Course Profile   Visual Arts, Grade 9 open, Public

 

Unit 1

 

Course Profiles are professional development materials designed to help teachers implement the new Grade 9 secondary school curriculum.  These materials were created by writing partnerships of school boards and subject associations.  The development of these resources was funded by the Ontario Ministry of Education and Training.  This document reflects the views of the developers and not necessarily those of the Ministry.  Permission is given to reproduce these materials for any purpose except profit.  Teachers are also encouraged to amend, revise, edit, cut, paste, and otherwise adapt this material for educational purposes.

 

Any references in this document to particular commercial resources, learning materials, equipment, or technology reflect only the opinions of the writers of this sample Course Profile, and do not reflect any official endorsement by the Ministry of Education and Training or by the Partnership of School Boards that supported the production of the document.

 

©Queen’s Printer for Ontario

 

Acknowledgments

 

Public District School Board Writing Team - Visual Arts

 

Lead Board

 

Upper Canada District School Board                 

Management Team:       Eleanor Newman                     

                                    Brenda King                            

                                    Dorothy Stewart

                                    Dona Cruickshank                    

 

Course Profile Writing Team                              Co-ordinating Partners

 

Susan Jones, Durham DSB                                Andy Ringlet, Renfrew County DSB

Bob Phillips, OISE University of Toronto            Marg Stewart, Limestone DSB

Don Marshall, Halton DSB                                Helen Beck, Hastings & Prince Edward DSB

Jan Tulloch, Halton DSB                                    Kit Rankin, Halton DSB

Alan R. Wilkinson, Limestone DSB                    Anne Clifton, Halton DSB

 

Unit #1 : The Need To Create

 

Activity 1 | Activity 2 | Activity 3 | Activity 4

 

Time: 22.5 hours

 

Unit Developers:

            Susan Jones, Don Marshall, Bob Phillips, Janice Tulloch, Alan Wilkinson

 

Development Date: April, 1999

 

Unit Description

This is the first of five units for the grade nine course of studies.  The following chart illustrates how this unit develops the strands outlined in the Ontario Curriculum, The Arts, grades 9 and 10, 1999, utilizes the resource journal throughout the unit, addresses three essential questions for teachers to address in lessons, suggest assessment and evaluation strategies, and outlines the activities for the unit.

 

 

UNIT 1: The Need to Create

22.5 hours

Content Focus

Analysis:      discussion of the essential questions, recording information,                    drawing, observation

Creation:      drawing, ceramic sculpture

Theory:        explore Canadian Regionalism, deconstruct symbols, learn                    about design elements and principles, view and discuss                    Prehistoric art

Resource Journal

Reflection about aesthetics; planning; data collection; note taking; drawing; research about artists; research about techniques

Essential Questions

•  Why does art matter? (reflection)

•  What is art for? (production)

•     Where does art come from? (context)

Assessment Strategies

(observable data)

•     Checklists, anecdotals, attendance and lates, work habits, critiques -       see Appendix E

Evaluation Strategies

(assigned marks)

•   Scoring rubrics and scales, exams, etc. - see Appendix E

Activities

•     Activity 1: Time Capsule (6 hours)

•     Activity 2: A simple clay object (3.5 hours)

•     Activity 3: Investigating Artifacts (4 hours)

•     Activity 4: Grotesque Goblet (9 hours)

 

Strands & Expectations

 

                Strands:           Theory, Creation, Analysis.

               

                Overall Expectations:            VCV.01X-4X; VAV.01X-3X; VTV.01X-4X

           

            Specific Expectations:            VA1.01X-4X; VT1.01X-2X; VT2.01X-3X; VT3.01X-4X;  

                                                            VC1.01X-3X;  VC2.01X-6X; VC3.01X-3X

 

Unit Planning Notes

 

•     The Resource Journal should be introduced as a vital visual, thinking, planning and drawing component of this course, and is a resource that will continue to be important throughout the student’s high school career as an artist. See Appendix B.

•     Early planning and acquisition of quality slides and/or reproductions are suggested as the variety of images used in lessons has a significant impact on the success of an activity.

•   The units and the activities in this course are sequenced so that student learning can be maximized.

•   Teachers will need to plan lessons sequentially so that smooth transitions can be made, connecting one activity to the next.

•   Lessons need to be tailored to meet the needs of individual students within a class.

•   Find a prominent place in the classroom to post the three essential questions so that teachers can easily refer to these questions throughout the unit.

 

Prior Knowledge Required

 

(from: The Ontario Curriculum, Grades 1 - 8, 1998)

Students should be able:

•     to demonstrate how the repetition of elements of design creates rhythm which unifies the composition;

•     to show how the elements of design are used to create areas of emphasis;

•     to organize the elements of design to create symmetrical and asymmetrical balance in compositions;

•     to choose which tools, materials and techniques appropriate to the size, scope and intent of an art work;

•     to organize their art works to create a specific effect using at least two of the elements of design;

•     to produce two- and three-dimensional works of art that communicate a range of thoughts, feelings, and experiences for specific purposes;

•     to describe the main idea that they wish to communicate and the decisions that they have made to support that message;

•     to identify strengths and areas for improvement in their own work and that of others;

•     to describe how artists representing various periods, styles and cultures have used similar materials, tools and principles of design for a variety of purposes;

•     to explain how the effective use of the elements and principles of design contributes to an art work’s ability to communicate feelings, convey ideas and enrich people’s lives;

•     to explain their preference for specific art works, with reference to the artist’s use of the principles of design and their understanding of the ideas and feelings expressed in the work.

 

Teaching/Learning Strategies

 

The Teacher will make the following considerations in teaching and learning strategies:

•     be mindful that The Time Capsule project provides the first contact that a student has with secondary level visual arts;

•     take extra care in establishing creative, inclusive, and welcoming protocols in the classroom,

•     model behaviours that allow students to be artists;

•     model that being an artist is a fundamental human response to the world that is based on thinking, feeling, and expression;

•     model for students, that art is not an elitist activity based on talent or secret codes;

•     give clear expectations that communicate what a student’s personal best effort can be, the importance of homework, and the need to respond thoughtfully to design challenges;

•     display student work in the classroom to help build a sense of belonging and pride in effort;

•     address different student learning styles through the lessons taught, so that student learning can be maximized;

•     use a variety of teaching strategies; (See Appendix D)

•     take opportunities to make career connections to the context of the unit;

•     allow for the development of the student portfolio; (See Appendix C)

•     take into account, individual student needs in the planning of lessons; (See Appendix I).

•     incorporate critical thinking skills into lessons. (See Appendices F, G, H, J, K)

 

Assessment/Evaluation

 

•     Time Capsule drawing should be assessed with an unsatisfactory/satisfactory scale to ensure early validation of student work - no mark assigned.  This assignment serves as a diagnostic instrument for assessing previously learned drawing skills.

•     Critiques, and display of Time Capsule drawing should take place.

•     Bi-weekly written feedback from the teacher to students regarding the Resource Journal should take place. See Appendix B.

•     See the list of questions in Appendix L as a tool for looking at objects.  This assignment serves as a diagnostic instrument for assessing student writing competency.

•     A four level achievement rubric for a Simple Clay Object activity can be used. Marks can be assigned.  See Appendix M for a sample rubric.

•     Appendix M is a sample of a four level achievement rubric for the Grotesque Goblet. The following features are evaluated: drawing and preparatory studies, expression of the grotesque, structural integrity, originality/personal expression.

 

 

Activity #1 : Time Capsule

 

Time:             6 hours

 

Description

 

Students will examine and discuss personal items, art reproductions, and the production of art work, to gain an understanding of where art comes from and why art matters.  Students will exhibit their work and they will discuss the purpose and range of work displayed. An understanding of the concept of the art exhibition will develop through critiques and activities developed around critical thinking.

 

Strands and Expectations

 

            Strands:  Theory, Creation, Analysis

                  

            Overall Expectations

            At the end of grade 9, students will:        VCV.01X-4X; VAV.01X-3X; VTV.01X-4X

           

            Specific Expectations:           

            Students will:     VA1.01X-4X; VT1.01X-2X; VT2.01X-3X; VT3.01X-4X; VC1.01X-3X; VC2.01X-6X; VC3.01X-3X

 

Planning Notes

 

•     The teacher may modify activities according to the level of readiness and ability of the students.

•     Visual resources should include images that demonstrate a variety of art styles and periods.  These can be in the form of art postcards, fine art calendars, textbook illustrations, overheads, slides, the Internet, or CD ROMs.

•     This may be the first experience with studio in art for some students since the previous year.  Practice drawing techniques are designed to help students see things as a whole, rather than aiming for technical mastery.

•     Teachers should have a variety of objects for still life drawing available in the room.  Students can also bring in significant objects that go beyond plants and vases.

•     Drawings can be done on the computer after more traditional practice and can then compared (suitability in capturing likeness, style, mood etc.)

•     Ensure that the three essential questions are posted in the classroom, for easy access while teaching.

 

Prior Knowledge Required

 

See unit overview.

 

Teaching/Learning Strategies

 

1.   (1 hour).  A Time Capsule is a container for preserving records and artifacts of the life of an

      era, deposited for study by people in the future.  For the purpose of this unit, the selection and

      storage of images to be considered at a later date can be simulated using the initial drawings that

      students do in this unit.  The teacher should collect samples of student art work and store them

      away until the conclusion of the course, when they are all re-examined by their creators.

      Students can compare these earlier drawings to their subsequent work in order to see personal skill

      development and growing sophistication in their use of subject matter and creative thinking.  Of

      course, this approach is directly connected to portfolio assessment practice.  See Appendix C.

 

      (a)  Ask students to think of three personal belongings they would place in a time capsule that

            would reflect life as they know it. Have them explain their choices.

 

      (b)  Have students work in pairs with selected reproductions of artworks and ask them to choose

            three works that they would include in the time capsule, using similar criteria as above. Have

            each pair share their deliberations with the class.

 

      (c)  Students, with the assistance of the teacher, must group and categorize the chosen

            reproductions (i.e. referring to design elements or principles, subject matter, style etc.) This

            will get students analyzing artworks  and developing criteria for critical thinking  in art. See

            Appendix H.

 

      (d)  Extensions:  Teachers may design a lesson to make the connection between this grouping

            activity, and jobs in an art gallery or museum. The occupations of curator and exhibition

            preparatory could be examined.

 

      (e)  As curators of their own time capsule, students will be asked to draw a personal item to

            include in the time capsule. (See subsequent drawings’ activities 2 and 3).

 

2.   Studio: Drawings from Objects (“Not-so-Still Life”) (2 hours)

“To understand the fascination that objects have had for the [artist], it helps to examine a few of our own fundamental attitudes.  No one is neutral toward objects.  Aside from the specific function for which an object has been made, its continued use and the mind’s tendency to make analogies have often invested it with multiple associations or symbolic purpose . . . Since the objects are . . . imitations, they cannot be touched or used; we are obligated to appreciate them solely with our eyes, thus experiencing them in a new way.  Probably the first time, we become aware of an object’s colour, shape, volume, texture, and surface reflection of light - the aesthetic properties that commonly unite the interest of artist and viewer.” (Albert Elsen, Purposes of Art, p. 299)

As the above quote infers, the following activities focus on recording objects or artifacts through the medium of drawing.  Students are encouraged to sharpen their powers of perception and observation by recording things as they see them, but also are motivated to go beyond the mere imitation of appearances by drawing from their imaginations and personal experiences.

 

(a)  Contour Drawing.  (1 hour)  Drawing the surface edges, or contours, of an object is called contour drawing.  It requires close observation and concentrated focus.  Students should be familiar with this approach  from grade 8 visual arts, but a demonstration should be conducted to establish technical procedures.  Have a variety of eye-catching and unusual objects available for drawing.  After executing 1 - 2 minute warm-up gesture and structure drawings, have students do sustained contour drawings of their chosen object(s).  Design: Stress variety of line use to capture details and surface qualities.  Extend this assignment by having students use their imaginations to place the object in an unusual environment (i.e., within dense jungle growth; sitting in a gigantic hand; inside someone’s open mouth).

 

(b)  Value Drawing.  (1.5 hours)  Drawing something to look realistic uses an approach called imitationalism.  Here artists focus on the literal qualities of the objects they observe.  (Show students examples of drawings or paintings by Canadian artists Ken Danby, Alex Colville, Jack Chambers, Mary Pratt or John Hall.)  They do this by carefully imitating the proportions and light-reflecting qualities of objects.

 

Review techniques for creating values (highlights, middle tones, shadows, hatching, shading) and creating tonal gradation in drawings, as well as appropriate choices of media (2B pencils versus HB).  Remind students about beginning with a light, simplified underdrawing to assist with placement of shapes and definition of structure.  Design: emphasize the use of values in defining form and surface qualities.  Allow students to select another object as their subject matter.  Have them render this object, paying particular attention to the imitation of appearances.  However, allow them to use their imaginations in order to show this object in a “new” or unique way.  Some suggestions are:

•     draw the object so that its size and shape are contrary to the orientation of the paper (e.g. vertical subject on a horizontal sheet of paper)

•     two popcorn kernels magnified so they occupy the entire sheet of paper (in charcoal)

•     repeat the same object on the paper, but viewed from different perspectives

•     wrap the object in tissue paper or cotton fabric and draw it that way

•     cover the entire sheet of paper with charcoal and draw with an eraser, revealing the lighter values of the paper underneath

•     use vivid colour behind the object to make it “pop out” of the foreground

Students can produce rough sketches in their journals, experimenting with various viewpoints, placements, and light sources.  Do the final version on cartridge paper in their choice of medium.

 

(c)  Resource Journal.  Have students do a drawing of an object at home using any technique (contour or value study) or drawing medium (pencil, charcoal, coloured pencil, computer).  This drawing will later be included in the class time capsule.

 

3.   Wrap-Up & Critique.  (.5 hours)  Organize a class critique of the selected time capsule drawings; display one drawing for everyone in the room.  Students explain their choice of subject matter, medium, and technique; the class discussion involves comparing works by looking at individual drawing styles or by analyzing the different perspectives and viewpoints taken by individuals.  The purpose of a critique in grade 9 is to highlight the positive accomplishments of individuals and indicate instances of developing skills.  The critique should not be used as a forum to insult, belittle or point out weaknesses in any one person’s work.  The teacher should endeavor to build self-esteem and pride in accomplishment.

Drawings can be hung as an exhibition and later included in the time capsule.  The teacher can help students understand the purpose and range of an art exhibition.  Some suggestions for the time capsule: it can be buried; added to a larger school-wide project; opened upon high school graduation; etc.  Get student input about what they would like to do with this project.

 

Accommodations

 

•     Pair or group students to assist with tasks.

•     Review an outline for elements and principles of design.

•     Use a tape recorder or computer as an alternative to written responses.

•     Structure the drawing choices so that there are fewer decisions to make for those students who have problems with making decisions.

•     See Appendix I.

 

Assessment/Evaluation

 

•     Contour and tonal drawings can be assessed using the following categories: unsatisfactory, satisfactory or by using four levels of achievement, on a simple rubric.

•     Positive feedback is critical in this introductory unit.

•     Drawings produced should be included in a student portfolio. (Originals are kept and copies are placed in the time capsule).

•     Criteria for the Time Capsule Drawing should be designed by the teachers and students.

•     Criteria needs to be designed for choosing time capsule contents (first unit activity).

 

Health and Safety

 

•    Students with respiratory problems should avoid using charcoal.

•     Charcoal should be wrapped with paper towel for students with skin allergies.

•     Students using a computer for drawing should assume proper sitting position and proper distance from the monitor.

 

Resources

 

Borgeson, Bet.  The Coloured Pencil.  New York: Watson Guptill (1983) ISBN 0-8230-0742-1

Brommer, Gerald F.  Discovering Art History.  Worcester, MA. Davis Publications (1988)

ISBN:0-87192-190-1

Brommer, Gerald F.  Exploring Drawing.  Worcester,MA. Davis Publications (1988)

ISBN: 87192-190-1

Edwards, Betty.  Drawing on the Right Side of the Brain.  Los Angeles: J.P.Tarcher, Inc. (1979) ISBN: 0-87477-088-2

Hobbs, Jack.  The Visual Experience.  Worcester Ma. Davis Publications (1991)

ISBN: 0-87192-226-6

Janson, H. W.  History of Art for Young People.  New York: Abrams (1971)

Kaupelis, Robert.  Experimental Drawing.  New York: Watson Guptill (1980) ISBN: 0-273-01512-5

Leleand, Nita.  The Creative Artist.  Cinncinati: North Light Books (1990) ISBN: 0-89134-465-9

Mittler, Gene & Howze, James.  Creating and Understanding Drawings.  New York: MacMillan/McGraw-Hill (1995) ISBN: 0-02-662228-9

Nicolaides, Simon.  The Natural Way to Draw.  Boston: Houghton Mifflin (1975)

ISBN: 0-395-20548-4

Simmons III, Seymour & Winer, Marks S.A.  Drawing the Creative Process.  New York: Prentice Hall (1986) ISBN: 0-13-219378-7

Strickland, Carol.  The Annotated Mona Lisa.  Kansas City: Andrews & McMeel (1992)

ISBN: 0-8362-8005-9

 

 

Activity #2 : A Simple Clay Object

 

Time:             3.5 hours

 

Description

 

Students will examine art reproductions in order to recognize similarities and differences among images and objects.  The essential question “What is art for?” will lead to an understanding of functional and decorative purposes for art.  Students will create a small ceramic vessel that will be decorated with various motifs made by other members of the class.  Students will give attention to combining and placing simple shapes.  The vessel will be finished by further extending the design, as suggested by the motifs, and thoughtfully placing other decorative elements, for example, texture by carving in, and colour, by glazing, to create a stylized design.

 

 

Strands and Expectations

 

                Strands:           Theory, Creation, Analysis.

          

            Overall Expectations:

            At the end of Grade 9, students will:       VCV.01X-4X; VAV.01X-3X; VTV.01X-4X

          

            Specific Expectations:

            Students will:     VA1.01X-4X; VT1.01X-2X; VT2.01X-3X; VT3.01X-4X; VC1.01X-3X; VC2.01X-6X; VC3.01X-3X

 

Planning Notes

 

•     The medium of clay is often introduced later in a course, after the teacher is familiar with students and routines have been set.  Because of its tactile, immediate nature it is enthusiastically received by students.  By introducing it early on, the teacher can fully engage students early in the program and students have a chance to think/produce three-dimensionally.  If the timing isn’t suitable or facilities don’t allow for clay, papier maché can be substituted.

•     Arrange the following materials well in advance: boards for projects, rolling pins/ dowels, plastic sheeting and plastic grocery bags, a collection of old kitchen utensils (e.g. knives and forks for cutting and manipulating clay, 10 litre pails for storage and disposal of slip and scraps of clay).

•     Finished samples of hand-building techniques (pinch, coil, slab) are useful for the demonstration.

•     Establish clean-up routines for working surfaces and tools.  Proper hygiene dictates that hands must be washed thoroughly after handling clay.

 

Prior Knowledge Required

 

See unit overview.

 

Teaching/ Learning  Strategies

 

1.   (a)  (.5 hours).  Building on the previous experiences of looking at artworks during the Time Capsule activity, ask students to consider why they look at art.  Have them share responses in small groups.  Pose the Question: “Why doesn’t everyone’s art work look the same?”  Record group responses.  Look for responses that indicate ideas about uniqueness, personal skill levels, varying reasons for creating art or design objects, different contexts, varied backgrounds and cultures of the artists, etc.

 

(b)  Give groups an assortment of art reproductions.  Ask students to sort them according to similarities that they perceive and agree on.  (See Appendix H, “Categories” exercise).  Have students share their thinking and explain how they categorized their images.  This is their criteria.  Summarize group insights by highlighting the complexity and distinctiveness of artistic activity.  At this point, the essential question “What is art for?” can be introduced for later consideration.  (Essential questions could be prominently posted on a bulletin board or hand written on a separate section of the black board, to remain until the end of the unit.)

 

2.   (a)  Clay Vessels.  (3 hours).  Introduce this ceramics exercise by showing samples of pottery and other functional clay works.  Readdress the essential question “What is art for?”  Facilitate a brief discussion on the functional nature of specific pieces of pottery, containers or vessels.  (Why is a tea pot designed differently from a vase?)  Students should understand that works of art and design are sometimes made to be useful and practical, to assist us in our daily lives.

 

(b)  Demonstrate essential hand-building techniques: pinch pot, coils, slabs.  Review the properties and stages of earthenware clay (i.e., plastic, porous, leather hard, greenware, bisque) and how to join clay sections (slip and score).  Have students design and form a simple clay container/vessel using one or a combination of these demonstrated methods.  Keep the dimensions of these reasonably small; something that could easily be held in one hand.  Once this is completed, cover with damp paper towels and wrap in plastic to keep the clay workable.

 

(c)  As a second stage to this project, introduce them to the term “motifs” and discuss its meaning.  Show examples of motifs (design fragments) from among the art reproductions that were used previously.  A motif can be a geometric or free-form shape, an animal or a human inspired space (i.e., hand, foot, eye, lips, ear), an abstract configuration of design elements (i.e., zig-zag line, a diamond, a letter/number form, a spiral, a crescent, a star).  A motif usually constitutes a smaller part of larger designs or patterns; a motif can be used to decorate or embellish a surface, to make it less plain, and more visually interesting.  Examples of decorative motifs on pottery, textiles, architecture, and in graphic design can illustrate this concept.

 

3.   Design:  This is a perfect opportunity to review the design principles of rhythm, and associated concepts of pattern, unity, and variety.  Using fresh clay, direct students to create one motif design, but reproduce it in multiples of 10 (or 15, depending on the number of students in the class).  Each student should produce one motif that is identical.  (Students could work out their ideas on paper first.)

 

      Once everyone is finished, explain that all students will have an opportunity to “shop and swap”, to choose other’s motifs to decorate the surface of the clay vessel.  Set a limit on the number of motifs each student can select.  Once they have done a walkabout in the classroom, they can retrieve their ceramic vessel and begin attaching their newly acquired motifs to the exterior surface.  Encourage students to further embellish and shape their vessel as they attach their motifs.  This is a good opportunity to discuss unity with the students.  They can use the added embellishment to unify the motif with the vessel as a part of the design.  The principle of contrast can also be highlighted.

 

      Once fired, these vessels can be glazed, decorated with watercolours and Prismacolour pencils, or painted with acrylics.  Under glazes and stains can be used when the clay is leather hard.

 

Accommodations

 

•     Pair or group students to assist with tasks (e.g. write/transcribe choices for selection)

•     Use of computer to assist with writing tasks.

•     Have posters and examples available when reviewing design elements and principles.

•     Partner students to assist with clay construction.

•     See Appendix I.

 

Assessment/Evaluation

 

•     Participation in group discussions, peer evaluations and critiques.

•     Rating scale with criteria for design of finished vessel (e.g. proper construction, proper joining, quality of student’s personal motif, originality, unity of the vessel design, thought and planning.)  See Appendix M as a sample.

 

Health and Safety

 

•     Wet sandpaper and sponges must be available to reduce clay dust.

•     A pair of latex and a pair of non-latex gloves should be available for students with skin allergies.

•     Plan strategies for the complete daily clean-up of the studio after each lesson.

•     Arrange glazing area so that students do not directly touch the glazes.

•     Substitute other techniques for decoration: painting with acrylics; staining with watercolours.

•     Students should not have access to the kiln during firing.

 

Resources

 

Brommer, Gerald F.  Discovering Art History.  Worcester, MA. Davis Publications.(1988)

ISBN: 0-87192-190-1

Berensohm, Paulus.  Finding One’s Way with Clay.  Biscuit Books (1997) ISBN: 0-96577-730-8

Fournier, Robert.  Illustrated Dictionary of Practical Pottery.  Radnor PA: Chilton Book Co. (1992) ISBN: 0-8019-8248-0

Janson, H. W.  History of Art for Young People.  New York Abrams (1971)

Kenny, John B.  The Complete Book of Pottery Making.  Radnor PA. Chilton Books (1976)

Nigrosh, Leon.  Claywork.  Worcester, MA. Davis Publications (1986) ISBN: 0-87192-173-1

Trevor, Henry.  Pottery Step by Step.  New York: Watson-Guptill. (1966) ISBN: 0-8230-4225-1

Richter, Gisela M.A.  A Handbook of Greek Art.  London: The Phaidon Press (1959)

Zakin, Richard.  Hand-Formed Ceramics.  Radnor PA: Chilton Book Co. (1995)

ISBN 0-8019-8805-6

Zakin, Richard.  Electric Kiln Ceramics.  Iola WI: Krause Publications (1994) ISBN: 0-7136-4011-1

 

 

Activity #3: Investigating Artifacts

 

Time:             4 hours

 

Description

 

By examining a contemporary object and an older artifact, and using the “14 Questions for Looking at an Object” (see Appendix L), students will recognize how we acquire cultural knowledge from studying art.  They will continue to explore further purposes for art and the essential question “What is art for?”  This archeological approach to images and objects will lead to an analysis of prehistoric art and ancient artifacts.  A descriptive drawing activity will allow students to practise basic representational drawing skills and apply inquiry questions to unfamiliar objects.

 

Strands and Expectations

 

            Strands:           Theory, Creation, Analysis.

 

            Overall Expectations:

            At the end of Grade 9, students will:       VCV.01X-4X; VAV.01X-3X; VTV.01X-4X

 

            Specific Expectations:

            Students will:     VA1.01X-4X; VT1.01X-2X; VT2.01X-3X; VT3.01X-4X; VC1.01X-3X; VC2.01X- 6X; VC3.01X-3X

Planning Notes

 

•    Visual resources should include reproductions from a variety of styles and periods.  These could be art postcards, fine art calendars, textbooks, overheads, slides, the Internet and CD ROMs.

•     The resource journal can be developed in a variety of ways for this activity.  See Appendix B.

•     This activity allows students to view art and artifacts.  See Appendices F, G, H, J, and K for lesson design suggestions.

•     A time line would be a helpful classroom resource.  This can be made by the teacher, the students, or purchased for display.

•     Involve students in hands-on activity-based lessons when delivering the Art History component.

•     Lesson plans should address a variety of learning styles.  See Appendix D.

                                                                         

Prior Knowledge Required

 

See unit overview.

 

Teaching/Learning Strategies

 

1.   (a)  (1 hour).  Show students a contemporary, commonly used item (e.g. C.D.; jewel case; baseball cap; plastic water bottle) and something much older, and not commonly used (e.g. apple peeler; typewriter; shoe tree; washboard) or an antique object or artifact from another culture.  (Try to select something with which most students will be unfamiliar).  Ask students what these objects are and what is their intended purpose.  As a guide for inquiry, use “14 Questions For Looking At An Object” (see Appendix L).  Ask students to examine these objects and determine what they can deduce about the people or cultures that created these objects.

 

(b)  Revisit the essential question “What is art for?”  Lead students to consider the possibility that art/design can tell us something about the cultures that create them; art can be an historical record.  Ask students to consider why we know so much about cultures of the past?  What kind of things are housed in museums?

 

2.   (a)  Show students images of contemporary graffiti on buildings.  Have them apply the “14 Questions For Looking At An Art Object” (see appendix L) to these images.  What can you determine about people who made these and what can you determine about their culture?  In this instance “What is art for?” (See the essential questions for this unit).  Many possible responses could include self-expression, decoration, as a show of defiance, or as a demonstration of power, for defining or marking a territory, as a means of communication with others, etc.

 

(b)  (1 hour).  Introduce students to examples of prehistoric cave art painting (e.g. Lascaux and Chauvet, France; Altimira, Spain).  Have them compare and contrast these images to the graffiti.  Use the “14 Questions For Looking At An Art Object” (see Appendix L) or other critical thinking suggestions in the appendix (see Appendices  F, G, H, J, K) to assist in inquiry.  Provide some background information about why these images might have been created.  Revisit and apply the essential question.  Have students make notes about these cave paintings.  Extensions: Recreate the setting for the cave image by making the classroom as dark as possible, and gathering students into small, cramped space or under tables to simulate the cave.  Project the slide images or line drawings on an over head, onto a classroom wall.  The second essential question “Where does art come from?” could be used as the heading of a chart or mind map.  Students could have this drawn up in their notebooks for recording art historical information.  Collaborating with students on an appropriate note taking format would be helpful.  This would also be an opportunity to introduce students to the concept of an historical time line.  (Some consideration of time demarcation is necessary, i.e. What is prehistory?  What does B.C. mean?)  Other artifacts could be presented, such as Venus of Willendorf or Stonehenge, for further inquiry.  Design: Aspects of line, shape, texture, and value should be discussed and researched.

 

(c)  Extend the history inquiry by showing students examples of Greek or Etruscan vase painting.  (Connections with the small clay vessels made in the previous activity can be made.)  Ask them what they can learn about the Greeks by examining these images.  Provide access to background information about ancient Greece. Include placing this culture on the historical time line.

 

3.   (2 hours).  As a summary activity, students can do an “artifact” drawing of something from home that would not be easily identified by the majority of the class.  This drawing should be objective and representational.  It should look like the real object.  Students should aim to create the illusion of three dimensional space in their drawing.  They will need to use lights and darks to create shading, and expressive varieties of lines.  After drawings are finished, they can be displayed.  This information sharing time can be turned into a game. In small groups, other students must attempt to determine, through questioning that allows for only “yes” or “no” responses, exactly what the drawing represents.  The teacher can turn this into a simulated TV game show format.  Extension: If students do not have access to objects at home, this exercise could be done in conjunction with a trip to a local museum or through library research.

 

Accommodations

 

•     Pair or group students to assist with tasks.

•     Refer to Student’s Educational Plan for individual modifications.

•     See Appendix I.

 

Assessment/Evaluation

 

•    See the sample scale in Appendix M. A similar model could be developed for the sketch.

•     Self-evaluation and reflection sheets work well with this activity.

•     The Resource File can be a good source for assessment in this activity.  Assessment tools should be designed and given to students prior to the start of the activity.

•     See Appendix E.

 

Resources

 

Brommer, Gerald F.  Exploring Drawing.  Worcester, MA. Davis Publications (1988)

ISBN: 87192-192-8

Brommer, Gerald F.  Discovering Art History.  Worcester, MA.  Davis Publications  (1988)

ISBN: 0-87192-190- 1

Grand, Paul Marie.  Prehistoric Art - Paleolithic Painting and Sculpture.  (1967) Greenwich CT. New York Graphic Society.

Hanfmann, George M.A.  Roman Art: A Modern Survey of the Art of Imperial Rome.  Greenwich CT. New York Graphic Society (1964)

Nicolaides, Simon.  The Natural Way to Draw.  Boston: Houghton Mifflin (1975)

ISBN: 0-395-20548-4

 

 

Activity #4: Grotesque Goblet

 

Time:             9 hours

 

Description

 

Students will demonstrate an understanding of functional and decorative properties in three-dimensional design.  This project provides students with the opportunity to advance their skills in ceramic hand-building techniques problem-solving by creating a Grotesque Goblet.  Students discover the meanings of the word “grotesque” in art, visual attraction, and aesthetic appeal.  Students then design a three-dimensional container that employs grotesque decoration and embellishment.  The essential question “Where does art come from?” will be addressed as students contemplate personal reasons for artistic production.

 

Strands and Expectations

 

Strands:           Theory, Creation, Analysis.

 

Overall Expectations:

At the end of Grade 9, students will:       VCV.01X-4X; VAV.01X-3X; VTV.01X-4X

 

Specific Expectations:

Students will:     VA1.01X-4X; VT1.01X-2X; VT2.01X-3X; VT3.01X-4X; VC1.01X-3X; VC2.01X- 6X; VC3.01X-3X

 

Planning Notes

 

•     Teachers need to assemble the following equipment: individual boards for projects, plastic sheeting, plastic grocery bags, old kitchen utensils (knives, forks, spoons),dowels/rolling pins, 10 litre plastic pail for slip and clay scraps.

•     Plan strategies for the complete daily clean-up of the studio after each lesson using clay.

•     Arrange the classroom into appropriate areas for glazing, recycling clay, tools, clay distribution, tools distribution, water and buckets area.

•     This activity provides opportunity for cross-curricular connections and extensions to literature (i.e., horror, comics).

 

Prior Knowledge Required

 

See unit overview.

 

Teaching/Learning Strategies

 

1.   (a)  (.5 hours)  Cultures have used grotesque imagery and decoration for centuries to influence, scare, or to confer special meaning on buildings, sculpture, paintings, and so on. Begin this final section of the unit by assigning the following questions for personal or group response:

 

•     What does “grotesque” mean?  Give at least three other words that mean the same as grotesque (synonyms).  Check a thesaurus.  (The Gage Canadian Dictionary on CD that is a part of McClelland & Stewart’s 1998 Canadian and World Encyclopedia is a useful tool for students to delve into meanings, synonyms, and related words such as “gothic” and “gargoyle”).

•     What kinds of things are grotesque or fantastic?  Brainstorm a list of different things, human, animal, and inanimate (minimum of 20 items). What do we mean when we use  words such as “grotesque”?

•     Can something that is irregular and frightening to one person be attractive and appealing to someone else?

      Explain using a specific example.  All responses are to be written in complete sentences in the Resource Journal for checking the following day.

 

(b)  (1.5 hours)  Discuss reactions to these questions.  Guide students to consider the idea that forms of distortion or exaggeration from realistic appearance can be visually appealing and attractive.  Issues raised by these questions are really getting at individual aesthetic reactions to works of art.  This can lead into discussion raised by the essential question; “Where does art come from?”, by discussing how cultures have used grotesque decoration to scare or confer special meaning on buildings, artifacts, totem poles etc.  The perception that emotions like fear and feelings of disgust or horror are genuine and valid reactions to works of art should be considered.  As an example of this, look at the role of the grotesque in the medieval period as an embellishment on a building used to scare off evil spirits.  For points of comparison, show students contrasting images like a Monet garden scene or Dutch 17th century genre painting and Bosch’s “Hell” from “The Garden Of Earthly Delights”, Max Beckmann’s “Departure” or one of Goya’s nightmarish images.  Use some of the “Language of Art” (see Appendix K) for structuring discussion.  The discussion can conclude by once more raising the essential question: “Where does art come from?”

 

2.   The Grotesque Goblet.  (7 hours).  Provide students with a description of this culminating assignment.  This hands-on experience with ceramic construction will afford them the personal means of expressing their notions of the grotesque and the fantastic.  The assignment instructions should include a description of the design problem, expectations, technical procedures and methods, and an evaluation criteria (see Appendix M for a sample assessment tool).  The design challenge should stress the open-ended personal response nature of this assignment.  Although the goblet form (bowl supported by stem and foot) is suggested, other functional containers are acceptable, including a pot, bowl, vase, pitcher or mug.

 

      Subject matter can include human-like, animal, or wholly imaginary creatures, with emphasis on the grotesque appearance of the final design solution.  Provide a rich visual environment to stimulate thought.  The fanciful gargoyles of Medieval churches, paintings by Archimboldo, the Surrealists, and Haida or Inuit sculptures and graphic images are some examples for imagery sources.  Your students will undoubtedly have many of their own sources for fantastic and grotesque imagery as found in popular culture, but use some discretion with these.  See Appendices F, G, H, J, and K to assist with historical discussion.

 

      Have students begin by generating preparatory drawings in their Resource Journal.  Sources for visual research can include books, comics, magazines, on-line resources, etc.  Design: Students should be directed to achieve a balance of form in their container designs, and emphasize textural variety and contrast in decorative surface details.  Ultimately, the grotesque attachments must be integrated into the container, both inside and out.  A repeat demonstration of basic hand-building techniques may be necessary (see Activity #2).  Students will probably require three or four class sessions to complete this sculptural container.  Remind them to keep their clay well wrapped to prevent premature drying during construction.  Once fired, these ceramic pieces may be glazed or painted with colours and textures that enhance their overall grotesque appearance.  Students should complete a self-evaluation in order to reflect on both their working process and the final product.

 

Accommodations

 

•     Partners to transcribe and help construct

•     Photocopies of overhead transparencies provided for students unable to transcribe

•     Permission to print pages from CD dictionaries

•     Tape recorder for recording ideas and answers

•     Peer tutors or educational assistants to assist with clay building

•     Computer(s) with Paint and Draw software to accommodate students unable to reach or grasp

•     See Appendix I.

 

Assessment/Evaluation

•     See rubric for assessment in The Ontario Curriculum, Grade 9 and 10, The Arts, 1999, pages 60-61.

•     Resource Journal should be a major assessment tool for this activity, and might include “Viewing Art” and “Critical Thinking” activities, self and group evaluation forms, and preliminary sketches.

•     See Appendix E.

 

Health and Safety

 

•     Wet sandpaper and sponges must be available to reduce clay dust.

•     A pair of latex and a pair of non-latex gloves should be available for students with skin allergies.

•     Glaze area should be set up so students do not have hands touching the glaze or breathe in glaze.

•     Kiln barriers must be in place if the kiln is in the classroom. This area is out of bounds for students.

•     Adequate ventilation must be provided for the kiln.

 

Resources

 

Books:

Berensohm, Paulus.  Finding One’s Way with Clay.  New York: Simon & Schuster (1972)

ISBN: 0-671-21763-1

Kenny, John B.  The Complete Book of Pottery Making.  Radnor PA. Chilton Books (1976)

Nigrosh, Leon.  Claywork.  Worcester, MA. Davis Publications (1986) ISBN: 0-87192-173-1

Trevor, Henry.  Pottery Step by Step.  New York: Watson-Guptill (1966) ISBN: 0-8230-4225-1

Richter, Gisela M.A.  A Handbook of Greek Art.  London: The Phaidon Press (1959)

Zakin, Richard.  Hand-Formed Ceramics.  Radnor PA: Chilton Book Co. (1995)

ISBN: 0-8019-8805-6

Zakin, Richard.  Electric Kiln Ceramics.  Iola WI: Krause Publications (1994) ISBN: 0-7136-4011-1

 

CD ROMs:

Canadian Treasures, Telefilm Canada.  1-800-665-0667.

Ancient Message, Syn Forest.  http://www.synforest.com

Totem Poles, Museum of Civilization.  http://www.cmcc.muse.digital.ca

 

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