Caitlin Lang Curriculum Apr 2015

Pollack,J.(1952).Retrievedon04/24/15fromhttp://www.abc.net.au/news/image/42255623x2940x627.
jpg
ArtasProcess
Grade7Curriculum
Pollack,J.(1952).Retrievedon04/05/15fromhttp://en.wikipedia.org/wiki/Number_11,_1952_(painting)
Unit1:
Monet:aCreativeJourneyThroughChangesinProcess
Unit2:
ArtistsuseDifferentProcesses
Unit3:
ProcessingVisualCulture:HowArtAffectsandReflectsSociety
CaitlinLang
ArtEdCurriculumPK8
04/30/2015
1
ArtasProcess
SeventhGrade
Monet,C.
PortraitofPoly.
(1886).MuseeMarmottan,Paris
CurriculumRationalep.03
CurriculumGoalsp.04
CurriculumMap
p.06
UnitPlan1
p.07
UnitPlan2
p.17
UnitPlan3
p.27
DifferentiationPlan
p.36
ScopeandSequenceChartp.37
ProgramAssessmentp.38
APPENDIX:
Glossaryp.40
MassachusettsStandardsp.44
Bibliographyp.45
CurriculumRationale
Artisaninteractive,envelopingprocessinwhichtheartistcommunicatesandreflectson
perceptions.Arteducationencouragesdevelopmentintermsofvisualliteracyandothercritical
thought.Anarteducatorshouldpromoteindependentlearninganda
curriculumshouldprovide
tostudentsachancetobeexposedto,compare,andevaluatedifferenttimeperiods,cultures,and
individualsintherealmofart.
Arteducationprovidestheopportunitytobecomevisuallyliterateitisanavenueforself
fulfillment.Theimpactofvisualcommunicationisgreatlyinterlacedwithinoureverydaylives.
Whenengagingwithandinterpretingsurroundingsandsituationsartistsworkoffofmorethan
theirintuition.
Urgingindividualstorespondproactivelytothevisualworldcultivatescognizant
andperceptivehumanbeings.
Perceptionofenvironmentswithacriticaleyehelpsindividuals
regardspaceinamoremeaningfulway.Visualsaretheninternalizednotsimplyfortheir
surfacevalues,butalsofortheirpotentiallyintendedmessages.Inmakingandanalyzingart,one
isconstantlyjudgingandcompilingconnections.Studyingartisasystemwithinwhichonecan
thinkcritically,creativelyandutilizemanysensoryinputsatonce.
Inarmingsomeonewithart
education,wearegivingthatpersonagreatadvantageintermsofhowtheyfunctionwithinany
givenenvironmentorscenario.
Arteducatorsshouldhelpengagestudentswiththesubjectaccordingtothestudents
interestsandcapacities.Anartteachershouldtrytosupportindependentlearningwithvarious
materialsandconcepts.Inartmaking,theindividualexploresideasandsolvesproblems,
handson.Takingonthesetypesofproblemspresentsprecioussituationswhereachildcan
directlymanipulateoutcomes.Thecreativeexperienceisanenvelopingone,whichinvolves
mentalandphysicalengagement.Hencetheprocessofmakingartcanbequitecaptivatingfor
thechildorstudent.Anarteducatorshoulddesignlessonsthatallowstudentstomakemistakes
andlearnfromtheseresults.Creatingartisaprocessthatrequiresauniquetypeofengagement
inthatartmakingisexperimental.Knowledgeinthesubjectofartcanalwaysdeepenandthis
depthcanhelpbroadenastudentssenseofself.Inthesewaysmakingandunderstandingartis
psychologicalnourishment.
Basedonthesubjectofart,studentscanunderstandthattherearemultiplewaysof
answeringaquestion.Anartcurriculumshouldencouragetheexplorationofmany
perspectives.Itshouldbeconceivedthroughthelensofpostmoderneducationandemphasize
thattheworldisnotlimitedtobinaries.Thesubjectofartisinherentlyacelebrationofdiversity.
Anartclassenvironment,curriculum,andteachersattitudeshouldreflectonthemultiplicityof
thesubject.Thiscurriculumprovidesaninclusivenarrativewhenexploringtheartsandart
history.Arteducationisabeautifulopportunitytocelebrateandaccepttheassetsofmany
cultures.Thesubjectofartencouragesanopennesstochange.Artclassshouldtrulybeaplace
whereingenuityisharvested.Studentscanachieveselfrealizationandselffulfillmentby
enhancingtheircapacityforunderstandingmanythingsthroughthelenseofart.
ARTASPROCESS
Grade7
ARTCURRICULUMGOALS
Tointroducestudentstothemanyfacetsofartisticprocess.
Topromotecuriosityabouttheartisticvoicesofoneselfandothers.
Toencourageflexiblethinkingaboutwhatqualifiesasartandwhoconstitutesas
artists.
Toinvestigateartmovementsandhowtheyaffectandreflectsociety.
ToaddresstheMassachusettsFrameworksforVisualArtsPK12.
Durer,A.
WingofaRoller
.Retrieved04/11/15From
http://www.artinthepicture.com/artists/Albrecht_Durer/roller.jpeg
ENDURINGUNDERSTANDINGS
Studentswillunderstandthat:
Artistsusedifferentprocesses.
Anartistsprocesscanchange
overtime.
Artaffectsandreflectschanges
insociety.Indifferenttime
periodsartprocessesare
varied.
ESSENTIALQUESTIONS
Monet,C.
LittletheatricalPantheon.
(1859).Musee
MarmottanMonet,Paris
Howdoartistsvaryin
communication?
Doartistsneedtocommittoa
specificstyleorprocessinall
oftheirartmaking?
Howdoesartcommentonthe
culturefromwhichithas
sprung?
Durer,A.Retrieved04/10/15from
http://uploads4.wikiart.org/images/albrechtdurer/study
ofmalehandsandarms.jpg
Cage,J.Retrieved04/10/15from
https://thisrecording.files.wordpress.com/2008/08/cage_
2.jpg
CURRICULUMMAP
UNIT1
Monet:aCreativeJourneyThroughChanges
inProcess
Grade7
Monet,C.JapaneseBridge.(1918).Retrievedon04/05/15From
http://www.pubhist.com/works/04/large/claude_monet_japanese_bridge.jpg
Lesson1:
CreatingKookyCaricatures:TheArtofExaggeration
Lesson2:
ProcessingPortraiture
Lesson3:
ThisMoment,DoyaFeelMe?
UNITMAP
ARTASPROCESS
Grade7
STAGEIDESIREDRESULTS
UNITTRANSFERGOAL
Studentswillbeabletoindependentlyusetheirlearningto
DeveloptheirownartisticvoicebyusingClaudeMonetasanexampleofcreativechange
andgrowth.
Overtime,thewayweidentifyourselves,ourenvironment,andwhatweare
passionateaboutcanchange.
Artistshaveauniqueandindividualvoices.
Artistsaremotivatedbycreativecommunication.
ESSENTIALQUESTIONS
Whatinfluencesartiststoevolve?
Whatdefinesanartisticstyle?
Whatcausesartiststobepassionateaboutmakingart?
STANDARDSADDRESSED

MA.1.Methods,Materials,andTechniques.Studentswilldemonstrateknowledgeof
methods,materials,andtechniquesuniquetothevisualarts.
MA.3.VisualArts:Observation,Abstraction,Invention,andExpression:Studentswill
demonstratetheirpowersofobservation,abstraction,invention,andexpressionina
varietyofmedia,materials,andtechniques.
MA.5.CriticalResponse.Studentswilldescribeandanalyzetheirownworkandthe
workofothersusingappropriatevisualartsvocabulary.Whenappropriate,students
willconnecttheiranalysistointerpretationandevaluation.
MA.8.Connections:ConceptsofStyle,StylisticInfluence,andStylisticChange:
Studentswilldemonstratetheirunderstandingoftheconceptsofstyle,stylistic
influence,andstylisticchangebyidentifyingwhenandwhereartworkswerecreated
andbyanalyzingcharacteristicfeaturesofartworksfromvarioushistoricalperiods,
cultures,andgenres.
ACQUISITION/
UNITOBJECTIVES
Monet,C.Caricature.Retrievedon
04/07/15From
http://2.bp.blogspot.com/S8q85fTx
ShE/VAF_56SVhOI/AAAAAAAAEsE
/zZTyH2G1iIg/s1600/cartoon.bmp
Monet,C.
PortraitofPereGraff
.
(1882).OsterreicheGalerie
Belevedere,Vienna
Monet,C.
Camille,Womanina
GreenDress
.(1882).Kuhnsthalle,
Bremen.
Lesson1:
Studentswillknowthatcaricatureisauniquegenreinthatitreliesheavily
uponboththepersonalityofthoserenderingitandthosebeingportrayed.Studentswill
beskilledatcreatinganimaginativeparodyofsomeoneorsomething.
Lesson2:
Studentswillknowthatartistssometimestakefromdirectobservationtohelp
themcreateanimage.Studentswillbeskilledatcreatingaselfportraitutilizingamirror
oraSelfie.
Lesson3:
Studentswillknowthatnotallartstrivesforrealisticrenderingsometimes
artistshaveagoaloftorecreatingafleetingmomentorfeeling.Studentswillbeskilled
attranslatinganemotion,movement,orfeelingintoanartform.
10
STAGE2ASSESSMENTEVIDENCE
PERFORMANCETASKS/PRODUCTSASEVIDENCE
Lesson1:
Caricaturescanhelpstudentsdemonstratetheirknowledgeaboutwhyartistsutilize
exaggerationtocommunicate.Projectswillexpressstudentunderstandingoftheprocess
creatingacartooninvolves.
Lesson2:
Selfportraitswillshowthatstudentsunderstandthataccuraterepresentationsareone
formofportraiture.Theseartworksrepresentstudentabilitytodrawfromrealitytocreatean
image.
Lesson3:
Paintingsthatstudentscreatewillsignifyadeeperunderstandingofhowfeelings,
emotions,andimpressionscaninfluenceartwork.Studentswillimplementtheirknowledgeof
Monetandhowhisimpressionsinspiredhisartwork.
11
STAGE3LEARNINGPLAN
SCOPEANDSEQUENCEOFLESSONS
:
Lesson1:
ClaudeMonet,
Caricatureof
LeonManchon,
(1858).TheArtInstituteof
Chicago
Mask.Retrieved04/18/15
from
https://www.pinterest.com/pin/
164451823868117324/
Johnson,Kiel.Retrieved
04/18/15from
217439488234761750/
ThislessonintroducesthetopicofMonetandtheevolutionofhisartistic
voice.StudentswillevaluateMonetsearliestwork,hiscaricatures.Atthistime
inhisartisticcareer,Monetwasaroundthesameageasthesestudents.
Caricatureandcartooningwillbeexploredmoreindepth.Theteacherwillshow
tostudentssomeexamplesofcontemporarycaricature.Maskmakingand
caricaturewillfusetogetherinthisprojectstudentswillbecomelifesize
caricatureswhenwearingtheirmasks.Adiscussionwillbeheldaboutthe
purposesoftheseartforms.Bothcaricatureandmaskscanbeconsideredin
termsofexpressingsurfacecharacteristicsofsomeoneorsomething.Students
willchooseapersonwhomtheydliketodescribe(utilizingthisartstyle).
Artworkcanbeaselfportrait,aportraitofsomeonetheyknow,oranyoneatall
really.Ifastudentchoosestoillustratethemselvestheycanutilizeacamerawarp
applicationonacomputeroraphone.Fromthesecaricaturesstudentswillcreate
amask.Bytheendofthelessonstudentsshouldbeabletoexplainindetailwhy
theychoosetheindividualthattheydidandwhattheyweretryingtoachievewith
thecaricatureofthisperson.
ArtMaterials:
Sketchbook,drawingpaper,pencils,thinandthickSharpies,
coloredpencils,coloredconstructionpaper,bristolboardandcardboardscraps.
12

Lesson2:
Monet,C.(1866).
Camille
(WomaninaGreenDress).
Kunsthalle,Bremen
SelfPortrait.Retrieved
04/21/15From
210121138836554985/
MultipleSelfPortraits.
Retrieved04/19/15from
540009811540932144/
Thislessonwillhelphoneastudentsabilitytocreatearealisticrendering
ofthemselves.Studentsmayuseamirrororaselfietohelpthemachieve
realismintheirownwork.Monetstartedwithcaricatureandthenmovedinto
realism(astheclimateoftheartmarketinhisdaycalledforit).Thisproject
exposesstudentstorealismsothattheycanunderstanditasonekindofa
foundationformoreimaginativeprocesses.
ArtMaterials:
Sketchbook,drawingpaper,pencils,ruler,gummyeraser,smudge
sticks,mirrororphotographofself.
13
Lesson3:
Thislessonexposesstudentstotheideathatartdoesnotneedtobe
realistictobevalid.StudentswillbegivenexamplesofMonetslaterworkanda
discussionabouthismethodsandgoalswillbeheld.Workfromthiseraofhis
lifeexploredtheephemeralnatureallthings.Hethoughtaboutemotion,feelings,
light,andorcapturingafleetingmomentintime.Monetoftenstartedhispainting
enpleinaireandthenmovedintohisstudiotofinishthem.Thisisevidencethat
heisworkingoffofmorethanobservationhisimpressionsandfeelings
motivatedhiswork.Fromherestudentswillbeshownmovieclipsfromthe
Disneyfilm,Fantasia.Someoftheseclipsarepurelyimpressionisticbuttheydo
showhowvisualartcanbetiedintootherartforms.Theteacherwillplaysound
clips.Someofthesesoundsmightbefromnature,streetsounds,andormusic.
Studentswillcreateartworksfromtheirimpressionsoftheseexperiences.This
activitywillbeahandsonpracticewiththeideathatartcancomeinmanyforms.
Avarietyofmaterialswillbemadeavailablesothatdifferenteffectscanbe
achieved.
ArtMaterials:
Watercolorpaper,watercolorpaints,brushes,cupforwater,
palette,salt,oilpastels,andorchalkpastels.
14
LESSON1ASSESSMENT
Name:
Kooky Caricature
GLOWS AND GROWS
: In Progress Peer Critique
1. What do you wonder about this work?
2. How did the artist play with the elements and principles of design to exaggerate
the individual that they were illustrating?
3. If you could title this work, what would you call it and why?
4. How does this work glow (what makes this work interesting and unique)? How
could it grow (how could this piece be further developed)?
15
VISUALIMAGERESOURCES:
Durer,A.Retrieved04/10/15From
http://uploads4.wikiart.org/images/albrechtdurer/studyofmalehandsandarms.jpg
Johnson,Kiel.Retrieved04/18/15From
https://www.pinterest.com/pin/AWRaYrkvq9nydXoGFIr5libULoN7L5t9aaJ4iRMYKKGuoRfZ_0mpA/
Johnson,Kiel.Retrieved04/18/15From
https://www.pinterest.com/pin/217439488234761750/
Mask.Retrieved04/18/15from
Monet,C.
Camille,WomaninaGreenDress
.(1882).Kuhnsthalle,Bremen.
ClaudeMonet,
CaricatureofLeonManchon,
(1858).TheArtInstituteofChicago
Monet,C.Caricature.Retrievedon04/07/15From
http://2.bp.blogspot.com/S8q85fTxShE/VAF_56SVhOI/AAAAAAAAEsE/zZTyH2G1iIg/s1600/cartoon.bmp
Monet,C.
PortraitofPereGraff
.(1882).OsterreicheGalerieBelevedere,Vienna
MultipleSelfPortraits.Retrieved04/19/15From
SelfPortrait.Retrieved04/21/15From
TEXT,MEDIA,ANDWEBRESOURCES:
Monet,C.
Camille,WomaninaGreenDress
.(1882).Kuhnsthalle,Bremen.
Monet,C.
PortraitofPereGraff
.(1882).OsterreicheGalerieBelevedere,Vienna
Monet,C.
LuncheonontheGrass
.(1865).PushkinStateMuseumofFineArts,Moscow
Butor,Michel,Monet,ortheWorldTurnedUpsideDown,
TheAvantGarde,
TheMacmillanCompany,NewYork,(1968)
Edwards,Hugh,TheCaricaturesofClaudeMonet,(TheArtInstituteofChicago),
BulletinoftheArtInstituteofChicago
(19071951),
Vol.37,No.5(Sep.Oct.,1943)
Forney,Kristine,andJosephMachlis.
TheEnjoymentofMusic:AnIntroductiontoPerceptiveListening
.NewYork:W.W.Norton,2007.
Print.
Schapiro,Meyer,TheExemplaryImpressionist,
Impressionism:ReflectionsandPerception,
GeorgeBraziller,NewYork
Smith,Paul.
Impressionism:BeneaththeSurface
.NewYork:HarryN.Abrams,1995.Print.
Snyder,James,
NorthernRenaissanceArt:PaintingSculpture,theGraphicArtsfrom13501575
(PearsonEducation,Inc.2005)
Tucker,PaulHayes.
ClaudeMonet:LifeandArt
.NewHaven:YaleUP,1995.Print.
Tucker,PaulHayes,GeorgeT.M.Shackelford,andMaryAnne.Stevens.
Monetinthe20thCentury
.London:RoyalAcademyofArts,
1998.Print.
Wagner,AnneM.,WhyMonetGaveupFigurePainting,CollegeArtAssociation,
TheArtBulletin,
Vol.76,No.4(Dec.,1994),pp.
612629
16

UNITTWO

ArtistsUse DifferentProcesses

Seventh Grade
Mandala.
Retrieved04/20/215From
https://www.pinterest.com/pin/35501038310347291
8/
Lesson1:
NaturalScienceandArtisticProcesses
Lesson2:
TheEphemeralArtProcessofTibetanMandalas
Lesson3:
ArtisEverywhereandArtProcesscanIncludeManyThings
17

UNITMAP
18
ARTASPROCESS
Grade7
UNITTRANSFERGOAL
Studentswillbeabletoindependentlyusetheirlearning
to
Tryvariousmaterials(informedbyknowledgeofthedifferenttechnologiesand
processesthatartistsuse).
Artistspracticevaryingdegreesofcontroloverthemediumsthattheyworkwith.
Someartistscreateartwiththeintentionthatitisnotpermanent.
Artisallaroundusartistssometimesframealreadyoccurringphenomena.
ESSENTIALQUESTIONS
Dotheprocessesofartistsvary?
Canartbeephemeral?
Wherecanartbefound?
STANDARDSADDRESSED
MA.7.RolesofArtistsinCommunities.Studentswilldescribetherolesofartists,
patrons,culturalorganizations,andartsinstitutionsinsocietiesofthepastandpresent.
MA.9.Inventions,TechnologiesandtheArts.Studentswilldescribeandanalyzehow
performingandvisualartistsuseandhaveusedmaterials,inventions,andtechnologies
intheirworks.
MA.10.InterdisciplinaryConnections.Studentswillapplytheirknowledgeofthearts
tothestudyofEnglishLanguagearts,foreignlanguages,health,historyandsocial
science,andscienceandtechnology/engineering
Grade 7 science standard:

MA.3.9.
Elements,Compounds,andMixtures:Recognizethatasubstance(elementor
compound)hasameltingpointandaboilingpoint,bothofwhichareindependentof
theamountofthesample.
MA.3.10.Elements,Compounds,andMixtures:Differentiatebetweenphysical
changesandchemicalchanges.
19
ACQUISITION/
UNITOBJECTIVES
Durer,A.(1502).
YoungHare.
http://upload.wikimedia.org/wikip
edia/commons/a/a1/Albrecht_D
%C3%BCrer__Young_Hare__
WGA07362.jpg
BottleInstallation.
Retrieved
04/21/15From
http://www.johnpolakphotography
.com/pb/wp_1f4ca5cf/images/im
g217824d3caa59b68a0.jpg
MandalaCleaning.
Retrieved
04/21/15From
https://c1.staticflickr.com/3/2710/
4534833147_fe46b3f209_z.jpg
Lesson1:
Studentswillknowthat,throughouthistory,artistswereoftencalledon
torecordvisualinformationwithaccuracy.Studentswillbeskilledatcreatingan
artworkfromanexaminationofanaturalobject.
Lesson2:
Studentswillknowthatnotallartiscreatedwiththeintentionofthe
workbeingpermanent.Studentswillbeskilledcreatingamandalalike
representation,thatutilizesconcentriccirclepatterns,geometricshapes,symbols,
space,color,andemphasis.
Lesson3:
Studentswillknowthatlearninganddiscoverycanbeattheheartof
artisticprocess.Thesestepsareintegralincreativityandinventiveness.Students
willbeskilledatcreatinganinstallationartpiece,usingfoundorrecycled
materials.
20
GlassFlowers.
Retrieved
04/18/2015From
89443942366494/
PaperBagInstallation.
Retrieved
04/18/2015from
http://dailybruin.com/images/48203
_web.ns.4.11.cl.funding.picao.jpg
CreatingaMandala.
Retrieved
04/18/2015From
61261624725674/
Lesson1:
Detailedsculpturesthatstudentscreatewilldemonstrateobservationskills.Subject
matterwillemphasizestudentunderstandingoftheimportanceofartistcraftsmanship.
Lesson2:
Theactionsofthestudentcreatinganddissolvingamandalawillshowcasean
understandingofthevariationsofartisticprocesses.Theseartworksrepresentstudentabilityto
createaworkthatisephemeralandyetstillmeaningful.
Lesson3:
Installationpiecesthatstudents
createwill
reflect
flexibleoutlookonwhat
constitutesasacreativeprocess.
Studentswillimplementtheirknowledgeof
howJohnCage
regardstheartisticprocess.CagesprocesswasinformedbytheChanceMovement,inwhich
artistsreliedonalreadyoccurringphenomenatocreateartisticmessages.
21
STAGE3LEARNINGPLAN
:
Lesson1:
FlowersMadefromGlass.
Retrieved
04/18/2015From
http://farm1.static.flickr.com/36/104865963_2a
45a1f3f3.jpg
Skulls.
http://darwinonline.org.uk/graphics/SpecimenIl
lustrations.html
Audubon,J.Retrieved04/18/2015from
https://smediacacheak0.pinimg.com/original
s/56/4e/55/564e554feed149d0c201f503b51c7
a43.jpg
Thislessonintroducestostudentsahistoricalerawheresomeartistsused
theirskillsetstocreatescientificdocumentations.Studentswillevaluatethe
worksofJohnJamesAudubon,CharlesDarwin,AlbrechtDurer,andtheglass
flowerscreatedbyRudolfand
LeopoldBlaschka
.Thistypeofartmaking
showcasesaverycontrolledprocessinwhichartistscarefullyandcritically
reproduceimagerythattheysee.Therewillbeaclassdiscussionoftheglass
flowersfromtheHarvardMuseumofNaturalHistory.Theteacherwillfacilitate
aconversationabouthownaturecaninspireartmaking,andwhytheseparticular
artistswerecommissionedtocreatethesemodels.Studentsthenwillchoosea
naturalobjectthattheywillanalyzeandtrytorecreate.Artworkcanbeeither
twodimensionalorthreedimensional.Claywillbemadeavailableforstudents
whodliketocreateasculpturalwork.Forthosewhofeelmorecomfortable
workingin2d,theycancreateadetaileddrawingoftheobject.Bytheendofthe
lessonstudentsshouldbeabletoexplainwhytheychoosethisobjectandhow
theyusedtheelementsandprinciplesofdesigntocarefullyrenderit.
22

ArtMaterials:
Sketchbook,drawingpaper,pencils,smudgesticks,colored
pencils,redclay,andglaze(orpaint).
Lesson2:
FourMonksCreatingaMandala.
Retrieved
04/18/2015from
69796/
BeadMandala.
http://rlv.zcache.com/a_bead_mandala_poster
r0603a5009caa47e99fb0e71bb2dc1a75_w66
_8byvr_512.jpg
ThislessonpresentstostudentstheculturalsignificanceoftheTibetan
sandMandalas.Theartisticprocessofcreatingamandalaisaninterestingplay
betweenthecontrolanddissolutionofanartisticendeavor.Thecreationofa
mandalaisatediousanddetailedprocessthattakesalotoftime.ATibetan
mandalaisasymboliccontainerofblessingsandwellwishing.Oncethepractice
iscompleted,itissweptawaybythehandofmonksandeventuallycarriedto
rivers.Theideaisthattheriversbringtheblessingsofthemandalatodifferent
shoresontheplanet.Studentswilldrawtheirmandalapatternoutusingwhite
pencilonblackpaper.Drawingswillthenbetracedinglue.Whenthegluedries
itwillcreatedesignatedareasforbeadstobestored.Creatingmandalaswillhelp
honeastudentsabilitytobeinterestedinthevariousprocessesofartmaking.
Studentswillclosetheprojectwithsharingawrittenareflectionaboutwhat
positiveimpacttheywishtocarryouttotheworld.Finallytheywilldismantle
theirmandala.Allmandalaswillbepouredintoajarandkeptintheclassroom.
ArtMaterials:
Blackpaper,whitepencils,protractor,ruler,eraser,Elmers
squeezebottleglue,andtinybeads.
23
Lesson3:
Recycled.
09544/
CardboardWallSculpture.
Retrieved
04/20/2015from
21299/
Thislessonintroducestostudentsthechanceartmovement.Alongwith
JacksonPollack,theartist,JohnCage,willbediscussed.Thisindividualplays
withmanydifferentprocessesinhisartmaking.JohnCageisbothamusicianand
avisualartist.Avideowillbeshowntostudentsinwhichtheartisttalksabout
histhoughtsonartandmusic.Heexpressesthatmusiccanbeconsidered,first
andforemost,acompositionofsounds.Sounds,hesays,canbeorganicandfree
flowingandstillregardedassomethingengaging.Cageexpressesthat
combinationsofseeminglyrandomsoundscanbeartisticallyinteresting.For
example,theartistconsidersthesoundsoftraffictobeeverchanging(and
thereforecompelling).Theideathatanartistcanframealreadyoccurring
phenomenaisabroader,yetstillvalid,formofartisticcontent.Afterexposureto
theseideastheclasswillbedividedintofourgroupstocreateaninstallation
artworkusingfoundandorrecycledobjects.Groupswillpickfromdesignated
spacesintheschoolandbegintosketchandplan.Ideaswillbepitchedtothe
teacher.Installationsmustbeengaging.StudentswillconsiderCagesoutlook
onwhatcanconstituteasart.Cagebelievedthatartcanbeanindividual
experiencethattheparticipantframedforhisorherself.Inotherwords,artdoes
notneedtobelimitedtothecreationoftheartist.Studentsshouldcreateapiece
thatcanpossiblybeinterpretedinmanydifferentwaysbytheviewer.Duringa
finalcritiquestudentswillactasartcriticsandreviewtheirexperienceswiththeir
peersspaces.
ArtMaterials:
Avarietyofrecycledmaterialswillbeprovided,paperbags,
plasticbottles,ducttape,trashbags,yogurtcontainers,whateverthestudents
wanttobringinanduse.
24
LESSON2ASSESSMENTRUBRIC
Criteria
Craftsmanship
Fromstarttofinishthe
studentplannedcarefully
andtooktheirtimewithall
oftheprojectssteps.
Themandalawascompleted. Themandalawascompleted
Thefinishedproductshowed butthepieceneededalittle
thatthestudent
morecarefulplanning.
accomplishedallofitssteps.
Themandalawasnot
completed.
Creativity
Thestudentwasinnovative
andshowedalotofartistic
andcreativecapabilities.
Thestudentcreateda
mandalaandworkedwith
vigilancetomakethepiece
uniqueandreflecttheirown
artisticvoice.
Thestudentcreateda
mandalabutcouldhavetried
afewmorestrategiesinits
designphase.
Thestudentdidnottryto
createamandala.
Enthusiasm
Thestudentwentaboveand
beyondinaccomplishingall
ofthetaskspertainingtothe
project.
Studentsuccessfully
accomplishedthetasksof
theassignment.
Thestudentdidallofthe
tasksbutdidnotdothemto
thebestoftheirability.
Thestudentdidnottakean
interestinthislesson.
ClassParticipation
Thestudentactively,
thoughtfully,and
respectfullyparticipatedin
critiques,classdiscussions
andotheractivities.
Thestudentactively
participatedincritiques,
classdiscussionandother
activities.
Thestudentparticipateda
littlebitincritiquesandclass
discussions,andother
activities.
Thestudentdidnot
participateincritiques,class
discussions,,andother
activities.
AdditionalComments:
25

Audubon,J.Retrieved04/18/2015from
https://smediacacheak0.pinimg.com/originals/56/4e/55/564e554feed149d0c201f503b51c7a43.jpg
BeadMandala.
http://rlv.zcache.com/a_bead_mandala_posterr0603a5009caa47e99fb0e71bb2dc1a75_w66_8byvr_512.jpg
BottleInstallation.
http://www.johnpolakphotography.com/pb/wp_1f4ca5cf/images/img217824d3caa59b68a0.jpg
Cage,J.Retrieved04/10/15from
https://thisrecording.files.wordpress.com/2008/08/cage_2.jpg
CardboardWallSculpture.
CreatingaMandala.
Durer,A.(1502).
YoungHare.
http://upload.wikimedia.org/wikipedia/commons/a/a1/Albrecht_D%C3%BCrer__Young_Hare__WGA07362.jpg
FlowersMadefromGlass.
http://farm1.static.flickr.com/36/104865963_2a45a1f3f3.jpg
GlassFlowers.
FourMonksCreatingaMandala.
Mandala.
MandalaCleaning.Retrieved04/21/15From
https://c1.staticflickr.com/3/2710/4534833147_fe46b3f209_z.jpg
PaperBagInstallation.
http://dailybruin.com/images/48203_web.ns.4.11.cl.funding.picao.jpg
Recycled.
Retrieved04/20/2015fromhttps://www.pinterest.com/pin/164099980142609544/
Skulls.
Retrieved04/18/2015Fromhttp://darwinonline.org.uk/graphics/SpecimenIllustrations.html
Cage,J.(2007).
AboutSilence.
https://www.youtube.com/watch?v=pcHnL7aS64Y
(2012).
SandMandalaTimeLapse[ExtendedVersion].
04/15/15From
https://www.youtube.com/watch?v=JdUFqkX2d6I
26
UNIT3
ProcessingVisualCulture:HowArt
AffectsandReflectsSociety
Grade7
Lesson1:
WhohasPower:LookingtotheRenaissancetoAnalyzeSocialStructures
Lesson2:
TransitionsintoDemocracy:JapaneseTeahousesandtheProcessofSocialBalance
Lesson3:
ArtforAll:StreetartProcessesandtheirSignificance
27

UNITMAP
28

ARTASPROCESS
Grade7
UNITTRANSFERGOAL
Studentswillbeabletoindependentlyusetheirlearning
to
Developtheircriticalthinkingskillsfromexploringthetopicsofarthistoryandvisual
culture.
Artandvisualmessagescanreflectsocialstructures.
Artallovertheworldreflectstheprocessofsocialtransitions.
Artcanbeforeveryone.
ESSENTIALQUESTIONS
Howcanartreflectpowerstructures?
Howdoesartreflectandaffectsocietalchanges?
Whoisartfor?
STANDARDSADDRESSED
MA.2.ElementsandPrinciplesofDesign.Studentswilldemonstrateknowledgeofthe
elementsandprinciplesofdesign.
MA.4.VisualArts:Drafting,Revising,andExhibiting.StudentswillDemonstrate
knowledgeoftheprocessesofcreatingandexhibitingtheirownartwork:drafts,
critique,selfassessment,refinement,andexhibitionpreparation.
MA.6.PurposesoftheArts.Studentswilldescribethepurposesforwhichworksof
dance,music,theatre,visualarts,andarchitecturewereandarecreated,andwhen
appropriate,interprettheirmeanings.
MA.7.RolesofArtistsinCommunities.Studentswilldescribetherolesofartists,
patrons,culturalorganizations,andartsinstitutionsinsocietiesofthepastandpresent.
MA.8.Connections:ConceptsofStyle,StylisticInfluence,andStylisticChange:
Studentswilldemonstratetheirunderstandingoftheconceptsofstyle,stylistic
influence,andstylisticchangebyidentifyingwhenandwhereartworkswerecreated
andbyanalyzingcharacteristicfeaturesofartworksfromvarioushistoricalperiods,
cultures,andgenres.
29
ACQUISITION/
UNITOBJECTIVES
Lesson1:
Studentswillknowthatvisualmessagescanreflectpowerdynamics.
Studentswillbeskilledatcreatingacollagepiecethatcritiques
overrepresentationofonegroup,lackofanother,andorstereotypes.
Lesson2:
Studentswillknowthatthereisintentionbehindart,architectureand
visualculture.StudentswillbeskilledatdesigningaJapanesestyleteahouse.
Whendesigning,studentswillconsiderfactorssuchaswhoispermittedaccess
thespace.Thisprojectisabouttheprocessofputtingtogetherabuildingthathas
certainfunctionsandgoals.
Lesson3:
Studentswillknowthatthereareartformsmadeforpublic
consumption.Someoftheseartformshavefunctionality.Forexamplesome
streetartistshavepoliticalmotivationsintheirart.Studentswillbeskilledat
designingasitespecificmuralinthespiritofstreetart.Processandintentionin
artarecloselyconnected.Methodsusedareonesthatartistsfeelareeffectivein
gettingtheirmessageacross.
Memling,H.
TriptychofWilhelmMoreel.
(15thCentury)
RetrievedFrom
http://en.wikipedia.org/wiki/Donor_portrait#/media/File:H
ans_Memling_071.jpg
J.R.Retrieved04/20/2015From
30
Lesson1:
Collageswillshowcasestudentinterpretationsofthetopicofpowerstructures.A
writtenreflectionwillconstituteasevidencethatstudentshavemademeaningoftheartistic
processofcreatingacollagewhilstthinkingcriticallyaboutthetopic.
Lesson2:
Teahousedesignsthatstudentscreatewillbethoughtful.Theworkswilldemonstrate
studentunderstandingofthevisualartscapacitytocommunicatemeaningfulmessages.These
artworksrepresentstudentabilitytocommunicateartistically.Consideringtheguestsofthe
teahouseisanempathyexercise.
Lesson3:
Posterscreatedbystudentswillwillsignifyadeeperunderstandingofhowartforms
canbecreatedforcommunities.Studentsimplementtheirknowledgeoftheelementsand
principlesofdesign,aswellasstreetartandworkcreatedwithfunctionalityinmind.
STAGE3LEARNINGPLAN
:
Lesson1:
Campin,R.
MerodeTryptic.
Retrieved04/21/2015
From
http://upload.wikimedia.org/wikipedia/commons/e/ef/
Robert_Campin__Triptych_with_the_Annunciation,
_known_as_the_%22Merode_Altarpiece%22__Go
ogle_Art_Project.jpg
SeventeenMagazine.
Retrieved
04/21/2015From
209291927/
Thislessonwillintroducetostudentstotheconceptofclassdistinctions.
IntheearlyNorthernRenaissance,forexample,artistswereoftencommissioned
toshowcasewealthyandeliteindividuals.Thistopiccanstartaconversation
aboutwhoartisandwasforandwhowasrepresentedatthetimeitwasmade.
Themethodsthattheseartistsusedintherenaissancewerepredominantly
31
painting.Oilpaintscouldcreaterealisticimagerythatpreservedthestatusofthe
subjectmatter.Wecanstillinquireaboutthesenotionstoday.Studentswillgo
throughvariouspopularmagazinesandconsiderthosewhoareemphasizedand
howtheyaredepicted.Studentswillalsoconsiderwhoisnotrepresentedandor
thepossiblestereotypesthattheymightfind.Studentswillwriteareflectionon
theirfindings.Theywillconsidersomeofthemessagesandtrendsthatthey
uncoveredinthemagazines.Finally,theywillcreateacutpaperandmagazine
collagethatcommentsonorgoesalongwiththeirwrittenreflection.
ArtMaterials:
Scissors,gluesticks,magazinesblackconstructionpaper,writing
paperandapencil.
Lesson2:
KodaijiTeahouse.
http://interspacedesign.com/blog/wpcontent/u
ploads/2013/01/kyotokodaijiteahouse.jpg
InteriorofaTeahouse.
Retrieved04/20/2015
From
http://www.jnto.go.jp/eng/indepth/cultural/exper
ience/img/f_03.gif
ThislessondiscussesthefunctionsoftheearlyJapaneseteahouses.What
isinvolvedincreatinganactualteahouseisaprocessthatemphasizesthe
experienceoftheguest.Teahousesperformedapoliticalfunctiontheybroke
downclassdistinctions.Studentswilldesignandcreatetheirownsmallscaletea
houseoutcardboard.Thesecreationswillhaveintentionalityintheirdesign.
Studentswillconsiderwhoandwhatthestructureisfor.Teahousedesigners
wantedtheceremonytobeaccessibletoalllevelsofsociety.Studentsshould
considerthesedesignprocessesintheirownstructures.
32
ArtMaterials:
Scissors,Elmersbottleglue,cardboard,sketchbook,pencils,and
eraser.
Lesson3:
Blue.Retrieved04/20/2015From
http://www.streetminotaur.com/wpcontent/uploads/2013/04/BluaAppetiteForDestrucopy.jpg
Thislessonexploresstreetartculture.Oftentheprocessesinvolvedin
conceivingmessagesforstreetartemphasizetheaccessibilityofthegenre.
Studentswilldiscussstreetartistswhohaveachievednotorietyandanalyzetheir
goalsandmethods.Afterevaluatingthisartgenre,studentswilldesignandcreate
theirownmessagetoachievemaximumeffectivenessonatopicwithwhichthey
arepassionate,interested,feelstronglyabout,andorthinkisamusing.Long
postersonbutcherpaperwillbemade.Posterswillbemadetheywillbedrafted,
critiqued,selfassessed,refined,andfinallyexhibited.
ArtMaterials:
Sketchbook,Pencils,pens,acrylicpaint,paintbrushes,large
butcherpaperrolls.
LESSON1ASSESSMENT
Name:
33
Making Thinking Visible:

Working Through Thoughts Before creating Art
Lesson:
Who has Power:
Looking to the Renaissance to Analyze Social Structures
1. When we analyzed early Renaissance art we noticed that a particular

group was usually represented. Those who were pictured in much of
this art genre were wealthy and of a higher status than most people at
that time. Visual images that we see daily convey messages. Pick a
magazine that interests you and go through it. Look carefully.
Consider what the people in this magazine look like, are they similar to
one another, or are they different? Do you notice any trends
throughout what you see?
2. You and a partner will be given an image of a person from a magazine.

Both you and your partner will consider that you are this person. Take
notes about this character. After you have answered these three
questions share your ideas with your partner. Were your ideas of what
this person is like similar? Are they different? Does this tell you
anything about who is represented in this magazine?
Whatcantheperson
perceive?
?
Whatmighttheperson
knowaboutorbelieve
Whatmighttheperson
careabout
?
Campin,R.
MerodeTryptic.
34
http://upload.wikimedia.org/wikipedia/commons/e/ef/Robert_Campin__Triptych_with_the_Annunciation,_known_as_t
he_%22Merode_Altarpiece%22__Google_Art_Project.jpg
InteriorofaTeahouse.
http://www.jnto.go.jp/eng/indepth/cultural/experience/img/f_03.gif
KodaijiTeahouse.Retrieved04/20/2015From
http://interspacedesign.com/blog/wpcontent/uploads/2013/01/kyotokodaijiteahouse.jpg
J.R.Retrieved04/20/2015From
Memling,H.
TriptychofWilhelmMoreel.
(15thCentury)
RetrievedFrom
http://en.wikipedia.org/wiki/Donor_portrait#/media/File:Hans_Memling_071.jpg
SeventeenMagazine.
Retrieved04/21/2015
Fromhttps://www.pinterest.com/pin/386887424209291927/
vanEyck,J.(1435).Retrievedon04/20/15From
http://www.artbible.info/images/vaneyck_rolinmadonna_grt.jpg
ArtfulThinking.Retrieved04/25/2015From
http://www.pz.gse.harvard.edu/artful_thinking.php
Banksy.(2007).
WallandPiece.
London,
UK:RandomHouse
Snyder,J.(2004).
NorthernRenaissanceArt.
NewYork,NY:PearsonEducation
35
DIFFERENTIATIONPLAN
DifferentiationIntheArtClassroom
LearningChallenge
ELLstudent/hearingimpaired/dyslexic
PossibleClassroomApproach
Textreinforcedwithsymbolsandpictures
PairingandgroupingbothwithnonELLand
otherELLstudents
Attentiondisorders(i.e.ADHD,ADD)
Actingoutdemonstrations
Incorporationofmovementbreaks
Engagingtopics,discussion,andactivities
Provideanexcitingvariationofinstructional
strategies
AutismSpectrum
Providesensorybags,stressballs,andother
manipulableobjects
Clarityandconsistencyinclassroomroutines
Variationbetweenindependentandgroup
workscenarios
PhysicalImpairmentthatprevents/limitsmobility
Rearrangingclassroomfurnituresothatthe
environmentiseasiesttomaneuveraround
Helpers/friendswhoassistthestudentto
obtainsuppliesandmaterials
Checkinswithstudentandguardianstoknow
howtocontinuetoprovidethebestclassroom
experiencepossible
Severelearningimpairment
Workingcloselywithstudentsaidanda
carefulreviewofthepossibleIEP
Adjustinglessonssothatthestudentcanstill
haveaccesstokeyconcepts
Pairingandgroupingwithavarietyofother
typesoflearnersformaximumsupport
36
STANDARDSBASEDSCOPEANDSEQUENCECHART
UNIT#1
UNIT#2
UNIT#3
Massachusetts
Frameworks
Foradetaileddescriptionof
eachstandardandconcept
strand,pleasereferencethe
appendix
1.Media,Materials,&
Techniques
2.ElementsandPrinciplesof
Design
3.Observation,Abstraction,
Invention,&Expression
4.Drafting,Revising,and
Exhibiting
5.CriticalResponse
6.PurposesoftheArts
7.RolesofArtistsinthe
Communities
8.ConceptsofStyle,Stylistic
X
Influence,andStylisticChange
9.Inventions,Technologies,
andtheArts
10.Interdisciplinary
Connections
37
PROGRAMASSESSMENT:
PurposesoftheAssessment
Thisyearlongassessmentplanisinplacetodeterminestudentunderstandingof
curriculumcontent.Lessonsareplannedtobesequentialandbuildoffofeachother.Each
lessonintroducestostudentscertainconceptsandtechnicalskillsthatrelatetothebigideaofthe
curriculum,thatartmakingcanbecomprisedofavarietyofartisticprocesses.Fromthis
curriculumstudentswillgainskillsandknowledgethatcanbroadentheirmeansofartistic
communication.
Content&SkillstobeAddressed
Thiscurriculumwillexposetostudentsmanymeansofartisticcommunication.Artists
exercisediverseprocesses.Studentswillknowthattheseprocessesaredependentonmany
factors,suchas,whatthetheartistwastryingtocommunicate,whytheindividualpracticed
thesemethodstoconveytheirideas,andhowtheconsequentartformsaffectedsociety.
Studentswillworkwithavarietyofmaterials.Projectsspanfrommoreclassic
assignments,suchasobservationdrawings,tomoreabstractwork,likecreatingvisual2dartin
responsetomusic.Therangeoftechnicalskillsthatthiscurriculumcovers,suchas,drawing,
painting,collage,sculpture,andinstallationworkallowsforstudentstoexperiencethe
usefulnessandattractivenessofdifferenttechniques.Studentswillbeassessedontheir
understandingofthesetechniquesaswellastheirskillsandcreativity.

AssessmentTools&Strategies
Toassessstudentachievementovertheyearlongcurriculumaportfoliowillbeutilized.
Imagesofstudentworkwillberecordeddigitallythroughouttheyear.Eachstudentwillhave
imagessavedtoaflashdrive.Alongwithclassparticipation,andbehavior,studentassignments
willbegradedbothindividuallyandinrelationtotheirportfolio.Forexample,ifastudent
wishedtoreapproachandstrengthenapastassignmenttheycandothatasapartoftheirfinal
portfolioreview.Portfoliosaremeanttoreflectgrowth.Ifastudentreengagedwithacertain
assignmentthiswouldcouldshowprogress.Finalportfolioreviewswillbeworth25%oftheir
grade.Asanendoftheyearassignment,studentswillassesstheculminationoftheirwork.
Theywillchoosewhattheyfeelaretheirstrongestassignments.Studentswillconsidernotonly
theartproductbutalsowrittenreflectionsandotherworkthatshowcasestheirgrowth.Students
willdefendtheirchoicesinawrittenreflectionthatconsiderstheirowngrowthoverthespanof
thecurriculum.
ScoringorGradingplan
Ayearlonggradingspreadsheetwillbekept.Eachlessonsgradeisderivedfromproject
rubrics,classwork,homework,andparticipation.Numericalvalueswillrepresentstudentgrades
oneachproject.Projectsaregradedonascale14,(4=A+,3=A,2=B,1=C,and0=F).Overthe
courseoftheyear,gradeswillberecordedandattheendoftheyeartheywillbeaveragedout
andaccountfor75%ofthestudentsfinalgrade.Theremaining25%ofthestudentsfinalgrade
willbetheportfolioproject.
38
GradingAccommodationsforStudentsonIEPs
SpecialconsiderationsandaccommodationswillmadeforstudentswhohaveIEPs.The
curriculumisdesignedtobeflexibleandencouragingtoeveryone.Withinthisyearlongplan
modalitiesarevaried.
ReportingOutPlan
Anemphasisonguardian,student,andteachercommunicationwillbeplaced.Interimreports
communicatinggradesandotherteacherfeedbackwillgoouttostudentsandtheirguardian/s.
Teachermeetingscanbeorganized.
SAMPLEYEARLONGGRADINGSHEET
Component
StudentGrade
Monet:aCreativeJourneyThroughChangesinProcess
Lesson1:CreatingKookyCaricatures:TheArtofExaggeration
Lesson2:ProcessingPortraiture
Lesson3:ThisMoment,DoyaFeelMe?
ArtistsUseDifferentProcesses
Lesson1:NaturalScienceandArtisticProcesses
Lesson2:TheEphemeralArtProcessofTibetanMandalas
Lesson3:ArtisEverywhereandArtProcesscanIncludeManyThings
ProcessingVisualCulture:HowArtAffectsandReflectsSociety
Lesson1:WhohasPower:LookingtotheRenaissancetoAnalyzeSocialStructures
Lesson2:TransitionsintoDemocracy:JapaneseTeahousesandtheProcessof
SocialBalance
Lesson3:ArtforAll:StreetartProcessesandtheirSignificance
CumulativeLessonGrade
Portfolio
FinalGrade
3.22
3.67
39
APPENDIX
GLOSSARYOFARTTERMS
ARTTERMS
Lesson1
Lesson2
UNIT1
UNIT2
Caricature
Cartoon
Emphasis
Portrait
Realism
Observational
drawing
Realism
Craftsmanship
Renaissance
Patron
Commision
Collage
WabiSabi
Architecture
Form&Function
Mandala
Concentric
circles
Geometric
shapes
Ephemeralart
Chanceart
Abstractart
Installationart
Streetart
Mural
Lesson3
Impressionism
Impressionist
EnPleinAire
UNIT3
Unit#1
Lesson1:
Caricature:
Apicture,description,orimitationofapersonorthinginwhichcertainstrikingcharacteristics
areexaggeratedinordertocreateacomicorgrotesqueeffect.
Cartoon:
Asimpledrawingshowingthefeaturesofitssubjectsinahumorouslyexaggeratedway,
especiallyasatiricaloneinanewspaperormagazine.
Emphasis:
Isdefinedasanareaorobjectwithintheartworkthatdrawsattentionandbecomesafocalpoint.
Subordinationisdefinedasminimizingortoningdownothercompositionalelementsinorderto
bringattentiontothefocalpoint.
Lesson2:
Portrait:
Apainting,drawing,photograph,orengravingofaperson,especiallyonedepictingonlytheface
orheadandshoulders.
40

Realism:
(Ornaturalism)intheartsistheattempttorepresentsubjectmattertruthfully,without
artificialityandavoidingartisticconventions,implausible,exoticandsupernaturalelements.
Lesson3:
Impressionism:
AstyleofpaintingassociatedmainlywithFrenchartistsofthelatenineteenthcentury,suchas
EdgarDegas,EdouardManet,ClaudeMonet,andPierreAugusteRenoir.
Impressionist:
Paintingseekstorecreatetheartist'sorviewer'sgeneralimpressionofascene.
EnPleinAire:
IsaFrenchexpressionwhichmeans"intheopen
air
"andisparticularlyusedtodescribetheact
ofpaintingoutdoors,whichisalsocalledpeinturesurlemotif("paintingoftheobject(s)orwhat
theeyeactuallysees")inFrench.
UNIT2:
Lesson1:
Observationaldrawing:
Drawingorpaintingfromlife.Exampleswouldincludesketchingabowloffruit(stilllife),
drawingfromamodel(figurative),ordrawingastreetscene(landscape).Theimageisnottaken
fromeitheraphotographortheartistimagination,butfromreallifeobservation.Traditionally
thesubjectmatterisrenderedasaccuratelyaspossible.Typicallymostobservationalworkis
donepencil,charcoalorotherdrawingmediumsbutcanincludecollageandpainting.
Realism:
(Ornaturalism)intheartsistheattempttorepresentsubjectmattertruthfully,without
artificiality
andavoidingartisticconventions,implausible,exoticandsupernaturalelements.
Craftsmanship:
Noun,pluralcraftsmen.
apersonwhopracticesorishighlyskilledinacraftartisan.
Lesson2:
41
Mandala:
Looselytranslatedtomean"circle,"amandalaisfarmorethanasimpleshape.Itrepresents
wholeness,andcanbeseenasamodelfortheorganizationalstructureoflifeitselfacosmic
diagramthatremindsusofourrelationtotheinfinite,theworldthatextendsbothbeyondand
withinourbodiesandminds.
Concentriccircles:
Ingeometry,twoormoreobjectsaresaidtobeconcentric,coaxal,orcoaxialwhentheyshare
thesamecenteroraxis.
Geometricshapes:
Manytwodimensionalgeometricshapescanbedefinedbyasetofpointsorverticesandlines
connectingthepointsinaclosedchain,aswellastheresultinginteriorpoints.Suchshapesare
calledpolygonsandincludetriangles,squares,andpentagons.
Ephemeralart:
Lastingaveryshorttimeshortlivedtransitory:
Lesson3:
Chanceart:
TheNecessity,orNot,ofaDefinition.chancechan(t)s1a:somethingthathappensunpredictably
withoutdiscerniblehumanintentionorobservablecause.
art
rt4a:theconscioususeofskill,
taste,andcreativeimaginationintheproductionofaestheticobjectsalso:workssoproduced.
Abstractart:
Artthatdoesnotattempttorepresentexternalreality,butseekstoachieveitseffectusingshapes,
forms,colors,andtextures.
Installationart:
Isanartisticgenreofthreedimensionalworksthatareoftensitespecificanddesignedto
transformtheperceptionofaspace.
UNIT3:
Lesson1:
Renaissance:
DerivedfromtheFrenchword,renaissance,andtheItalianwordrinascit,bothmeaning'rebirth',
theRenaissancewasaperiodwhenscholarsandartistsbegantoinvestigatewhattheybelieved
42
tobearevivalofclassicallearning,literatureandart.
Patron:
Apersonwhosupportswithmoney,gifts,efforts,orendorsementanartist,writer,museum,
cause,charity,institution,specialevent,orthelike:apatronoftheartspatronsoftheannual
Democraticdance.
Commision:
Inart,acommissionisthehiringandpaymentforthecreationofapiece,oftenonbehalfof
another.Artworkmaybecommissionedbyprivateindividuals,bythegovernmentorbusinesses.
Collage:
(FromtheFrench:coller,"toglue"Frenchpronunciation:
[k
.la])isatechniqueofanart
production,primarilyusedinthevisualarts,wheretheartworkismadefromanassemblageof
differentforms,thuscreatinganewwhole.
Lesson2:
WabiSabi:
Pareddowntoitsbarestessence,wabisabiistheJapaneseartoffindingbeautyinimperfection
andprofundityinnature,ofacceptingthenaturalcycleofgrowth,decay,anddeath.It'ssimple,
slow,andunclutteredanditreveresauthenticityaboveall.
Architecture:
Theartorpracticeofdesigningandconstructingbuildings.
Form&Function:
Formfollowsfunctionisaprincipleassociatedwithmodernistarchitectureandindustrialdesign
inthe20thcentury.Theprincipleisthattheshapeofabuildingorobjectshouldbeprimarily
baseduponitsintendedfunctionorpurpose.
Lesson3:
Streetart:
Isanyartdevelopedinpublicspaces.Thetermcanincludetraditionalgraffitiartwork,aswell
as,stencilgraffiti,stickerart,wheatpastingandstreetposterart,videoprojection,art
intervention,guerrillaart,flashmobbingandstreetinstallations.
Mural:
Apaintingorotherworkofartexecuteddirectlyonawall.
43
MassachusettsArtsCurriculumFrameworks
MassachusettsDepartmentofEducation
November,1999
ThePreK12LearningStandardsfortheVisualArts:
1.Methods,Materials,andTechniques.Studentswilldemonstrateknowledgeofthemethods,
materials,andtechniquesuniquetothevisualarts.
2.ElementsandPrinciplesofDesign.Studentswilldemonstrateknowledgeoftheelementsand
principlesofdesign.
3.Observation,Abstraction,Invention,andExpression.Studentswilldemonstratetheirpowers
ofobservation,abstraction,invention,andexpressioninavarietyofmedia,materials,and
techniques.
4.Drafting,Revising,andExhibiting.Studentswilldemonstrateknowledgeoftheprocessesof
creatingandexhibitingtheirownartwork:drafts,critique,selfassessment,refinement,and
exhibitpreparation.
5.CriticalResponse.Studentswilldescribeandanalyzetheirownworkandtheworkofothers
usingappropriatevisualartsvocabulary.Whenappropriate,studentswillconnecttheiranalysis
tointerpretationandevaluation.
ThePreK12ConnectionsStrandsfortheVisualArts:
6.PurposesoftheArts.Studentswilldescribethepurposesforwhichworksofdance,music,
theater,visualarts,andarchitecturewereandarecreated,and,whenappropriate,interprettheir
meanings.
7.RolesofArtistsinCommunities.Studentswilldescribetherolesofartists,patrons,cultural
organizations,andartsinstitutionsinsocietiesofthepastandpresent.
8.ConceptsofStyle,StylisticInfluence,andStylisticChange.Studentswilldemonstratetheir
understandingofstyles,stylisticinfluence,andstylisticchangebyidentifyingwhenandwhere
artworkswerecreated,andbyanalyzingcharacteristicfeaturesofartworksfromvarious
historicalperiods,cultures,andgenres.
9.Inventions,TechnologiesandtheArts.Studentswilldescribeandanalyzehowperformingand
visualartistsuseandhaveusedmaterials,inventions,andtechnologiesintheirwork.
10.InterdisciplinaryConnections.Studentswillapplytheirknowledgeoftheartstothestudyof
Englishlanguagearts,foreignlanguages,health,historyandsocialsciences,mathematics,and
scienceandtechnology/engineering.
44
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Pollack,J.(1952).Retrievedon04/24/15fromhttp://www.abc.net.au/news/image/42255623x2940x627.

Grade 7 science standard:

Making Thinking Visible:

1. When we analyzed early Renaissance art we noticed that a particular

2. You and a partner will be given an image of a person from a magazine.

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