Title: Water Resist Landscape
Grade Level(s): 2-5 Suggested Time: 1 class period Unit: African Art Medium: Watercolor paint & crayons Instructional Objectives:
Principles of Design: Balance, emphasis, and unity. Materials and Equipment: Pencil, crayon, watercolors, 12x18" multi-media white paper, water cup with water, paper towels. General Vocabulary: Horizon line, foreground, middleground, background, Savanna. Art Production:
RUBRIC Content: Students did apply paint in even strokes to create a watercolor wash. Students also created an original outdoor scene to show the illusion of space. Creativity: The students made it obvious to blend several colors. They created a story to go along with the piece that worked well. Craftsmanship: Students made the animals neatly. They left no visible white on the paper and the crayon was visible and not covered with paint. Completion: Students completed the assignment in the allotted time.
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In chapter 6, it talks about how important it is for a teacher to assess their students. Teachers must identify the skills and knowledge that their students are capable of to find ways to demonstrate their learning. Assessment gives students more opportunities to show what they are learning in the environment they are in. Teachers use several strategic methods to gather information on how well their students are progressing in the classroom. They will ask questions, observe their behavior, and more. However, recent studies show that assessment in art is not as easy as it looks to be put into a curriculum. This chapter also talks about the importance of criteria. Students must demonstrate their abilities as a guide for the teacher to plan their assessment. The good thing about designing a well-written assessment is that the teacher can pick out the bad things to focus on what is really important for the student to learn. For a teacher to lead a student to success, they must make decisions that will be beneficial to the students.
In chapter 5, I learned that you have to get your students interested on a topic that can spike into several discussions or projects that can be done in the classroom. It says that nature is the biggest unpredictability a human can endure, which is true; nature can cause a whirlwind of disasters that can affect millions of people. These disasters give inspiration to artists to draw and paint memorials of the disaster that took place, like tornadoes Pearl Harbor, or the Titanic. I really like how teachers use these types of pieces to create a lesson out of them, so students who are younger know about the major disasters that affected our society. This chapter focuses a lot on instruction and finding how to engage the student so they are attentive. I have never heard the slogan, "We teach students, not subjects," until I read this chapter, and it really intrigued me. Students can't just expect to hear the same lesson about one topic repeatedly; this will cause them to get bored eventually. The key factors of instruction get the students to get more in depth with the topic they are discussing. It is important that the teacher be optimistic and positive about the topic, so that from the student's perspective they get an experience that they will remember the rest of their lives. This gives the students the opportunity to think outside of the box, rather than just be told what to do and how to do it. They are getting a lesson that will make sense to them and will make them understand what is happening.
This art piece was created by Richard J. Bay in 1984. The medium is a serigraph and is called Smokey Mountain Breakdown. As soon as I walked into the art gallery, this piece immediately caught my eye. I of course went around the room and looked at the rest of the art on the walls, but I was not drawn to any of them as I was to this one. The colors on this piece seem to "pop" because they are so bright and attractive. The pink, green, and blue work well together and don't clash or look sloppy. The white and black of the truck puts an emphasis on it as well, so people know what they are supposed to be looking for. This piece also seems to have a texture to it. It looks 3D, so it makes me want to just touch the truck coming out of the painting.
I think when you look at the picture and the title of the piece together, it gives it a narrative. When I looked at the piece, I just thought, "Oh, it's like a bus or semi truck." Then when I looked at the title, I realized that it could be a truck that has broken down in a place called the Smokey Mountains (I don't think that is actually right, but it is what my imagination thought of!). I think the element that really draws me to this piece are the colors. They are so abstract and beautifully done; all of the colors seem to flow together to create a magnificent piece. I also like that I am able to figure out what the piece is, instead of trying to hurt my head deciding if it's actually supposed to be something or not. Title: Maasai Color Wheel Necklace
Grade Level(s): 2-4 Suggested Time: 1 class period Unit: African Art Medium: Mixed Media Instructional Objectives (2-3):
Elements of Art (1-3): Line and color. Principles of Design (1-3): Balance and unity. Materials and Equipment: Primary colored pencils, color wheel worksheet, pencil, sturdy paper plate, primary & secondary colored markers, scissors, hole puncher, stapler, yarn, sharpies. General Vocabulary (4-5): Primary, secondary, Maasai, tribe. Art Production (based on Madeline Hunter Model):
5. Ask students how they are doing and if they are alright throughout the project. 6. N/A 7. Draw sharpie designs at home. 8. Have students put on necklace and reenact the Maasai traditional dance. In chapter four of Rethinking Curriculum, it was a lot about making lesson plans and building units off of those plans. This chapter also talks about the criticism in art through framework, humans, and memorials. Art educators encourage their students to understand that criticism is about evaluating their artwork and understand the story behind it. Critics ask the artist several questions to get to the base of the true meaning of their art piece. Then, artists started pulling other humans and sufferers into their criticism to look at the societal issues and events. Being an art critic would be interesting so that you find what the painting or drawing is all about. It kind of reminds me of a tattoo, because some people get tattoos with a meaning behind it, and others are always interested in what that tattoo my be about. The chapter goes on to tell about how critic's questions unfold into questions about the social role of the artist themselves and the social purposes of their artwork. Another topic that chapter four talks about is the history of art. Students were challenged to basically be the critic for a piece of art for a painter from the twentieth century. In this lesson they asked about the uniqueness of the painting and listed elements that described the art piece. This is a great idea because it gives students the opportunity to be on the other side of the work of art; instead of them being the artist, they are the critic and get to be a part of that type of practice.
National Visual Art Standards:
State Visual Art Standards - Missouri:
After reading chapter three, I learned about ideas to "survive" on for kids of different ages, kids of diversity, and more. For the different age levels, enduring ideas of different relationships like friends and family brings the bond tighter. It strengthens the connection of the relationships and the potential for learning. If students just learned the knowledge they had already been taught, then there would be no step forward for them to broaden the field of their experience. The ideas they should be enduring should be ones like identity, survival, interdependence, power, celebration, conflict, and freedom. As for diversity and other important matters, there are three concerns: the interests and needs of the student, artistic interests and processes and modern culture. Therefore, the choice of a continuing idea should be thought of with the consideration of the students lives. Diversity is not a curriculum that should be used alone. This could cause a giant mess rather than being useful in the classroom. The curriculum cannot include all of the skills, cultures, artists, etc., which is why it would be easier to aim for just one of the particular content areas. In this chapter, I read it is also a good idea to brainstorm the content for the enduring idea to find more about the topic.
Chapter one looks at the people who should read this book, how it is all planned out chapter by chapter, and the insight that their art education content gives. The entire book gives several examples that are from real units designed by teachers involved in "Transforming Education Through the Arts Challenge." This project was built to focus on discipline based art education and increase the attention of learning ideas and teaching. This book is to be read by teachers who are practicing and studying in preparation programs. It is also perfect for non-art teachers who need interesting ways to include visual arts in their curriculum. Chapter 2 discusses rethinking curriculum human experiences with art, standards in assessment, and the concepts of learning as a student. The role of the teacher must change from one who gives out information or lectures, to one who seeks the information as students construct knowledge. Teachers find that it is not easy to make this type of change. However, the need for control makes teachers finding it challenging to take on this role. When teachers are rethinking their curriculum they must choose wisely so that they know the assumptions they are making won't be a mistake. They must take advantage of planning their curriculum gain insight on their new understandings.
What we did in class today: 8/27/2015
Today in art education, we learned different words like contour, blind contour, and portrait, and we learned these terms through African art. To start out, Ms. Mai asked us if we have been in a family portrait. Students went around the room to share some memories that they had of family photos they took in their past. Then our teacher went on and showed us some funny pictures on www.awkwardfamilyphotos.com. Next, we finally drew some contours and blind contours. We took a white sheet of paper and folded it hamburger style; on one side we drew a contour of the piece of African art on the table, and on the other side we drew a blind contour of the same statue. Then Ms. Mai asked us what adjectives we would use to describe our blind contour, and words were said like small and sloppy. Ms. Mai said she like the blind contour better than the regular contour because there was more personality in it. Next, we took the same piece of paper and folded it again so that there was four window panes. We were given four minutes to draw four contours. Then we traced the drawings with a marker and cut them out, leaving a small border. We arranged our "family members" on a red sheet of paper, got the teachers approval, then glued them down. Lastly, we put our name on it, pinned it up on the board, snapped a picture, and took it home. Mine is hanging up on my fridge, reminding me of my elementary days. |
AuthorMy name's Hayley Poljansek and I am a student at Pittsburg State University! This blog is for my projects done in Art Education. Enjoy! Archives
October 2015
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