Course Profile Visual Arts (AVI4M), Grade 12, University/College, Catholic and Public
Unit 3: The Artist as Reflective and Conceptual Thinker
Time: 22 hours
Activity
1 | Activity 2 | Activity
3
Unit Description
This unit emphasizes
the importance of the creative thinking process associated with making conceptual
sculpture. Conceptual importance in creating work is combined with material
exploration and the effects using unexpected material can have on the creative
process. All activities are connected through their approach to the
image-making process and lead to the final culminating activity of this unit.
The theory and history for this unit will focus on contemporary Canadian women
artists, Native Canadian art, and analysis of Western visual art practices.
The three essential
questions that frame this unit are:
1. How have social and cultural developments
influenced contemporary image-making theory and practice (with particular
emphasis on the portrayal of women)? (Theory)
2. How can I challenge the viewer by using
unexpected material? (Creation)
3. How do the cultural, economic, and skill
experiences of artists affect the works they produce? (Analysis)
·
Students are
required to identify the purpose of the artist in the creative process, and
also address how the artist comes to display the final image/object that they
have created. The use of reflective and conceptual modes of thinking best aid
students in the exploration of motivation in the creative process. John Berger
in Ways of Seeing tells us, “Seeing comes before words. The
child looks and recognizes before it can speak.”
·
The exploration
of unexpected medium use can be seen in the works of Judith Schwartz. Shadow
of the Palace, 1986, exemplifies using materials that in this specific
manipulation defy the traditional sense of what sculpture is. Schwartz’s use of
traditional construction materials in the creation of sensual images challenges
the viewer to a closer examination, demonstrating that the use of materials can
shock, challenge, and enhance the experience of viewers.
·
Renee Van Halm’s Display
(Temptation To Follow), 1986, explores conceptual influences in the
creation of art works by demonstrating the integration of sculpture, painting,
and installation art to answer the question “How to create anything real when
the very notion of authenticity has been so widely discredited?” (Gillian
MacKay). Van Halm approaches the creative process as a woman who has seen the
decline of painting and sculpture as purist institutions, which has informed
the integration aspects of her artworks. The conceptual assemblage created by
Van Halm has roots in the works of “Poussin, 15th-century Japanese calligraphy,
a 20th-century motel brochure, and a painting by Jack Bush” (MacKay).
·
Irene F.
Whittome’s Le Musee des Traces, 1990; shows us how contemporary Canadian
artists reacted to the emergence of new cultural institutions in North America
and Europe. Whittome used the symbol of the turtle to cement her critique of
the practice of elevating images and objects based on a new definition of their
value. Countries like Egypt were forced to create national museums to protect
their treasures from Western appetites for collecting exotic objects.
Whittome’s turtle could be seen as the North American equivalent to ancient
antiquities. The turtle, a symbol of power and beauty to many First Nations, is
also a creature affected and victimized by modern Western development and
progress. Whittome’s museums bring to light the differences in approaching art
and the value of cultural identities and artistic systems.
·
It would be
beneficial to acquire a copy of John Berger’s Ways of Seeing, as Berger
deals with many issues surrounding the creative process in Western art. Berger
also provides many juxtapositions and comparisons between visual art (high
art) and popular advertising images (low art). The comparisons that Berger
makes cement the long-standing canons and practices of Western visual arts,
which are to be examined by students in this unit.
·
When approaching
image-viewing activities with students, it is important to start with general
terminology and synthesis, allowing students to form their own perceptions and
judgements about the works.
This unit allows
students of all faiths to explore and comment on important social aspects in
our culture. We call our students to live a life of faith and encourage them to
be active members of their communities. This unit provides them with tools and
skills that they can apply to all aspects of life, with an emphasis on enhancing
their individual Catholic Faith communities. The inclusion of Social Justice
and Jubilee should be the focus for this unit in all Catholic schools, as it
directly ties our faith to practical applications in the creative process.
Themes such as social justice and Jubilee deal with issues of equity,
inclusion, and the power of the creative process to challenge and change the
world in which we live. Students who engage in the exploration of these topics
encounter the responsibilities of a faith community to be stewards of the
earth, to be responsible for our resources, and to act as agents in the
elevation of all people of the world who are in need. The Vatican website and
the Canadian Council of Catholic Bishops website provide excellent direction on
the exploration of these themes with an emphasis on what we as people of faith
are called to do. Other recommended resources for all Activities in Unit 3
include: Catholic New Times, National Catholic Reporter, The Catholic Register,
Turning Points: Readings in Family Life Education, Reaching Out: Readings in
Family Life Education, The Catechism of the Catholic Church – Social Teaching,
and the New Revised Standard Version Bible.
|
Activity |
Learning Expectations |
Assessment Categories |
Tasks |
|
1. 4 hours |
THV.02; CRV.01;
ANV.01; ANV.02; ANV.04TH1.02; TH2.01; TH2.02; TH2.04; CR1.01; CR2.01; AN2.01;
AN2.03; AN2.04; AN2.05; AN2.07 |
Knowledge/
Understanding Application |
Students conduct a
survey of the depiction of women in Western art from 1800-present, to
familiarize themselves with how artists have chosen to show women as
subjects/objects They then choose three works from the survey to focus on.
Finally, they choose one of the images and redraw the female figure into a
new context. |
|
2. 4 hours |
THV.03; CRV.01;
ANV.02; AN1.03; AN1.04; AN2.01; AN2.03; AN2.05; AN2.06 |
Thinking/ Inquiry
Communication |
Students choose an
object and do a cultural and utilitarian analysis of the object. They then
change the context/value of the object. |
|
Activity |
Learning Expectations |
Assessment Categories |
Tasks |
|
3. 14 hours |
CRV.02; CRV.04;
ANV.02; ANV.04; TH1.02; TH1.03; TH2.01; TH2.05; CR2.04; CR3.03; AN1.01; AN1.05;
AN2.02; AN2.03; AN2.06 |
Application |
Students do
research on their chosen topic. Students make a commentary on their research.
They create a site-specific installation sculpture. |
Time: 4 hours
Students conduct a
survey of Western art history from 1800 to the present examining the depiction
of women. From this list they select three images to analyse, two of which must
be Canadian. When reviewing the three images they have chosen from their survey
of Western art, students should be encouraged to look for differences in the
depiction of women by Canadian artists from that time period. Choosing one of
these images, they redraw the female figure from the found image in a new
context, in their sketchbooks.
Ontario Catholic
School Graduate Expectations
CGE1d - develops
attitudes and values founded on Catholic social teaching and acts to promote
social responsibility, human solidarity, and the common good;
CGE2a - listens
actively and critically to understand and learn in light of gospel values;
CGE2c - presents
information and ideas clearly and honestly and with sensitivity to others;
CGE4a - demonstrates
a confident and positive sense of self and respect for the dignity and welfare
of others;
CGE5b - thinks
critically about the meaning and purpose of work.
Strand(s): Creation, Analysis, and Theory
Overall
Expectations
THV.02 - demonstrate
an understanding of modern and contemporary art, especially Canadian (including
Native Canadian) art, as well as African, Oceanic, and Central and South
American art,
CRV.01 - identify
and develop ideas and concepts to shape and unify their own art works;
ANV.01 - evaluate,
individually and in groups, the effectiveness of their personal research,
creative process, and art products;
ANV.02 - analyse and
evaluate modern and contemporary Western works of art, as well as selected
works of fine art, works in applied design, and works in crafts from African,
Oceanic, Central and South American, and emerging art communities;
ANV.04 - explain the
influence of aspects of social, cultural, and political contexts, including
arts organizations, on the creation and understanding of fine art, applied
design, and craft works.
Specific
Expectations
TH1.02 - explain how
the technical approaches and the elements and principles of design found in a
specific work of art support the expression of ideas in that work and
contribute to its function;
TH2.01 - describe
aspects of the history of modern Western art and of selected forms of African,
Oceanic, and Central and South American art;
TH2.02 - describe
characteristics and trends in contemporary art, especially Canadian art;
TH2.04 - describe
the influence of art works and artists from the past on their own art works;
CR1.01 - research
and describe historical and recent works of art from around the world that
specifically relate to the process used and the issues and concerns expressed
in their own work;
CR2.01 - demonstrate
competence in representational drawing, drawing as an expressive art form, and
drawing to document process;
AN2.01 - explain how
representational elements, the formal organization of visual content, and the
expression of moods, feelings, and ideas are used in both the creation and the
analysis of art works;
AN2.03 - explain,
orally or in writing, a variety of reasons for making judgments about works of
art;
AN2.04 - demonstrate
an ability to compare and contrast the views of art critics on the same works
of art;
AN2.05 - analyse the
relationship between the works of an artist or designer and his or her culture;
AN2.07 - research
and describe how a particular collection in a gallery or museum has been
created, and analyse the potential impact on individual viewers and
communities.
·
Teachers should
familiarize themselves with Kenneth Clark’s theory on the “naked and the nude.”
·
Prior to teaching
this activity, teachers should familiarize themselves with the works depicting
women. See suggested Reproductions List (Appendix I).
·
Sensitivity and
respect for issues involving the depiction of women in Western art and the
contemporary subjects that they have chosen to deal with should be addressed
and promoted in a manner that is inclusive and invitational.
·
A discussion of
the purpose of art galleries and the act of collecting art should be discussed
with students.
·
Teachers should
distribute Appendix 3.1.1 – Research File Direction Questions, to assist
students with research direction.
·
For students who
are not permitted to depict the human figure, the teacher could substitute the
survey subject of the female form with landscape art works. This form of fine
arts is still connected to the cultural, socio-economic, and creative
experiences of the artists who produced them. If approached in a critical
light, landscape can yield the same type of information that is asked in the
survey of the depictions of women. An example would be English Romantic
painting which was influenced by the social upheaval that occurred during the
times of artists like Joseph Turner (1775–1851).
1. Introductory Activity: Prior to the
start of Activity 1, the teacher should discuss the difference between “the
naked” and “the nude.” Berger interprets Kenneth Clark’s definition on the
difference as, “In his book, The Nude, Kenneth Clark maintains that to
be naked is simply to be without clothes, whereas to be nude is a form of art.”
The teacher directs students to examine some historical art works that have
women as the subject matter or use the female form.
2. Art History Survey: Once students have viewed the art works from the list, they should be asked, “How did the artists choose to depict women in their works?” In order to help facilitate this discussion, the teacher should talk of the possessive gaze upon the female figure and the importance of where the figure is looking. Works by Degas and Gauguin are noted for their approaches to the depiction of women. In both men’s works, the viewer is provided a chance to catch women and young girls in private acts (bathing, rehearsing, and sleeping). The works of Frida Khalo provide a drastic contrast to Gauguin and Degas, as the women in her works are always directly looking at the viewer. There is no sense of shame and no hint of voyeurism; only a woman who defies the onlooker by engaging them directly. Once students have this information, they conduct a historical survey in which they examine works of art from 1800 to the present that use the female form or have women as subject matter. The presence of the nude in formal and academic art making during the 19th and 20th century raises issues of sensitivity when dealing with the depiction of women. As students will most likely encounter images of women without clothing they should be directed not to collect images that would be deemed pornographic, degrading to women, or from questionable print sources. Using visual art textbooks, recognized gallery websites and books that deal with the female form in a visual arts context should alleviate the risk of questionable depictions of women. The purpose of this activity is for students to collect fine art images that will be placed into their sketchbook with research notes on the images they select. Once they have found three strong images of which two must be Canadian, they provide their interpretations to the following questions:
1. Does the subject have control over the viewing experience?
2. How has the artist set up the viewing experience (e.g., placement of figure, colour, and setting)?
3. What does the work of art tell us about the cultural beliefs from that time period?
3. Manipulation Drawing:
The student is to take one of the works they have chosen and in their
sketchbook draw the figure in a contemporary setting of their choice. The
purpose in doing this is to get students to think of the figure as being tied
to visual elements such as setting, and how changing or manipulating it can
change the meaning and context of the work. The drawing can be in any medium
and the figure must be newly positioned contextually. While they are doing
their drawings, students should think about the following questions to be
presented with their work:
1. How did I change the interaction between the subject and viewer?
2. Did I include any of my own cultural influences in the drawing?
3. Did I include popular culture images in my new drawing? If so, which ones?
4. What do the popular culture images say about my interests and the interests of those around me?
During the critique, students should be encouraged
to share their answers with their peers.
·
The teacher
assesses the research and first three questions in a teacher-student conference
(Appendix 3.1.2). Formative
·
The teacher
evaluates the sketchbook drawing and the last four questions. Summative
·
Allow additional
time for students as required.
Beckett,
Sister Wendy. Sister Wendy’s Grand Tour – Discovering Europe’s Great Art.
New York: Stewart Tabori and Chang, 1994. ISBN 1-55670-509-3
Berger,
John. Ways of Seeing. London: British Broadcasting Corporation, 1972.
ISBN 0-14-013515-4
Kinsman
Robinson Galleries. Norval Morrisseau. Toronto: Key Porter Books, 1997.
ISBN 1-55013-880-4
Martin,
Elizabeth and Vivian Meyer, Female Gazes: Seventy-Five Women Artists.
Toronto: Second Story Press, 1997. ISBN 0-929005-99-6
Murray,
Joan. Canadian Art in the Twentieth Century. Toronto: Dundurn Press,
1999.
ISBN 1-55002-332-2
Newlands,
Anne. The Group of Seven and Tom Thomson. Willowdale, Ontario: Firefly
Books, 1995.
ISBN 1-895565-53-7
Vancouver
Art Gallery. Beloved Land: The World of Emily Carr. Vancouver: Douglas
and McIntyre Limited, 1996. ISBN 1-55054-474-8
Mayer, R. and S.
Sheehan. The Artist’s Handbook of Materials and Techniques. Toronto:
Penguin Books, 1991. ISBN 0670837016
Time: 4 hours
Students explore the
act of using conventional materials to change the meaning of a common object.
It is a technical exercise designed to begin the process of students looking to
common objects as potential images/objects for an installation sculpture or
site-specific work. There is an attempt to allow students to include objects
and images that may not have been covered in their previous visual art classes,
while simultaneously preparing for the final activity. Students produce a work
that requires them to act as cultural anthropologists. Students should be shown
pictures from the reproductions list (possibly Diego y yo, Object,
Migrant Mother, The Dinner Party, or Sisters) during the
first discussion of the assignment. This activity attempts to help students
examine and explain the function of an object and how critical its use can be
in their personal artworks. The activity supports the belief that
objects/images have meaning and their inclusion in one’s artwork can have
greater implications than assumed by the artist.
Ontario Catholic
School Graduate Expectations
CGE3c - thinks
reflectively and creatively to evaluate situations and solve problems;
CGE4b - demonstrates
flexibility and adaptability;
CGE5b - thinks
critically about the meaning and purpose of work;
CGE7i - respects the
environment and uses resources wisely.
Strand(s): Creation and Analysis
Overall
Expectations
THV.03 - demonstrate
an understanding of the historical context and stylistic evolution of some fine
art, applied design, and craft forms;
CRV.01 - identify
and develop ideas and concepts to shape and unify their own art works;
ANV.02 - analyse and
evaluate modern and contemporary Western works of art, as well as selected
works of fine art, works in applied design, and works in crafts from African,
Oceanic, Central and South American, and emerging art communities.
Specific
Expectations
AN1.03 - explain the
visual and conceptual aspects of art works in terms of the context in which the
works were created;
AN1.04 - produce
well-reasoned interpretations of art works based on information distilled from
analyses of the works and from research on the works;
AN2.01 - explain how
representational elements, the formal organization of visual content, and the
expression of moods, feelings, and ideas are used in both the creation and the
analysis of art works;
AN2.03 - explain,
orally or in writing, a variety of reasons for making judgments about works of
art;
AN2.05 - analyse the
relationship between the works of an artist or designer and his or her culture;
AN2.06 - analyse
ways in which art work shapes specific identities of groups or societies.
·
The teacher should
be fully aware of the Workplace Hazardous Material Information System (WHMIS)
guidelines associated with the production of fine arts.
·
Refer to Units 1
and 2 for discussion and examples of context and culture.
·
Discuss the fine
points of comparing two works of art from different mediums.
·
To facilitate
this activity show Meret Oppenheim’s Object, 1936, contrasted with a
non-wrapped teacup, saucer, and spoon. That might help students see the impact
wrapping an object could have. Be careful not to be prescriptive and allow them
to explore all possibilities. Food would not be an advisable wrapping material.
1. Looking for Meaning: This assignment
requires that students choose a common household object to be
re-conceptualized. Some of the objects that students could choose are light
bulbs, kitchen utensils, and shoes (clothes and fabric objects are not good
choices). After choosing an object, students must make a list of all the uses
of the object and the importance of the object for them personally and
culturally. Is it an object that they could live without?
2. Drawing the Object: In their
sketchbooks, they must do two sketches of their objects from different angles.
3. Reforming the Context: Students choose
a material with which to wrap their object. Students could look at the work by
Christo and Jeanne-Claude: Wall of Barrels-Iron, rue Visconti, Paris, 27
June, 1962, (Appendix I). They could use wrapping paper, leaves, hand made
paper, fabric, glitter, and any material that could be glued to their object
(they must use one material only). When they have finished the gluing, they
must place their object beside their sketches and look for changes in that
object. Some questions that could be asked are:
1. Can I still use this object for its original purpose?
2. Have I changed the cultural importance of the object?
3. Is the value of the object more, now that I have made it into a piece of art work?
4. Could I remove the wrapping and return the object to its original state? Would its value be the same as before?
5. If someone from another continent saw this object in a museum, what would it say about our culture?
·
Students present
their final, wrapped object to a group of three classmates for peer assessment.
·
The teacher
evaluates the sketchbook drawings in conjunction with the research completed.
·
Describe concrete
examples during instruction. Some students with some disabilities may require
very specific examples.
·
It is recommended
that the teacher provide large objects to work with for students with fine
motor control difficulties.
Mink, Janis.
Duchamp. Hohenzollernring: Taschen, 1995. ISBN 3-8228-8883-4
Rossol, M. The
Artist’s Complete Health and Safety Guide. New York: Allworth Press, 1994.
Garlick, Dr.
Kenneth, ed. The Book of Art: A Pictorial Encyclopaedia of Painting,
Drawing, and Sculpture, Revised ed. Vol. 6: British and North American
Art to 1900. Vol. 10: How to Look At Art. Italy: Grolier, 1997. ISBN
0-7172-7356-3
Time: 14 hours
This activity, which
consists of several parts, is the culminating task for this unit. Students are
to comment on the status/condition of women around them. They create an
installation sculpture that combines found objects, two original creations made
specifically for this work, and a substructure to place them on.
Ontario Catholic
School Graduate Expectations
CGE1h - respects the
faith traditions, world religions, and the life-journeys of all people of good
will;
CGE2c - presents
information and ideas clearly and honestly and with sensitivity to others;
CGE3d - makes
decisions in light of gospel values with an informed moral conscience;
CGE4f - applies
effective communication, decision-making, problem-solving, and time and
resource management skills;
CGE7e - witnesses
Catholic social teaching by promoting equality, democracy, and solidarity for a
just, peaceful, and compassionate society;
CGE7g - respects and
understands the history, cultural heritage, and pluralism of today’s
contemporary society.
Strand(s): Creation, Analysis, and Theory
Overall
Expectations
CRV.02 - choose the
materials, tools, techniques, themes, and process best suited to their fine
art, applied design, or craft forms, and use materials and tools safely;
CRV.04 - document
and evaluate their creative process and art works, using portfolios;
ANV.02 - analyse and
evaluate modern and contemporary Western works of art, as well ass selected
works of fine art, works of applied design, and works in crafts from African,
Oceanic, Central and South American, and emerging art communities;
ANV.04 - explain the
influence of aspects of social, cultural and political contexts, including arts
organizations, on the creation and understanding of fine art, applied design,
and craft works.
Specific
Expectations
TH1.02 - explain how
the technical approaches and the elements and principles of design found in a
specific work of art support the expression of ideas in that work and
contribute to its function;
TH1.03 - identify
the materials, techniques, and process used to produce art and applied design
forms intended for particular audiences;
TH2.01 - describe
aspects of the history of modern Western art and of selected forms of African,
Oceanic, and Central and South American art;
TH2.05 - describe
ways in which the media and content of some modern, contemporary, and
non-Western art forms reflect the changing roles of men and women in society;
CR2.04 - solve a
series of artistic problems, showing an awareness of formal qualities, visual
conventions, and relevant ideas and concepts;
CR3.03 - identity
and explain the reasons why the works included in their presentation portfolios
are the most appropriate works for inclusion;
AN1.01 - write
original comparative analyses of art works, using appropriate terminology;
AN1.05 - identify
influential contemporary artists whose art works reflect themes, techniques,
content, or cultural connections similar to their own;
AN2.02 - analyse the form, scale, and presentation strategies associated
with works of art intended for large audiences;
AN2.03 - explain orally or in writing, a variety of reasons for making
judgments about works of art;
AN2.06 - analyse
ways in which art work shapes specific identities or societies.
·
Issues of safety
and security should be discussed with students prior to their planning and
execution of their installation sculpture. Teachers must consult with school
and board officials about policy related to liability for installations either
within the school or off site.
·
The teacher
should try to provide a variety of resources on installation art for students.
He/she should also discuss the difference between installation art and simple
found objects. Emphasize the need for planning an assemblage of images, not
just filling space.
·
It is possible
for students to produce installation works as small as one foot by one foot. It
is the complexity of the images (the way in which they are arranged, the meanings
behind them, and the appropriate relationship between image and site) that
truly make this work an installation sculpture.
1. Searching the Source: In order for
students to do this activity they must keep a research journal. They research
magazine and newspaper articles on the status/condition of women in Canada.
Economic, social and political issues should be considered. Catholic Schools
should use Social Justice or Jubilee as themes. The teachings of the Catholic
Church, the Vatican, the Canadian Council of Catholic Bishops, and articles
from magazines and newspapers supported by the religious education staff at
your school are beneficial resources students could use to comment on important
issues for our Catholic Faith Community. The creation of an altar piece, a
liturgical item, or a piece mounted on a wall in the school chapel would all be
accessible to students in Catholic high schools, and should be encouraged. The
use of the installation work as a physical manifestation of our faith is a
powerful opportunity for mature students who wish to make a statement.
2. Claiming Your Territory:
Once students have their articles, they must choose a spot in the school that
will be the location for an installation sculpture. Works by Renee Van Halm,
Judith Schwartz, Jana Sterbak, Irene Whittome, Michael Snow, Collette Whiten,
and Louise Nevelson would provide a variety of examples. Student’s installation
sculptures do not have to be on a grand scale; rather it is the relationship between
location and the work that is of importance. If your school lacks safe display
space, students could be encouraged to create their installations off campus
and use photo-documentation to record the process and finished piece of work.
This would allow students to experience interaction in the community through
proposing, negotiating, and advocating for the arts in their school. If the
student’s display space is off campus, then they must use class time to produce
elements of the installation or the entire installation (which would have to be
dismantled and re-assembled). Once they have documented their work, they could
also use class time to affix pictures in an aesthetically pleasing format that
would convey the site, work, and meanings attached to both. The combination of
information from articles, answers from Activity 2, and the selected location
will be the basis for their theme.
3. Transforming
the Site: At this point students create and install their site-specific
sculpture. Students must have at least three parts in their installation: a)
found objects directly related to the status/condition of women; b) two
original creations made specifically for this location/work, and c) a
substructure on which to place all of these things. Students should be encouraged
to include works from Units 1 and 2 in their installation if they are
applicable. They should be warned about force fitting for the sake of filling
space. The principles and elements of design are strong tools needed for this
assignment. Students should be reminded about the purpose of the assignment and
should find a creative way to express their ideas. They should also be reminded
of their responsibility as image-makers and of the careful considerations that
need to be present in choosing images and objects for inclusion in their
installation.
4. Writing it Down: While creating their
installation, students should journal their findings, experiences, problems,
and areas of future work. When the work is placed in its location, a one-page
artist statement should be posted beside the installation with a response book
near it to dialogue with viewers. The response book helps the student interact
with a larger audience and simulate showing environments.
·
The final
evaluation for this activity includes a student self-assessment and a teacher
evaluation through a teacher-student conference.
·
The topic/theme
could be made less complex to meet the needs of students with learning
exceptionalities.
Apostolos-Cappadona,
Diane, ed. Art, Creativity, and the Sacred: An Anthology in Religion and
Art. Revised ed. New York: The Continuum Publishing Co., 1995. ISBN
0-8264-0829-X
Art of
the Western World Video set
Burnett,
David. Masterpieces of Canadian Art from the National Gallery of Canada.
Edmonton: Hurtig Publishers Ltd., 1990. ISBN 0-88830-344-0
Causey,
Andrew. Sculpture Since 1945. Oxford: Oxford University Press, 1998.
ISBN 0-19-284205-6
Farrell,
Anne, ed. Blurring the Boundaries, Installation Art, 1969-1996. Museum
of Contemporary Art, San Diego, Seattle: Marquand Books Inc., 1997. ISBN
0-934418-44-6
Reid, Dennis.
A Concise History of Canadian Painting, 2nd ed. Toronto: Oxford University
Press, 1988.
ISBN 0-19-540663-X
McMichael
Canadian Art Collection. Artists in the Arctic: Resource Package.
Kleinberg: Educational Services, McMichael Canadian Art Collection, 1996. ISBN
0-7778-5484-8
McMichael Canadian
Art Collection. Contemporary Art by First Nations Artists: Resource Package.
Kleinberg: Education Services, McMichael Canadian Art Collection, 1996. ISBN
0-7778-5485-6
1. What is the name and date of
the work?
2. What period of history is the
work from? What elements place it in that period?
3. What is the intent of the
work? Why do you think the artist did the work?
4. Give a description of the
composition and any unique aspects of the work?
5. What are some of the
principles and elements of design used here?
6. Has the work been used for
other purposes such as advertising, or decoration?
7. Can you find more than one
depiction of the same topic or subject? What are the names?
8. How does this work fit into
your research file?
9. Do you think this work could
help someone else in the class? If so, how?
10. Why did you choose this work?
Remember to keep
a picture of your chosen work and your research notes.
|
Student-Teacher Conference Form Student: |
|
What were your successes in this assignment? |
|
What would you like to continue to work on? |
|
What elements from other works or sources did
you use in this work? |
|
Where would you like to display this work? Is
it possible to do so? |
|
What are your next steps? |
|
How does this work fit into your portfolio
and university/college portfolio? |
Remember to bring
this form with you to your conference.
“Artists who work in
unconventional media such as installation function are the aesthetic explorers
of their generation, and they operate in territory well beyond the conventional
supply lines and safety nets of galleries and collectors” (Hugh M. Davies in Blurring
the Boundaries).
There are specific
aspects that need to be present in the creation of installation art works.
·
Intent, purpose,
and planning are vital to the impact of your work.
·
It has to inhabit
a physical space.
· Will it be indoors, or outdoors?
· Does it affect the flow of human activity?
· How will the viewer come to look at the work?
·
There has to be
some form of comment and connection in your work, based on what is happening
around you. Visual, historical, and social occurrences can be a source of
inspiration.
·
The work should
invite or challenge the viewer to become an active participant.
·
The work should
examine and challenge the traditional boundaries of visual arts displaying
practices.
·
Installation
pieces can involve sound dimensions, digital elements, performance aspects, and
inter-disciplinary synthesis (all of the arts) in an attempt to enhance the
viewing experience.
·
A successful
installation sculpture, when comprised of strong individual elements, can be
transformed into a unified statement on the exploration of topics and
traditions in visual arts.
|
Criteria |
Level 1 (50-59%) |
Level 2 (60-69%) |
Level 3 (70-79%) |
Level 4 (80-100%) |
|
Communication Use of equipment,
materials, and technology |
- uses equipment,
materials, and technology safely and correctly only with supervision |
- uses equipment,
materials, and technology safely and correctly with some supervision |
- uses equipment,
materials, and technology safely and correctly |
- demonstrates and
promotes the safe and correct use of equipment, materials, and technology |
|
Application of the creative
process (striving for originality, exploring alternative approaches) |
- applies the
creative process with limited effectiveness |
- applies the
creative process with some effectiveness |
- applies the
creative process with considerable effectiveness |
- applies the
creative process with a high degree of effectiveness, and with confidence |
|
Communication and expression of
ideas and information for different audiences and purposes |
- communicates and
expresses ideas and information for different audiences and purposes with
limited clarity |
- communicates and
expresses ideas and information for different audiences and purposes with
moderate clarity |
- communicates and
expresses ideas and information for different audiences and purposes with
considerable clarity |
- communicates and
expresses ideas and information for different audiences and purposes with a
high degree of clarity |
|
Thinking/Inquiry Making connections (e.g., between the arts and personal experience; and the world outside of the school) |
- makes
connections with limited effectiveness |
- makes
connections with moderate effectiveness |
- makes
connections with considerable effectiveness |
- makes
connections with a high degree of effectiveness |
|
Knowledge/ Understanding Understanding of
concepts, elements, principles, and theories connected to art Identifying the
intent and purpose of their installation sculpture |
- demonstrates
limited understanding of concepts, elements, principles, and theories - limited evidence
of intent and purpose of installation sculpture |
- demonstrates
some understanding of concepts, elements, principles, and theories - some evidence of
intent and purpose of installation sculpture |
- demonstrates
considerable understanding of concepts, elements, principles, and theories - moderate
evidence of intent and purpose of installation sculpture |
- demonstrates a
thorough and insightful understanding of concepts, elements, principles, and
theories - thorough and
insightful evidence of intent and purpose of installation sculpture |
Note:
A student
whose achievement is below Level 1(50%) has not met the expectations for this assignment
or activity.
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