board, poster, etc.) and write 1 paragraph describing a possible narrative that is being depicted in setting of the image.-Radically transform their narrative by writing, in at least 1 paragraph, a juxtaposing climax and ending to the story.-Paint on top of the image the exact moment, or still, of the climax of their story.

-Analyze another student’s narrative by reading their opening paragraph and looking at their painting in an attempt to guess what the other student’s climax was.-Discuss the works of Wayne White, David Irvine, Banksy, and Dushamp through writing and orally answering critical thinking questions.

Forms 2D 3D 4D 2D 3D 4D 2D 3D 4D 2D 3D 4DFrames Cultural Subj

. Struct. PMod Cultural Subj. Struct. PMod Cultura

l Subj. Struct. PMod Cultural Subj. Struct. PMod

ConceptualFramework Artwork Artis

t Aud. World Artwork Artist Aud. World Artwork Artist Aud. World Artwork Artist Aud. World

Key Artists -Rhea Freitag-Jephan de Villiers-Malia Landis

-Ray Johnson-Mel Keiser-Rick Lewis

-Lei Xue-Banksy-Oppenheim

-Wayne White-David Irvine-Banksy

SECONDARY VISUAL ARTS CURRICULUM-Katharine Morling -Ai Wei Wei

-Marian Drew-Dushamp

Key Artworks

Rhea Freitag, Sea Shrine Tutorial, 2014Jephan de Villiers, Petite figure casqué, 1940Malia Landis, Flock, 2012Katharine Morling, Undercurrent,2013

Johnson, What is a Motoco, Johnson, Untitled (Andy Warhol Profile with NOT “F”OLD and Lewis Letter), Johnson, Mail Art to John HeldJohnson, Letter to Lucy R Lippard, 1969 I& collageJohnson, Assorted Mail ArtLewis, Invisible Men Paintings, 2015Keiser, Mel Through Binary Fission, 2015Keiser, The Twenty-Fourth Meltype, 2015Keiser, Melface, 2015

Lei Xue, Drinking Tea, 2007Banksy, Show Me the Monet,Oppenheim, Object, 1936Ai Wei Wei, Han Dynasty Urn with Coca-Cola LogoMarian Drew, Pelican and Turnip, 2005

Wayne White, Advertisement for MyselfWayne White, Fried ChickenWayne White, Hatchin GatorDavid Irvine, The Gnarled Branch 40David Irvine, The Gnarled Branch 9Banksy, Thrift Store Art Boat PictureDushamp, L.H.O.O.Q. Banksy, Thrift Store Art Frontier PaintingBanksy, Show Me the Monet

Key Critical Questions

-In Rhea Freitag’s, Sea Shrine Tutorial, how does the artist use the materials/objects to establish foreground and background?-Based on visual context clues, what is your interpretation of a narrative in Malia Landis’, Flock?-What is unique about the forground/background relationship in Jephan de Villiers’, Petite figure casqué?-How does Katharine Morling take advantage of the space of the object she chose?

-What is your immediate response/experience with these artworks?-What are the qualities of the artwork that make you feel this way?-How does the composition affect the way the viewer sees the face?-How does Johnson’s use of materials reflect his beliefs about chance?-How does Johnson’s use of materials reflect the world around him and popular culture?-Why would he choose to make a portrait that doesn’t traditionally look like a face?-How has this work been influenced by popular culture?-How is technology different today? How would this change how artists today compile and change images in collaboration? -What images do you see? Where else would you see them? -How showing these portraits as looking at the viewer, how does this make you feel about the subject? -How is Lewis’ work structurally different than Johnson’s and Keiser’s?

-In Lie Xue’s Drinking Tea, how does the pairing of traditional Ming Dynasty pattern paired on a handmade porcelain can reflect or challenge issues of culture?-In Banksy’s, Show Me the Monet, how has the meaning of Monet’s painting changed with the additions Banksy made?-How do you intuitively feel is the meaning of the artwork?-How do Ai Wei Wei’s vases reflect the values and beliefs of society?-Do you think this is a successful artwork? Why? How does it capture your imagination?

-In Banksy’s, Show Me the Monet, how has the meaning of Monet’s painting changed with the additions Banksy made?-Using your imagination, what other ideas or experiences can you relate to this work?-In White’s Advertisement for Myself, how has the introduction of text changed the context of the painting?-Do you think this is a successful artwork? Why? How does it capture your imagination?

SECONDARY VISUAL ARTS CURRICULUM-How is Lewis’ work compositionally different than Johnson’s and Keiser’s?

Vocabulary -Narrative- the action or process of telling a story-Assemblage- a collection or gathering of things or people, a work of art made by grouping found or unrelated objects-Myth- a traditional story, especially one concerning the early history of a people or explaining some natural or social phenomenon, and typically involving supernatural beings or events-Interior- situated within or inside; relating to the inside; inner

-Essence: the intrinsic nature or indispensable quality of something, especially something abstract, that determines its character a property or group of properties of something without which it would not exist or be what it is. -Identity: the fact of being who or what a person or thing is. -Structure: the arrangement of and relations between the parts or elements of something complex; construct or arrange according to a plan; give pattern or organization to.-Moticos- Johnson’s own word for his collages, implying that art is to be seen out in the world. It also implies a belief that art should be active and moving through spaces (in the mail, on a train or car, etc.) and through different people (collaboration and personal interpretation) as a way to evolve the meaning of an image outside of the context of a museum or gallery. -Neo-Dada- mocked & celebrated consumer culture, combination of abstraction and realism, experimentation of media, encouraged viewers to look beyond traditional art and appearance to critically think about contradictions, juxtapositions, and narratives. Encouraged a shift toward the viewer as part of the artwork and wanted them to interpret the work instead of just looking at the artist’s intent. This movement emphasized the use of chance, found objects, and mass media. -Pop Art- art based on modern popular culture and the mass media, especially

-Juxtaposition- the fact of two things being seen or placed close together with contrasting effect-Transformation- a thorough or dramatic change in form or appearance, metamorphosis-Composition- the placement or arrangement of visual elements or ingredients in a work of art as distinct from the subject of a work-Collage- a technique of composing a work of art by pasting on a single surface various materials not normally associated with one another, as newspaper clippings, parts of photographs, theater tickets, fragments of an envelope, etc.-Elements- shape, form, value, line, color, space, texture.-Principles- movement, unity, harmony, variety, balance, rhythm, emphasis, contrast, proportion, and pattern

-Transformation- a thorough or dramatic change in form or appearance, metamorphosis-Narrative- the action or process of telling a story-Climax- in a story, the most intense, exciting, or important point of something-Juxtaposition- the fact of two things being seen or placed close together with contrasting effect-Still- photograph taken on or off the set of a movie or television program during production

SECONDARY VISUAL ARTS CURRICULUMas a critical or ironic comment on traditional fine art values.-Collage- a piece of art made by sticking various different materials such as photographs and pieces of paper or fabric onto a backing.

-Correspondence art- Mail art (also known as Postal art and Correspondence art) is a populist artistic movement centered on sending small scale works through the postal service. It initially developed out of the Fluxus movement in the 1950s and 60s, though it has since developed into a global movement that continues to the present

Language Functions

Choose: analyze, compare/contrast, critique, describe, interpret, question, etc.

Choose: analyze, compare/contrast, critique, describe, interpret, question, etc.

Choose: analyze, compare/contrast, critique, describe, interpret, question, etc.

Choose: analyze, compare/contrast, critique, describe, interpret, question, etc.

Language Modes Read Write Liste

nSpea

k Read Write Listen Speak Read Write Listen Speak Read Write Listen Speak

Language Demands Syntax Discourse Syntax Discourse Syntax Discourse Syntax Discourse

Language Tasks & Activities

-Orally (in small groups or as a whole class) discuss the works of the key artists.-Write answers to the critical thinking questions on the worksheets.

-Orally (in small groups or as a whole class) discuss the works of the key artists.-Write answers to the critical thinking questions on the worksheets.

-Orally (in small groups or as a whole class) discuss the works of the key artists.-Write answers to the critical thinking questions on the worksheets.

-Orally (in small groups or as a whole class) discuss the works of the key artists.-Write answers to the critical thinking questions on the worksheets.-Students will discuss the climax of their favorite book or movie with another student or a small group.-Students will write a narrative (broken down into segments) that includes a detailed description of the setting, a juxtaposing climax, and an ending.-Students will verbally interpret what they thing another student’s narrative is about. They will do this by reading another student’s introduction paragraph and looking at their painting (displaying a juxtaposing climax) in an attempt to guess or come up with an alternative resolution or ending of the story.

SECONDARY VISUAL ARTS CURRICULUMLanguage Supports

-Artists Handouts-Power Point-Questions- Class discussion/Small group discussion

-Artists Handouts-Power Point-Questions- Class discussion/Small group discussion

-Artists Handouts-Power Point-Questions- Class discussion/Small group discussion

-Artists Handouts-Power Point-Questions-Class discussion/Small group discussion

Assessments

Formative-Participation in class discussions, activities, and critiques.

Summative- One written short story or poem that involves a narrative and either takes place under the sea, on the coast, or has aquatic themes.-Sketches that demonstrate an exploration of how to visually represent their narrative.-One narrative assemblage using both 2 dimensional and 3 dimensional objects depicting a scene or narrative.-One completed handout.

Formative-Participation in class discussions, activities, and critiques.

Summative- Students will create a series of 3 small-scale mixed-media portraits that incorporate aspects of identity or popular culture. At least one of these portraits will be made in collaboration with another student.-Two completed worksheets with complete answers to critical thinking questions (1 handout from Johnson and 1 handout from Keiser).

Formative-Participation in class discussions, activities, and critiques.

Summative-One completed handout.-Three completed small series depicting the juxtaposition of an object to show it in different contexts.

Formative-Participation in class discussions, activities, and critiques.

Summative-One completed narrative (at least 3 paragraphs) based on their found image, including an introduction, a juxtaposing climax, and a resolution.-One altered image with a juxtaposing climax in the scene.-One completed handout.

National Standards

Cr1-IIb. Choose from a range of materials and methods of traditional and contemporary artistic practices to plan works of art and design.Pr5-IIa. Evaluate, select, and apply methods or processes appropriate to display work in a specific place.Cn10-IIa. Utilize inquiry methods of observation, research, and experimentation to explore unfamiliar

Cr1-Ia: Use multiple approaches to begin creating endeavors.Pr6-Ia: Analyze and describe the impact that an exhibition or collection has on one’s personal awareness of social, cultural, or political beliefs or understanding.Re8-ia: Interpret an artwork or collection of works, supported by relevant and sufficient evidence found

Cr1-IIb. Choose from a range of materials and methods of traditional and contemporary artistic practices to plan works of art and design.Re7-IIb. Evaluate the effectiveness of an image or images to influence ideas, feelings, and behaviors of specific audiences.Cn10-IIa. Utilize inquiry methods of observation, research, and experimentation to explore unfamiliar subjects through art

Cr1-Ia. Use multiple approaches to begin creating endeavors.Va:Cn10-Ia. Document process of developing ideas from early stages to fully elaborated ideas.Va:Re8-Ia. Interpret an artwork or collection of works, supported by relevant and sufficient evidence found in the work and its various contexts.

SECONDARY VISUAL ARTS CURRICULUMsubjects through art making.Re7-IIa. Recognize and describe personal aesthetic and empathetic responses to the natural world and constructed environments.

in the work and its various contexts. making.

Common Core State Standards

CCSS.ELA-Literacy.RI.9-10.10By the end of grade 9, read and comprehend literacy nonfiction in the grades 9-10 text complexity band proficiently, with scaffolding as needed at the high end of the range.CCSS.ELA-Literacy.W.9-10.3Write narratives to develop real or imagined experiences or events using effective technique, well-chosen details, and well-structured event sequences.CCSS.ELA-Literacy.W.9-10.3.bUse narrative techniques, such as dialogue, pacing, description, reflection, and multiple plot lines, to develop experiences, events, and/or characters.CCSS.ELA-Literacy.SL.9-10.1Initiate and participate effectively in a range of collaborative discussions (one-on-one, in groups, and teacher-led) with diverse partners on grades 9-10 topics, texts, and issues, building on others' ideas and expressing their own clearly and persuasively.

CCSS.ELA-Literacy.RL.9-10.2Determine a theme or central idea of a text and analyze in detail its development over the course of the text, including how it emerges and is shaped and refined by specific details; provide an objective summary of the text.CCSS.ELA-Literacy.RI.9-10.5Analyze in detail how an author's ideas or claims are developed and refined by particular sentences, paragraphs, or larger portions of a text (e.g., a section or chapter).CCSS.ELA-Literacy.RI.9-10.7Analyze various accounts of a subject told in different mediums (e.g., a person's life story in both print and multimedia), determinCCSS.ELA-Literacy.W.9-10.2Write informative/explanatory texts to examine and convey complex ideas, concepts, and information clearly and accurately through the effective selection, organization, and analysis of content.ing which details are emphasized in each account.

CCSS.ELA-Literacy.SL.9-10.1Initiate and participate effectively in a range of collaborative discussions (one-on-one, in groups, and teacher-led) with diverse partners on grades 9-10 topics, texts, and issues, building on others' ideas and expressing their own clearly and persuasively.

CCSS.ELA-Literacy.RL.9-10.10By the end of grade 9, read and comprehend literature, including stories, dramas, and poems, in the grades 9-10 text complexity band proficiently, with scaffolding as needed at the high end of the range.CCSS.ELA-Literacy.RI.9-10.2Determine a central idea of a text and analyze its development over the course of the text, including how it emerges and is shaped and refined by specific details; provide an objective summary of the text.CCSS.ELA-Literacy.SL.9-10.1Initiate and participate effectively in a range of collaborative discussions (one-on-one, in groups, and teacher-led) with diverse partners on grades 9-10 topics, texts, and issues, building on others' ideas and expressing their own clearly and persuasively.

CCSS.ELA-Literacy.W.9-10.3 Write narratives to develop real or imagined experiences or events using effective technique, well-chosen details, and well-structured event sequences.

CCSS.ELA-Literacy.W.9-10.3.e Provide a conclusion that follows from and reflects on what is experienced, observed, or resolved over the course of the narrative.

CCSS.ELA-Literacy.SL.9-10.1 Initiate and participate effectively in a range of collaborative discussions (one-on-one, in groups, and teacher-led) with diverse partners on grades 9-10 topics, texts, and issues, building on others' ideas and expressing their own clearly and persuasively.

SECONDARY VISUAL ARTS CURRICULUMIllustrative Artwork