Collage &

Assemblage
Carlie Marsh & Katie Horechka
Grade 10 Art

ART: Stage 1 Desired Results

Established Goals

TRANSFER GOAL

Students will:

Students will understand the concepts of juxtaposition, composition,

and
intertextuality by using color, value, positive/negative space, and
Learn the importance of
various materials to create collage/assemblage pieces.
color and value in
composition.

Learn the importance of

positive and negative
space in 2D & 3D forms.
Create juxtapositions
with collage.
Learn the importance of
simplifying,
exaggerating, and
rearranging images in
order to create
compositions.
Know what collage and
assemblage art is.
Understand that
different materials
produce different
intended effects.
Be able to simplify
forms.
Understand the
concepts of
juxtaposition,
composition, and
intertextuality.
Learn to manipulate
audience
interpretations of
artwork through
manipulating elements
of design.
Understand the
difference between
literal and ambiguous
interpretations.

MEANING
Enduring
Understandings:
Students will
understand
U1 Key terms of:
collage, assemblage
art, symbolism,
literal vs. ambiguous
interpretations and
narratives, with an
emphasis on
juxtaposition and
intertextuality.
U2 How the
concept of
juxtaposition works
to send messages to
an audience,
specifically that the
artist can control this
factor.
U3 How the
individual elements
of design work
together to create a
composition by
experimenting with
color, value,
positive/negative
space,
simplification/exagge

Essential Questions:
Students will keep
considering
Q 1 What is the value of
juxtaposition by design?
Q2 Why do we create art for arts
sake?
Q3 How many different ways could
you use juxtaposition for arts sake?
Q4 Do artists embrace ambiguity
in terms of inviting the audience to
interpret, or are they trying to send
specific clear messages?
Q5 To what extent are images
universal?
What does this say about individual
interpretation?
What does this say about the way
that people consume music and art?
What does this say about the
human condition?
Q6 What is the purpose of art?
Q7 What is the artists intention
with their art?
Q8 How might the human
condition of searching for meaning
affect an artist's choice of
materials/processes?

ration of images,
juxtaposition, and
various materials.
U4 The human
tendency to create
narratives in an
endless search for
meaning by both
interpreting images
for messages and
creating images that
contain messages.

Understand that it is
human condition to
search for meaning and
create narratives from
images.
Create narratives based
on images they have

Q9 How might the human

condition of searching for meaning
affect the artist's choice in
simplifying, exaggerating or
rearranging images in their
collages?

ACQUISITION OF KNOWLEDGE & SKILLS

Students will know

Students will be skilled at

Individual interpretations of artworks vary.

Using juxtaposition to create

relationships in a work of art.

It is human condition to search for meaning and create

narratives from images.
The difference between literal and ambiguous
interpretations.
The concepts of juxtaposition, composition, and
intertextuality.
Different materials produce different intended effects in
artworks.

Simplifying images down to their basic

elements.
Using different materials to create
different effects in artworks.
Manipulating audience interpretations of
artworks via manipulating design
elements in compositions.

The definitions of collage and assemblage art.

The importance of simplifying, exaggerating, and
rearranging images in order to create compositions.
The importance of color and value in composition.
The importance of positive and negative space in 2D & 3D
forms.

STAGE 2 Evidence
Evaluative Criteria

Assessment Evidence

Performance is judged in terms of:

Students will need to show their learning by:

Small group critiques, written/oral selfreflections, a collage/assemblage

performance task, their sketchbook
assignment performance task, and
participation in group discussion.

Small group critiques, written/oral self-reflections, a

collage/assemblage performance task, their
sketchbook assignment performance task, and
participation in group discussions.

Participation: class discussions, project

work, sketchbook assignments, peer
critiques, written/oral
responses/interpretations.

Transfer Task: students will show their learning by

applying new concepts to their interpretations of
images, videos, music, text, and artwork, applying the
elements of composition to their final projects, group
discussion about key terms and concepts introduced,
insightful comments in peer critiques and in self-

Understanding: proper use of

juxtaposition by design, insightful
responses/interpretations, correct analysis
of literal/ambiguous messages.

reflections.

Unit Summary
This unit is a disciplinary unit about collage and assemblage art that centers
around the concepts of juxtaposition and its relation to composition and
intertextuality. The lessons provide a foundational structure to understanding
how messages, visual relationships, and narratives are created through
juxtaposition in composition. Students will be exposed to various collage artists
(both male and female, traditional and contemporary) such as the likes of Joseph
Cornell, Eileen Agar, Carl Beam, Pablo Picasso, and Joane Cardinal Schubert.
Students will apply their knowledge by practicing simplifying images and
creating examples of juxtaposition by design using small thumbnail sketches.
They will also practice analysis skills in interpreting the messages of several
images, pieces of music, and artworks. At the end of the unit, students will apply
their knowledge of the elements of collage and composition by creating a
collage or assemblage artwork that is themed around a personal or political
message. Finally, students will critique each others work and see whether or not
they were successful in the transfer of their crafted messages. This unit
addresses the conceptual, affective, and psychomotor domains in the following
ways:
Conceptual Domain: students will be able to

Understand what collage and assemblage art is.

Distinguish differences between literal and ambiguous interpretations.
Understand the concepts of juxtaposition, composition, and intertextuality.
Observe that individual interpretations of artworks vary.
Understand the importance of positive and negative space in 2D & 3D forms.
Evaluate their own work and conceptualize ways of improving it.

Affective Domain: students will be able to

Discuss that individual interpretations of artworks vary.

Observe that different materials produce different intended effects.
Demonstrate that it is human condition to search for meaning and create narratives from
images.
Manipulate audience interpretations of artwork through manipulating elements of design.

Psychomotor Domain: students will be able to

Create juxtapositions with collage.

Create narratives based on images they have encountered.
Simplify, exaggerate, and rearrange images in order to create compositions.
Demonstrate their understanding of color and value in composition.

Unit Rationale

This lesson package for collage and assemblage art works well for grade 10
students as it outlines the role of the audience as well as the artist, which is a
concept that older students should begin focusing on in their art practices in
order to move away from egocentricity. Furthermore, understanding that the
nature of art can be both personal and political is a transferable skill for students
into real life where they are constantly bombarded with advertising and hidden
messages. This observation of hidden messages will teach students analysis
skills that will serve them well in any aspect of life whether it be post-secondary
school or the world of work because it teaches them how to have an eye for
detail, that individual interpretations vary, and that the universality of images is
not always set in stone. Students will learn the difference between art for arts
sake and art as a narrative, which is an important concept of the Fine Arts.
Students will build on previous compositional understandings by learning how to
manipulate compositional elements in order to communicate with an audience.
All of these abilities are foundational skills for problem solving and
communication. Encounters used in this class vary between male and female
artists and traditional and contemporary artists in order to be gender and age
inclusive. The musical pieces used for analysis are either contemporary or based
on pre-assessment inventories to stay up to date with popular culture and to
consider student interests. This unit includes the following teaching strategies:
addressing key vocabulary, using visual/auditory/written exemplars,
observing/analyzing artist encounters, engaging in group discussion for analysis,
and self/peer critiquing practice.

Lesson Summaries
Lesson One: Juxtaposition by Design & Art for Arts Sake. In this lesson
students will explore the term juxtaposition and create a series of thumbnail
sketch pairs that juxtapose two elements of design. They will deduce each
drawing in their pair from an image in real life that they have simplified down to
the bare elements. In previous lessons, students would have learned about the
elements of composition, such as positive and negative space, movement, unity,
patterns, and focal points. Students will also have likely encountered many
different types of artworks but probably not have been introduced to the
concept of art for arts sake vs. art as a narrative, this lesson will begin to bridge
that gap by explaining the difference between the two and then by diving into
each one separately. This lesson explores the different ways in which we can
create juxtaposition by design within a collage. By completing the thumbnail
sketchbook assignment, students will begin to have an eye for color
relationships, material relationships, and space relationships within
compositions. Students will have also begun to learn about the human condition
of searching for meaning. Language used in this lesson includes: simplification,
warm/cool
colors,
organic/geometric
design,
collage/assemblage
art,
juxtaposition by design, and juxtaposition by meaning.
Lesson Two: Juxtaposition by Meaning & Art as a Narrative. In this
lesson students will extend their knowledge of juxtaposition by design into
juxtaposition by meaning. Students will interpret the messages and relationships

conveyed in music, writing, videos, images, and artwork, and will understand
that artists must consider the audience and the way that the audience will
interpret their artwork when partaking in the art-making process. Students will
learn that individual interpretations vary and that images may only be universal
to an extent. Students will also learn that it is the human condition to search for
meaning in everything and to create narratives. By the end of the lesson,
students will have begun to build critical analysis skills as consumers of
artworks. Students will use their previous knowledge of juxtaposition by design
to see how each of the basic compositional elements affects the message that
the author sends to his or her audience. Language used in this lesson includes:
symbolism, intertextuality, metaphor, simile, hidden text, literal, ambiguous,
interpretation, narrative.
Lesson Three: Creating a Collage/Assemblage Artwork & Artist as
Manipulator. In this lesson students will form a personal or political message
and then deliver it either literally or ambiguously through the means of a collage
or assemblage artwork. At the end of the lesson students will recall their
intentions of their creations and then hold peer critiques of each others
artworks to deduce whether they were successful with their messages or not.
Students will submit written rationales and written self-reflections in with their
finished artworks to be marked by the teacher. The key concept of this lesson is
practicing being the artist as manipulator; students will walk away with the
understanding that the artist can use elements of composition and design in
order to manipulate the message that the audience receives. Language used in
this lesson includes: personal and political.
Evaluation. Students will be assessed on a large-scale collage/assemblage art
project, a sketchbook assignment, art critiques, and their artwork interpretations
over the course of the unit. Each activity, discussion, and project provides
scaffolding for the next lesson in sequence. Students are formatively assessed
using observation of discussion/critique participation, conversation about art/key
concepts, and the performance tasks of their sketchbook assignment and final
collage/assemblage project. While the sketchbook assignment is quite
structured, the written pieces throughout the unit are set up to be mainly freewrite activities, and the final project is very much open for students to run with
and explore. Each assignment gives students the opportunity to think about
what changes they might make to their artwork and to consider the whys and
what ifs of each concept. The majority of the assessment pieces are not
summative but instead are used for student learning and for the teacher to
inform their own teaching practice.

Annotated Bibliography
Digby, J., & Digby, J. (1985). The collage handbook. New York, N.Y.: Thames and
Hudson.
This was a valuable resource to our lesson planning because it is chock-full of
examples of collages and even gives a history of collage as it began as an
ornamentation of text in poetry. We ended up using some of the collage
examples from this resource directly in our unit planning, specifically Picassos

Bottle of Vieux Marc, Glass, Guitar and Newspaper (1913). Another useful
aspect of this resource is that it considers collaging materials in great detail (ex.
Treatment of papers, adhesives, and tools) which would be helpful for doing
demos.
Best, E., & Hope, T. (2012, November 29). Without An Audience, It Can't be Art!
Retrieved February 23, 2015, from
http://trulyfreefilm.hopeforfilm.com/2012/11/without-an-audience-it-cant-beart.html
This was a valuable article because, although it was not specifically about
collage, it did address the component of the audience in art-making which is not
always considered in art classes (especially at a grade-school level). Since the
framework of our unit plan is centered on communication with an audience, this
article was helpful in shedding some light on the history of art-making. I liked
this article because it also pointed out that the audience typically only gets to
see the product of an artists labors and are not present for the creation of the
artwork itself this is something to consider in art critiques.
Davies, A. (2011). Making classroom assessment work (3rd Ed.). Courtney, BC:
Connections Publishing.
This was a valuable resource because it helped us to focus on emphasizing
assessment for learning rather than assessment of learning in our unit planning.
We really wanted to drive home the message to students that the point of the
art classroom is to practice and improve their art skills and to help each other
transform into better artists, therefore we have given plenty of opportunities for
students to go back to their artworks and to reconsider their art-making choices
and processes and to think critically about changes they could make in order to
improve their outcomes and to better align themselves and their work with their
intentions.

Collage & Assemblage Art Unit: LESSON ONE

GLO

Lesson Title: Juxtaposition by Design & Art for Art's Sake

Teachers: Carlie Marsh & Katie Horechka
Grade/Subject: Grade 10 Art
Date: February 25, 2015
Class Length: 60 minutes
LEARNING OUTCOMES
COMPOSITIONS:
ENCOUNTERS:
COMPOSITIONS: COMPOSITIONS: Components 2: Solve teacherComponents 1:
Sources of
Organizations 1: directed problems of unity and emphasis in
Extend their
Images:
Experiment with creating compositions.
knowledge of and
Investigate the
various
familiarity with the
process of
representationa
elements and
abstracting
l formats.
principals of design
form from a
through practice in
source in order
composing 2D & 3D
to create
images.
objects and
images.

SLO

A. Color and value

concepts are
important
components of an
artists
compositional skill.

Learnin
g
Objecti
ve

B. Positive and
negative space are
essential to the
description of twoand threedimensional forms.
1. Students
understand the
importance of
positive and
negative space in
2D & 3D forms.
2. Students
understand the
importance of color
and value in
composition.

A. Artists
simplify,
exaggerate and
rearrange parts
of objects in
their depictions
of images.

A. Various
materials alter
representationa
l formats and
processes used
in achieving
certain
intended
effects.

A. Compositions use positioning and grouping of

subjects for different meanings and emphasis.

1. Students
understand the
importance of
simplifying,
exaggerating,
and rearranging
images in order
to create
compositions.
2. Students
understand how
to simplify
forms.

1. Students
understand that
different
materials
produce
different
intended
effects.

1. Students understand what collage and

assemblage art is.
2. Students understand how to create
juxtapositions with collage.
3. Students understand the concepts of
juxtaposition, composition, and intertextuality.
4. Students understand how to manipulate
audience interpretations of artwork through
manipulating elements of design.
5. Students understand the difference between
literal and ambiguous interpretations.
6. Students understand that it is human
condition to search for meaning and create
narratives from images.
7. Students understand how to create narratives
based on images they have encountered.
8. Students understand that individual
interpretations of artworks vary.

ASSESSMENT METHODS
Students will complete a sketchbook assignment that shows they are able to simplify multiple
images to create multiple juxtaposition thumbnails based off of simplified image design elements
(color/value, +/- space, material, etc).
CONVERSATION OBSERVATION
KEY QUESTIONS

What is the value of juxtaposition by design?

Why do we create art for arts sake?

How many different ways could you use juxtaposition for arts sake?
ENCOUNTERS & RESOURCES
PERFORMANCE
TASK

Joseph Cornell
Eduardo Paolozzi

Hannah Hoch
Kurt Schwitters
Raoul Hausmann
Man Ray
Eileen Agar
Nancy Spero
John Stezaker
Jesse Treece
Annegret Soltau

MATERIALS & SET UP

Provide magazines, internet access, etc as resources for students to find images. Students may also use
phones to take their own photos to draw from.

Collect and display exemplars of juxtaposition by design images on the Smartboard.

Students will need their sketchbooks, paper for writing their responses, scissors and gluesticks (if cutting images
from magazines), rulers, and drawing pencils.

Individual manila folders for each student to keep an ongoing resource portfolio for collecting images.
PROCEDURE
INTRODUCTION
TIME
AGENDA
1. Comparison & Juxtaposition
20 min
2. Key Terms
3. Juxtaposition by design
4. Sketchbook assignment
5. Closure
PREASSESS
HOOK
Have a bag of objects and hold two objects up at a time asking them to compare what
you are holding. After going through a few objects, talk about the definition of
juxtaposition and that juxtaposition is the key to collage and assemblage art, which is the
next unit we will be starting. Transition into talking about the key terms. Then discuss
what juxtaposition by design means vs. juxtaposition by meaning. Today we will be purely
focused on juxtaposition by design, next class we will move into juxtaposition by
meaning. Ask students when and why we might create art for arts sake. Ask them what
the value of juxtaposition by design is. Go thru encounters images and talk about the
basic elements that are juxtapositioned in each artwork.
KEY TERMS

Collage: a work of art that is made by attaching pieces of different materials to a

flat surface; a combination or collection of various things.

Assemblage: consists of making 3D or 2D compositions by putting together

(assembling) found objects.
*The important thing to know about assemblage is that it is "supposed" to be threedimensional and different from collage, which is "supposed" to be two-dimensional
(though both are similarly eclectic in nature and composition). But! There's a really fine,
nearly invisible line between a bulky, multi-layered collage and an assemblage done in
extremely shallow relief. In this large, grey area between assemb- and col-, the safest
course is to take the artist's word for it.

Types of Collage/Assemblage: music (mashup), drawing, digital photo,

mosaic, photo, magazine, typographic, painting, fabric, multimedia, decoupage
(the technique of using cut-outs of paper, linoleum, plastic, or other flat materials
and then gluing them to a surface and covering them with lacquer or varnish.
Can include adding many copies of the same image/cut layered to a certain
depth).

Juxtaposition: the fact of two things being seen or placed close together with
contrasting effect.

Warm Colors: hues from red through yellow, browns and tans included.

Cool Colors: hues from blue green through blue violet, most grays included.

Organic Design: Of, relating to, or derived from living organisms.

Geometric Design: of or relating to geometry, or according to its methods.

Simplification: to make simple or simpler; to reduce to basic essentials.

Art for Art's Sake: the beauty of the fine arts is reason enough for pursuing
them that art does not have to serve purposes taken from politics, religion,
economics, etc

Juxtaposition by Design: placing two images/objects side by side in order to

imply a comparison of their basic design elements such as color, +/- space,
value, texture, material, line, shape, etc

Juxtaposition by Meaning: placing two images/objects side by side in order to

imply a relationship or narrative between the two. This implication may be
obvious (literal) or ambiguous.
BODY
TIME
LEARNING
Students will create a series of juxtaposition thumbnail pairs in their sketchbooks that
35 min
ACTIVITY 1
look at elements of design: materials, colors, line, value, texture, +/- space,
organic/geometric design, etc... For each thumbnail pair, students will choose from the
provided resources 2 images that they find interesting and then they will simplify each of
them down to one basic element (both images in a pair must be simplified to the same
element, ex. texture) and draw them out in a thumbnail sketch. The point of this activity
is to practice making and understanding visual comparisons between basic elements in
other words, juxtaposition by design. Students will be required to complete a minimum
of five 2x2 thumbnail pairs in their sketchbooks, each for a different element, however
they are encouraged to complete more if they wish.
Teaching
Go through encounters and point out the basic elements in each that are being
Strategies
compared.
Differentiation
1. Readiness: Students with higher skill levels will be encouraged to choose images with a
higher complexity to simplify.
2. Interest: Students may choose any images that interest them for the sketchbook
assignment.
3. Learner Profile: show students visual examples, give clear written instructions of the
assignment, plus go through instructions orally.
Assessment
Students will hand in their sketchbooks so I can see their thumbnail pair assignment. This
is not a graded assignment, however I will give feedback to those who have not met the
requirements and will have them fix or redo the assignment. Questions to ask myself
when assessing: How many different ways did they use juxtaposition? Did they
understand the concept of juxtaposition? Were they able to simplify images down to the
basic elements?
CLOSURE
TIME
EVALUATION
Non-graded sketchbook assignment. Set a deadline for when the first round of
5 min
sketchbook assignments are due.
TRANSITION
PREASSESSMENT: For the next class, students will take a quick survey indicating types of
music and specific artists that they listen to for an additional activity.
SPONGE ACTIVITY & PREP
Continue working on outstanding sketchbook assignments or ongoing projects. Have students begin collecting images
for a resource portfolio that they can pull images from for collaging purposes later (give everyone a manila folder for
this).

Collage & Assemblage Art Unit: LESSON TWO

Lesson Title: Juxtaposition by Meaning & Art as a Narrative
Teachers: Carlie Marsh & Katie Horechka
Grade/Subject: Grade 10 Art
Date: February 25, 2015
Class Length: 60 minutes
LEARNING OUTCOMES
GLO
DRAWING: Articulate & Evaluate: Use the vocabulary and techniques of art criticism to analyze their own
works.
SLO
A. Discussing the components of composition is part of learning to talk about art.
Learnin 1. Students understand how to manipulate audience interpretations of artwork through manipulating

g
Objecti
ve

elements of design.
2. Students understand
3. Students understand
4. Students understand
5. Students understand

PERFORMANCE
TASK
CONVERSATION

the difference between literal and ambiguous interpretations.

that it is human condition to search for meaning and create narratives from images.
how to create narratives based on images they have encountered.
that individual interpretations of artworks vary.
ASSESSMENT METHODS

Students will tell me (either orally or in writing) their interpretational narratives of the music and
images encountered in class (free-write activity).
OBSERVATION
Students will participate in group discussions.
KEY QUESTIONS

Do artists embrace ambiguity in terms of inviting the audience to interpret, or are they trying to send specific
clear messages?

To what extent are images universal?

What does this say about individual interpretation?

What does this say about the way that people consume music and art?

What does this say about the human condition?

What is the purpose of art?

What is the artists intention with their art?

ENCOUNTERS & RESOURCES

Maddie & Tae Girl In A Country Song Music Video: https://www.youtube.com/watch?v=_MOavH-Eivw

Metric Waves (B-side) song: https://www.youtube.com/watch?v=0udJc_iMlAU

Metric Waves (B-side) lyrics: http://www.azlyrics.com/lyrics/metric/waves.html

Picasso

MATERIALS & SET UP

Create slide show with slides for 2 images in the narrative activity, a link to Youtube for Waves song by Metric,
the lyrics to Waves, all other encounters images, the key terms with their definitions, and key questions for
students to consider when they add to their responses at the end of class.

Set up slide show and youtube clip prior to class.

Phone timer to time response activities.

PROCEDURE
INTRODUCTION
TIME
AGENDA
1. Music video
10 min
2. Purpose of todays class
3. Key terms
4. Image free-write
5. Music response
6. Group discussion
7. Closure key ideas taken away from todays lesson
8. Prep for next class
PREASSESS
To inform this class, preassess students ahead of time on the types of music and specific
musical artists that they listen to.
HOOK
Start the class by playing a music video that sends a strong message. The purpose of

KEY TERMS

LEARNING
ACTIVITY 1

Teaching
Strategies
Differentiation

Assessment

LEARNING
ACTIVITY 2

Teaching
Strategies
Differentiation

todays class will be: art as the vehicle for communication, juxtaposition by meaning, and
art as a narrative. Go through the agenda. Talk about the key terms. After talking about
the key terms ask class what the message in the music video was (that girls are more
than how they are portrayed in typical country songs, they are not sexual objects, they
are people) and whether it sent a literal or an ambiguous message. What made it literal
or ambiguous? What were the Intertextual references? (George Straits music, Florida
Georgia Line sugar shaker, Jason Aldean tan-legged Juliette, Chris Young painted on
jeans, Luke Brian barefoot). This is just one example of how artists use their craft in
order to send messages to an audience. So instead of juxtaposition for design, like we
discussed last class, or art for arts sake, now we are looking at juxtaposition for
meaning, and art as a narrative or as a means for communication; the artist as activist
and the artist as author.

Symbolism: the use of symbols to represent ideas or qualities.

Metaphor: a comparison that does not use like or as.

Simile: a comparison using like or as.

Intertextual: the shaping of a text's meaning by another text; embedding

references to a text within a text (similar to metacognition, a meta-picture, or an
Easter egg in video games).

Hidden Text: reading between the lines, the hidden messages.

Literal: taking words in their usual or most basic sense without metaphor or
allegory.

Ambiguous: open to more than one interpretation; having a double meaning.

Interpretation: the action of explaining the meaning of something.

Narrative: a spoken or written account of connected events; a story.

BODY
Image Free-Write
Students will be writing a response to two images (balloons and wolf). Put two images up
on the Smartboard and ask students to complete a free-write of what they see, what the
images cause them to think about, and what they think the relationship is between the
images. Instruct them to put their pens to the paper and just write whatever comes to
mind, they will have two minutes to do this, time and stop them. Once they are done
have them flip over their piece of paper in preparation for the next task.
Free-write.

TIME
3 min

Learner Profile: Students will have the option to write their interpretations of the images
or to explain their interpretations orally to a scribe/record themselves speaking. By using
a visual piece I am giving students the opportunity to learn about narratives and
intertextuality visually.
Collect written/recorded responses after the class. Questions to ask myself when
assessing: Did the student propose a relationship between the images? Did they explain
their ideas using logic and reasoning?
Music Response
On the back of the page that students completed their image relationship narrative on,
students will be writing a second response but this time to a piece of music. Put lyrics to
the song up on the Smartboard, instruct students that when the song comes on they may
begin writing if they wish or they can wait until the song is over to write. Again, students
will be expected to write whatever comes to their head what does the song make you
think about, what do you think the song is about? Play the song and then provide 2
minutes afterwards for students to finish writing their responses.
Free-write.
Interest: a contemporary music artist may be more relatable to students than a
traditional piece of music, however, the music chosen could be anything - preassess
students to see what artists they are listening to currently.
Learner Profile: Students will have the option to write their interpretations of the music or

5 min

Assessment

to explain their interpretations orally to a scribe/record themselves speaking. By using a

musical piece I am giving students the opportunity to learn about narratives and
intertextuality auditorally. A visual of the lyrics is also provided for the visual/linguistic
learners.
Collect written/recorded responses after the class. Questions to ask myself when
assessing: Did the student make an interpretation? Did they explain their interpretations
using logic and reasoning?

LEARNING
ACTIVITY 3
Teaching
Strategies
Differentiation
Assessment

Think-Pair-Share
Have students pair up and share their narratives and interpretations twice.
Think-Pair-Share their response narratives and interpretations.

LEARNING
ACTIVITY 4

Group Jigsaw Discussion

Have students share their findings in a class discussion. How did their individual
responses to the images and the music differ from that of their classmates? How are they
similar?

7 min

Students who prefer to work in pairs to working solo may now work with a partner.
Observe whether students are participating in sharing their ideas with a partner.
30 min

Split students into groups of 3-5 and assign them each a question on the board: based on
the results of these activities,

What can we deduce about the nature of individual interpretation?

What can we deduce about humans and narratives?

To what extent are images universal?

What can we deduce about the way that people consume music and art?

What is the purpose of art?

What is the artists intention with their art?

Teaching
Strategies
Differentiation
Assessment

EVALUATION
TRANSITION

Come together and share each groups question and their findings as a class. Afterwards
have them go back and add to their original interpretations what they have learned about
the nature of interpretation and human narrative, then they will hand in their oral/written
interpretations. Question for students to think about during their writing: Do artists
embrace ambiguity in terms of inviting the audience to interpret, or are they trying to
send specific clear messages (Literal vs. Ambiguous)?
Group discussion of individual, pair , and small group findings. Jigsaw style discussion.
Students who work best orally/auditorally have a chance to participate in a group
discussion (also good for students who may find writing difficult).
Observe whether students participated in the group discussion. Collect finished
written/recorded observations at the end of class. Questions to ask myself when
assessing: Did the student make any observations about the nature of individual
interpretation based on the group discussions? What other key ideas did students
discover?
CLOSURE
Collect written/recorded responses.
Next class we will be looking at politics in art, mainly the artists role in creating
messages for the audience in their artwork and we will begin a long-term
collage/assemblage art project with the intention of sending our own message(s) to the
viewer. In preparation for this project I would like you to think about what kinds of things
you value or are interested in. Perhaps some of you animal lovers are vegetarians or are
against testing products on animals, perhaps some of you have experienced racism and
would like to make a statement about it, perhaps you have something to say about
sexism and equality of the genders, perhaps you dont like school and you think there is
something wrong with the education system, perhaps you read something like The
Hunger Games trilogy and you think that our society would be better off run in a different
way these are all interesting places to start and you may certainly come up with any
type of message you wish, these are just a few of many examples. Remember, the

TIME
5 min

personal is political so if you are unsure of where to start, start with yourself: what you
are interested in, what you are good at, what you do in your spare time, what books you
read, what TV shows or movies you watch, what sports you play the choices are
endless, be creative and have fun with it.
SPONGE ACTIVITY & PREP
Have students find a collage and write a 1/2 page (or record orally) about their interpretations of that collage. Then
research what the intended artists message was and indicate this in their writing/recording after their initial
interpretations. Compare the two interpretations. Based off of this experience, what do you think this means for artist's
wishing to send a message to their audience? How could the artist go about doing this to ensure that their message is
received? Include this in your written/oral account before handing it in.

Collage & Assemblage Art Unit: LESSON THREE

Lesson Title: Creating a Collage/Assemblage Artwork & Artist as Manipulator
Teachers: Carlie Marsh & Katie Horechka
Grade/Subject: Grade 10 Art
Date: February 25, 2015
Class Length: Three 60 minute classes
LEARNING OUTCOMES
GLO
COMPOSITIONS:
ENCOUNTERS:
COMPOSITION
COMPOSITIONS:
DRAWING: Articulate
Components 1:
Sources of
S:
Components 2: Solve
& Evaluate: Use the
Extend their
Images:
Organizations
teacher-directed problems
vocabulary and
knowledge of and Investigate the
1: Experiment
of unity and emphasis in
techniques of art
familiarity with
process of
with various
creating compositions.
criticism to analyze
the elements and abstracting form
representation
their own works.
principals of
from a source in
al formats.
design through
order to create
practice in
objects and
composing 2D &
images.
3D images.
SLO
A. Color and
A. Artists
A. Various
A. Compositions use
A. Discussing the
value concepts
simplify,
materials alter positioning and grouping
components of
are important
exaggerate and
representation of subjects for different
composition is part of
components of
rearrange parts
al formats and meanings and emphasis.
learning to talk about
an artists
of objects in their processes
art.
compositional
depictions of
used in
skill.
images.
achieving
certain
B. Positive and
intended
negative space
effects.
are essential to
the description of
two- and threedimensional
forms.
Learnin 1. Students
1. Students
1. Students
1. Students understand
1. Students
g
understand the
understand the
understand
what collage and
understand how to
Objecti importance of
importance of
that different
assemblage art is.
manipulate audience
ve
positive and
simplifying,
materials
2. Students understand
interpretations of
negative space in exaggerating,
produce
how to create
artwork through
2D & 3D forms.
and rearranging
different
juxtapositions with collage. manipulating
2. Students
images in order
intended
elements of design.
3. Students understand the
understand the
to create
effects.
2. Students
concepts of juxtaposition,
importance of
compositions.
understand the
composition, and
color and value in 2. Students
difference between
intertextuality.
composition.
understand how
literal and ambiguous
4. Students understand

to simplify forms.

PERFORMANCE
TASK
CONVERSATION

how to manipulate
audience interpretations of
artwork through
manipulating elements of
design.
5. Students understand
the difference between
literal and ambiguous
interpretations.
6. Students understand
that it is human condition
to search for meaning and
create narratives from
images.
7. Students understand
how to create narratives
based on images they
have encountered.
8. Students understand
that individual
interpretations of artworks
vary.
ASSESSMENT METHODS
Students will complete a collage or assemblage artwork.

interpretations.
3. Students
understand that it is
human condition to
search for meaning
and create narratives
from images.
4. Students
understand how to
create narratives
based on images they
have encountered.
5. Students
understand that
individual
interpretations of
artworks vary.

Students will explain to me (either orally or in writing) the process and intentions behind their
collage or assemblage artwork, the success of those intentions based off of their group critique, and
any changes they would make to their work in order to meet their intended goals.
OBSERVATION
Students will participate in small group critiques.
KEY QUESTIONS

How might the human condition of searching for meaning affect an artist's choice of materials/processes?

How might the human condition of searching for meaning affect the artist's choice in simplifying, exaggerating
or rearranging images in their collages?
ENCOUNTERS & RESOURCES

Carl Beam

Joane Cardinal Schubert

MATERIALS & SET UP

Students will need to come prepared with their sketchbooks and regular art materials.
Paint stations will be set up in class
Drawing materials will be set up at table groups
Magazines and other various materials will be available
Have students bring in materials from home
Ask woodshop and welding shop ahead of time for access to scraps for students should they require them
Book computer lab for students wishing to print images from online to work with
Collect school recycling bins for students to dumpster dive in for recycled art materials

AGENDA
PREASSESS
HOOK

KEY TERMS

LEARNING
ACTIVITY 1

Teaching
Strategies
Differentiation

PROCEDURE
INTRODUCTION
1. Review Juxtaposition by design vs. by meaning
2. Explain new art project
3. Work period
Who can tell me the difference between juxtaposition by design vs. juxtaposition by
meaning? Review. Show examples from last class to jog memories.
At the end of last class I asked you to start thinking about some kind of personal or
political message that you would like to extend to your audience in a collage or
assemblage art work. Today we are going to begin those projects. I would like you (like for
any other project) to use your sketchbook to show evidence of your project planning, this
can include text, preliminary sketches, cutouts or images from research, play with
materials, etc If you are unsure of what kind of a message you would like to send, think
about what your own interests are (sports, animals, religion, music, hobbies, etc) this
can be your jumping point. You then will also need to choose whether you want your
message to be literal, or ambiguous and you will need to plan out how to do that. If you
are stuck at this point, go back and look through the examples provided in our last two
classes and think about how those artists would have chosen their materials or artmaking processes in order to make their messages literal vs. ambiguous. Then you can
apply similar strategies to your own work. Once you have come up with some type of
message, decided on literal or ambiguous clarity, and have completed your project
planning you may start your collage/assemblage piece. Some things to keep in mind
while planning and creating: color, value, material, positive/negative space, line,
organic/geometric design, etc all will have an effect on the message that you are
sending to your audience, every aspect of your artwork needs to be carefully thought out
and have a reason behind it (even if the reason is purely aesthetic).

Personal: of or concerning one's private life, relationships, and emotions rather

than matters connected with one's public or professional career.

Political: of or relating to the government or the public affairs of a country.

BODY
Message & Collage
Students will create a personal or political message and choose whether they will deliver
it literally or ambiguously to their audience. Then they will create a collage or
assemblage artwork that delivers this message
A checklist of things to consider for this project will be on the board or printed out for
students. Students who require more structure will be given the opportunity to check in
with the teacher after each piece of the art-making process has been completed.
Readiness: Students having difficulty in creating a message may look to some of our
encounters and try to recreate a message of another artist in a different way.
Interest: Students who would like to create a collage/assemblage piece that runs on a
different theme or idea will be allowed to do so as long as they present their ideas as a
written project-proposal to the teacher and it has been approved by the teacher.
Otherwise, students have a choice in the type of message they will produce (personal vs.
political), in the way that message is delivered (literal vs. ambiguous), and in the
materials and processes they use for collaging/assembling.]

Assessment
LEARNING
ACTIVITY 2

TIME
10 min

TIME
45 min
of class
one
55 min
of class
two
30 min
of class
three

Learner Profile: Students are producing a created work of art for their performance piece.
This assignment hits multiple learning styles overall (visual, written, oral/auditory,
kinesthetic).
Evidence of project planning will be noted in their sketchbooks, which will be collected.
The collages/assemblage pieces will be collected when they are finished.
Written Rationale & Self-Reflection
Students will provide a written/oral rationale that describes their intentions with their
collage and explains their design choices. Observations from their peer critiques will be
added to these rationales after. These observations will include whether their intentions
were successful (based off the critique), and will consider any changes they would make

10 min
of class
three

to their work in order to strengthen/make more ambiguous their messages.

Teaching
Strategies
Differentiation
Assessment
LEARNING
ACTIVITY 3

Students will also complete a self-reflection of their artwork that focuses on their skills
with particular mediums, what their strengths and weaknesses in the project are and
what they would change about the process or materials used in the future.
Rationale, critique, and reflection templates will be given to students so they have
structure for what is expected in the reflective components.
Learner Profile: Students will have the opportunity to provide written or recorded oral
accounts of their rationales if needed.
The written rationale and self-reflection will be collected when the project is handed in.
Peer Critique
In small groups or partners, students will critique each others artwork. They will be
instructed to not explain their rationales, but to simply let their audience view their work
and orally give their thoughts and interpretations.

20 min
of class
three

Critique Format:
1. Describe what you see using art vocabulary from class.
2. What relationships can you deduce from this image? What might you interpret
the message/narrative of these relationships to be?
3. What do you think works well in this image/what could be changed?

Teaching
Strategies
Differentiation

After this step, the artist may compare the audiences interpretations with their own
intentions/messages. Students should then add their findings from this process to their
written/oral rationales. Is there anything they would change in their artwork in order to
ensure that their message is literal/ambiguous? Have them explain themselves.
Pair-Share style critiques.

Readiness: Students are doing paired/small group critiques of their personal artworks at
this point rather than large group critiques as some students may not yet be ready to
attempt a large group critique of their own work.
Assessment
Observe whether students are participating in critiquing their partners artwork.
CLOSURE
EVALUATION
Collect artwork, written/oral rationale, and written self-reflection altogether when the
deadline for this project has come up.
TRANSITION
Students will have three classes to work on this project (including today). On the last day,
students will hand in their projects and be prepared to critique each others work in pairs
or small groups. Provide clean up time.
SPONGE ACTIVITY & PREP
Continue working on outstanding sketchbook assignments or ongoing projects.

TIME
5 min