Sculpture Introduction

Gr. 11
Greg Styles and Claire Peterson

ART Sculpture: Stage 1 Desired Results

TRANSFER GOAL

Established
Goals
Students will:

Students will explore the nature of three-dimensional imagery in

regard to positive and negative space, volume and the significance
of the perspective from which it is viewed.

-consider the
significance of
positive and
negative
space
Enduring Understandings:
-demonstrate
an
understanding
of the
importance of
viewer
perspective
- compare the
imagery
produced from
reference to
that produced
from recall

Students will understand that

U1 Meaning in composition is
affected by reversing or
distorting positive and negative
elements

U2 The use of non-traditional

media affects the development of
two or three dimensional objects

U3 Shifting perspective or
changing the point of view are
means of solving visual problems

MEANING
Essential Questions:
Students will keep
considering
Q 1 - How does representing
imagery produced from
explorations of memory differ
from imagery produced from
reference?
Q2 How can varying the
emphasis placed on positive or
negative space change an
image?
Q3 How does changing an
art pieces location or position
change the way it is
interpreted by the audience?

ACQUISITION OF KNOWLEDGE & SKILLS

Students will know

Students will be skilled at

the qualities and

significance positive and
negative space

the vocabulary
associated with casting

the art criticism

vocabulary necessary to
discuss three-dimensional art
works

introductory mold
making and casting
releases of mold

non-traditional
material use

placement of art in
space

using threedimensional art making as

a form of self-expression
and self-exploration

STAGE 2 Evidence
Evaluative
Criteria
Performance is judged
in terms of

- Critique

rubric
created in
class, with
students.
revolving
around:
elements of art
and design,
consideration of
location of art
in space, use of
materials, etc.

Assessment Evidence
Students will need to show their learning by:
Showcasing their paintings in a final critique
and explain the elements involved.
Transfer Task:
-self assess using rubrics created together in class
-final project will be critiqued as a group, where they
can share ideas of choice for their paradise and
demonstrate their understanding of vocabulary

Rationale: This lesson is an exploration of space that stems from the same intial constraints.
By using the anchor of the box throughout all three projects, all three explorations become more
literally connected. Throughout this exploration of space we will explore a variety of nontraditional materials which will likely engage the high-school student in a different format than
they are accostamed to. Further, the problems posed by each of the tasks allow a considerable
amount of differentiation. Though the stem of the final product may be the same, ultimately, the
projects guidelines could be altered based on skill-set, interests and readiness. Because of the
level of individual choice, students will also be able to alter the assignments in a way that suit
their needs. Not only will this result in finished works that hold the potential to be pushed as far
as the student so desires, but it also increases the likelihood of student engagement on a broader
scale. A variety of different artists have been referenced, and based on the needs of the class, the
extent to which these encounters are discussed could be significantly different. A highschool
class with high energy and short attention spans may benefit most from a brief overview, while a
class with a deeper skill-set and fine arts interest may be more interested in the assignments after
indepth discussions of the artists and their processes.
Previous instruction could involve instruction in computer drawing, and in this an exploration of
creating three-dimensional imagery in two-dimensions. Thus, a movement into representing
imagery in three-dimensions could become more natural.
Lesson One: An intitial movement from two-dimensional to three-dimensional art making.
Paper will be used to create a real-life three-dimensional space, by first folding the paper into a
box. Subsequently they will create the space inside of the box with additional paper, with an
attention to the specificity of a specific, chosen, space.
Lesson Two: A movement into non-traditional materials, students will be asked to consider the
relationship between positive and negative spaces. By recalling the important architectural
structures of a significant memory, they will recreate this space and then produce a cast of the
negative space that is left.
Lesson Three: This assignment is the culmination of the two prior lessons. In it, the students
are asked to produce an ideal space within the box. Whatever this paradise is, the student must
consider how it will be presented, making note of the significance of intentional perspective for
its viewing.
**note that each lesson will take more than one class period to complete, which is shown in the
lesson plans.

Lesson 1

Boxes, Initial Spaces

Subject/Gra
Art 20
de Level
Unit

Sculpture

Date
Time
Durati
on
Teach
er

60 min x 2 classes
Greg & Claire

OUTCOMES FROM ALBERTA PROGRAM OF STUDIES

General
Learning
Outcomes:

Specific
Learning
Outcomes:

Students will:
Compositions
1.
Use non-traditional approached to create compositions in both two
and three dimensions.
2.
Solve teacher and student developed problems by varying the
dominance of design elements for specific visual effects.
3.
Use the vocabulary and techniques of art criticism to interpret and
evaluate both their own works and the works of others
Encounters
1.
Recognize that while sources of images are universal, the formation
of an image is influenced by the artists choice of meidum, the time and
the culture.
2.
Acquire a repertoire of visual skills useful for the comprehension of
different art forms.
I.1.A. The use of non-traditional media affects the development of
two or three dimensional objects
I.2.A. Meaning in composition is affected by reversing or distorting
positive and negative elements
I.2.C. Shifting perspective or changing the point of view are means
of solving visual problems
I.3.A. Meaning is expressed in works of art through subject choice,
media selection and element emphasis.
II.1.B. Artists and craftspeople use the possibilities and limitations
of different materials to develop imagery
II.2.A. The relationships of different features of a work of art may
be compared to the total effect of the work

LEARNING OBJECTIVES
Students will:
1. use non-traditional media to produce three-dimensional representations of
space that demonstrate considerations of the elements of design and the
significance of subject choice and media selection (I.1.A, I.2.A, II.1.B,
II.2.A)
2. demonstrate an understanding of the significance of perspective when
viewing or showing a work of art (I.2.C)
3. demonstrate comprehension of relevant vocabulary in interpreting and
evalauting both their own works and the works of others in an art critique
setting (I.3.A)

ASSESSMENTS
Observations:

Key Questions:

Have you been aware of the specific architectural

structures of the chosen space?
How does using a two-dimensional material in a
three-dimensional format change both the material and
the art work?
How does using a traditional material in a nontraditional way change the material and the art work
produced?
RUBRIC CREATED IN CLASS IN CONJUCTION WITH
STUDENTS

MATERIALS AND EQUIPMENT

paper
templates for basic shapes
scissors
exacto knives
glue
rulers
photos of space for reference

PROCEDURE
Introduction

Time

Consider:

Attention
Grabber
Assessment of
Prior Knowledge
Expectations for
Learning and
Behaviour
Advance
Organizer/Agenda
Transition to
Body

Encounters:
Peter Callesen
Su Blackwell
Richard Sweeney
** refer to powerpoint document for images
Body

Consider:
Variety of
Learning Styles

Questioning
throughout

Differentiation
for students

Focused
formative assessment

Time

TASK: to use a two-dimensional material to build a

three-dimensional object. Using a cube template, paper
will be cut and folded. Subsequently, students will use
cut and folded paper to recreate a specific space.
photos could be used as reference
templates for basic geometric shapes can be
downloaded and printed to create architectural
structures

Class Breakdown:
First Class: Assignment of task, demo of paper cutting
and folding techniques. Student production of initial
paper cube. Selection of site to reference. Gathering of
necessary information: photos, drawings of space, etc.
Second Class: Continued production of space.

60 min

60 min

Reflections from
the lesson

Lesson 2

Boxes, Cast Spaces

Subject/Gra
Art 20
de Level
Unit

Sculpture

Date
Time
Durati
on
Teach
er

60 min
Greg & Claire

OUTCOMES FROM ALBERTA PROGRAM OF STUDIES

General
Learning
Outcomes:

Students will:
Compositions
1.
Use non-traditional approached to create compositions in both two
and three dimensions.
2.
Solve teacher and student developed problems by varying the
dominance of design elements for specific visual effects.
3.
Use the vocabulary and techniques of art criticism to interpret and
evaluate both their own works and the works of others
Encounters
1.
Recognize that while sources of images are universal, the formation
of an image is influenced by the artists choice of meidum, the time and
the culture.
2.
Acquire a repertoire of visual skills useful for the comprehension of
different art forms.

Specific
Learning
Outcomes:

I.1.A. The use of non-traditional media affects the development of

two or three dimensional objects
I.2.A. Meaning in composition is affected by reversing or distorting
positive and negative elements
I.2.C. Shifting perspective or changing the point of view are means
of solving visual problems
I.3.A. Meaning is expressed in works of art through subject choice,
media selection and element emphasis.
II.1.B. Artists and craftspeople use the possibilities and limitations
of different materials to develop imagery
II.2.A. The relationships of different features of a work of art may
be compared to the total effect of the work

LEARNING OBJECTIVES
Students will:
1. use non-traditional media to produce three-dimensional representations of
space that demonstrate considerations of the elements of design and the
significance of subject choice and media selection (I.1.A, I.2.A, II.1.B,
II.2.A)
2. demonstrate an understanding of the significance of perspective when
viewing or showing a work of art (I.2.C)
3. demonstrate comprehension of relevant vocabulary in interpreting and
evalauting both their own works and the works of others in an art critique
setting (I.3.A)

ASSESSMENTS
Observations:
Key Questions:

How does reversing positive and negative space

change the image produced? How does doing such
change your understanding of space?
How does using non-traditional materials change the
way you approach image making?
RUBRIC CREATED IN CLASS IN CONJUCTION WITH
STUDENTS

MATERIALS AND EQUIPMENT

https://www.youtube.com/watch?v=9pWF0hjLDCw

styrofoam
exacto knives
ruler
pam (cooking spray)
urethane glue
gelatin
concrete

PROCEDURE
Introduction

Time

Consider:

Attention
Grabber
Assessment of
Prior Knowledge
Expectations for
Learning and
Behaviour
Advance
Organizer/Agenda
Transition to
Body

Encounters:
Rachel Whiteread
Christo
Van Goghs Bedroom
Introduce topic of positive and negative space
Discuss memory as a source of imagery
Show exemplar(s)
Body

Consider:
Variety of
Learning Styles

Questioning
throughout

Differentiation
for students

Focused
formative assessment

Time

Students will produce a space inside of a

previously constructed 10x10 cube, based on a
memory
Task: making reference to a memory, create a
space that focuses on simple architectural design
inside of the 10 box provided. How will you make
effective use of the space inside?
Suggestions: choose a space that you are very
familiar with (your house, your bedroom). what were
the key architectural spaces of the specific memory?
was there a specific room? a specific doorway? simplify
the space to the most significant elements.
Class Breakdown:
1st class: Cut out and build styrofoam space,
keeping to a 10x10 cube
2nd class: Finish assembling box space in the first
half
Questions:
How does the image or the meaning of the image
change when the negative space instead of the positive
space is depicted?
Would you display both parts, or just one?
What were the limitations of the material?
What does the end result of this process imply to
you about space? Has your understanding of space
changed in any way?

60 min
60 min
Time

Lesson 3

Boxes, Dream Spaces

Subject/Gra
Art 20
de Level
Unit

Sculpture

Date
Time
Durati
on
Teach
er

60 min x 3 classes
Greg & Claire

OUTCOMES FROM ALBERTA PROGRAM OF STUDIES

General
Learning
Outcomes:

Specific
Learning
Outcomes:

Students will:
Compositions
1.
Use non-traditional approached to create compositions in both two
and three dimensions.
2.
Solve teacher and student developed problems by varying the
dominance of design elements for specific visual effects.
3.
Use the vocabulary and techniques of art criticism to interpret and
evaluate both their own works and the works of others
Encounters
1.
Recognize that while sources of images are universal, the formation
of an image is influenced by the artists choice of meidum, the time and
the culture.
2.
Acquire a repertoire of visual skills useful for the comprehension of
different art forms.
I.1.A. The use of non-traditional media affects the development of
two or three dimensional objects
I.2.A. Meaning in composition is affected by reversing or distorting
positive and negative elements
I.2.C. Shifting perspective or changing the point of view are means
of solving visual problems
I.3.A. Meaning is expressed in works of art through subject choice,
media selection and element emphasis.
II.1.B. Artists and craftspeople use the possibilities and limitations
of different materials to develop imagery
II.2.A. The relationships of different features of a work of art may
be compared to the total effect of the work

LEARNING OBJECTIVES
Students will:
1. use non-traditional media to produce three-dimensional representations of
space that demonstrate considerations of the elements of design and the
significance of subject choice and media selection (I.1.A, I.2.A, II.1.B,
II.2.A)
2. demonstrate an understanding of the significance of perspective when
viewing or showing a work of art (I.2.C)
3. demonstrate comprehension of relevant vocabulary in interpreting and
evalauting both their own works and the works of others in an art critique
setting (I.3.A)

ASSESSMENTS
Observations:

Key Questions:

Products/Performa
nces:

rubric, made with students that outlines

expectations of final product

MATERIALS AND EQUIPMENT

10x10 cardboard boxes, 1

for each student
variety of found materials,
both 2 and 3 dimensional

PROCEDURE
Prior to lesson
Introduction

Time

Consider:

Attention
Grabber
Assessment of
Prior Knowledge
Expectations for
Learning and
Behaviour
Advance
Organizer/Agenda
Transition to
Body

Encounters:
Yayoi Kusama
Robert Smithson
Show exemplar(s)

Body
Consider:
Variety of
Learning Styles

Questioning
throughout

Differentiation
for students

Focused
formative assessment

Time

Provide the class with as great a variety of

materials as possible. Perhaps provide them with the
problem prior to their work time so that they may begin
collecting their own materials.
Task: To create a perfect space. What is the ideal
space? Where is the ideal space? Is this space inside or
outside of the box? What is the scale of this space?
How will you indicate this scale? Where will you
position your space for viewing? Is it important the
perspective from which it is seen? How does the art
object change the space? How does the box interact
with the space? How will you change the box so that it
can successfully interact with the space?
Together with the students create a rubric of clear
expectations of the final product.
Remind the students to look back on this created
assessment as needed
Class Breakdown:
1.) Using template (attached below), draw the paradise
you wish to create from as many angles as possible
2.) Begin crafting paradise in three-dimensions, using
found objects and other materials.
3.) Consider placement of and install art piece for
viewing. Fill out self-assessment rubric. Group critiques.
Closure

60 min
60 min
60 min
Time