Artistic Identity Kristen Warskow Proposal 2. Media Criticism Media Criticism.

Artistic Identity Kristen WarskowProposal 2

Media CriticismThe Feldman Critique Model

Questions you might ask

Describe

This stage is like taking inventory. You want to describe everything you see. Stick to the facts.

What do I see? What is obvious in this artwork?

Analyze

Try to figure out what the artist has done to achieve certain effects and why they may have done so.

How are the elements of art and principles of design used in this work? What do you notice about the choice of materials? What grabs your attention? Why? Is there a relationship with anything listed in the description phase?

Interpret

Try to figure out what the work is about using your own perspective and evidence of content within the artwork.

What is the theme or subject of the artwork? What gives you that impression? What is the work about? Do you feel an emotion or mood is expressed? Why do you think the artist created this?

Judge/ Evaluate

This is a culminating and reflective opportunity where you will combine findings from the above categories.

What are your thoughts on the artwork based on what you have recorded? What do you like or dislike? Why? What have you seen or learned from this work you might like to apply to your own artwork?

https://www.youtube.com/watch?v=ikGVWEvUzNM

Statement of Origin This lesson was inspired by the student film titled

"Identity" that I know students will easily relate to their own adolescent lives. As a young girl searches to fit in by wearing a mask, she eventually sheds the mask and roams the halls with confidence simply as herself. I wanted to begin this unit by engaging students in critically thinking about how they perceive themselves, how they are perceived by others, and how the media might play a part in this perception. I know the exploration of this topic will open students to the idea that identity lies beyond others perceptions and what the media tells them. I decided to have students record their critiques in their sketchbooks so there is a certain level of privacy, and the work can still be graded easily. This was inspired by Rice and McNeil's (1990) article Sketchbooks which states that sketchbooks can be used to track a student's cognitive process and keep track of their thoughts, ideas, and inspirations.

Standards & Objectives StandardsNational Standards: 3. Choosing and evaluating a range of subject matter, symbols,

and ideas NGSSS: VA.912.C.1.2 Use critical-thinking skills for various contexts to

develop, refine, and reflect on an artistic theme. VA.912.C.1.3 Evaluate the technical skill, aesthetic appeal,

and/or social implication of artistic exemplars to formulate criteria for assessing personal work

Objectives Students will learn to critique a media style artwork in the form

of a student short film using the Feldman critique model. Students will create a word map or word bank with identity as

the central theme. Students will understand how art works are assessed by critics

and have the opportunity to be a gentle critic in the class.

http://www.cpalms.org/Public/PreviewStandard/Preview/4801




Procedures

Students will watch the student short film titled "Identity." Students will respond to and answer questions using the Feldman model. Each student will receive a chart that breaks down the model and we will

practice critiquing the video as a class. Students will be responsible for answering the questions in the Feldman

model in their sketchbooks. Students will use inspiration from the film to create a word web or word

bank related to the word identity in their sketchbooks. This word bank will be used throughout the unit and should contain at

least 10-15 words that relate to the student's identity. Students will also brainstorm how the media influences their perception

of themselves, be it through magazine ads, T.V. shows, commercials, YouTube, or social media.

Students will then select one media source or advertisement they believe influences adolescents in one way or another to critique on their own using the Feldman model. This review will be recorded in the student's sketchbook and the students will have the opportunity to share their media and critique with the class.

Students will also sketch 3 ideas on how they might communicate their findings into a work of art.

Cindy Sherman

Shirin Neshat

Statement of OriginThis lesson was inspired by findings in the book

Art After 1980 the identity provoking portraits of Cindy Sherman and Shirin Neshat. Cindy Sherman tells the story of each character created utilizing herself, makeup, clothing, a background, and a camera. Shirin Neshat uses herself, language, and her heritage to tell identity related related stories through her images. I know this lesson will provide both technical application of portrait drawing and the use of contemporary artist inspired creativity to create a self portrait that expresses the student's individuality and self-identity.

Standards & ObjectivesStandardsNational Standard: 1. Understanding and applying media, techniques, and processesNGSSS: VA.912.F.1.4 Use technological tools to create art with varying

effects and outcomes. VA.912.O.1.3 Research and use the techniques and processes of

various artists to create personal works.

Objectives Students will view the contemporary artworks of Cindy Sherman

and Shirin Neshat to gain inspiration for their own mixed media self portrait.

Students will learn to tell a story about themselves or their personality through a drawn mixed media self-portrait.

Students will understand facial proportions and composition relative to creating a successful identity related self-portrait.





Questions for Consideration Students will begin by viewing the following

questions and writing them in their sketchbooks: 1. What are some important elements of narrative

portraiture, and how do you think the artists use these elements in their artwork?

2. What do you think the artist is attempting to

share? Why? Are there visual clues such as placement, color, language?

3. Do you think there may be opportunities to better communicate the message of the portrait? How did the artist successfully tell a story with their portrait?

Procedures Students will view a powerpoint with the work of Cindy Sherman and Shirin Neshat

as well as basic drawing proportions. We will discuss as a class possible answers to the above questions which students should include in their sketchbooks.

Students will practice self-portrait drawing while using a digital camera to capture a self-portrait. Basic camera skills will be reviewed as well as facial proportions.

Students will sketch two portraits; 1 self-portrait from a picture, and another from life or with use of a mirror.

Students will plan for a creative self portrait that uses 1/2 of a photograph adhered to drawing paper and completed with a creative yet realistic drawing that expresses elements of the student's identity based on words from the word bank/web from the media criticism.

After sketching, students will pair or group up to take self portraits using a digital camera. We will select a photo to use as a basis for their mixed media self portrait.

The student will cut their photo in half, and adhere it to a sheet of drawing paper. Then the student will complete the image using graphite, charcoal, or conte. The sketched portion should include additional images that reveal the students

identity. Color, background, and photo can be added to in order to aid in the story. Students will learn the importance of composition, perspective, color, and

juxtaposition while utilizing their knowledge of facial proportions to create a unique narrative relating to their identity.

Critera

Excellent (5 points)

Average (3-4 points)

Needs Improvement (0-2 points)

Student evaluation/ comments

Teacher evaluation/ comments

Sketchbook Planning

Planned 3 or more ideas in sketchbook and all consideration questions were answered.

Planned 2-3 ideas in sketchbook and answers to questions were mostly answered.

Lacked sketchbook planning and questions were incomplete.

Narrative quality (with artist statement)

Identity story was clear and well executed.

Identity story was only clear after detailed explanation.

Story was unclear.

Neatness of artwork

Work is neat and clean with no adhesive or unintentional marks present.

Work has a few marks and adhesive is showing n some places.

Marks or adhesive distract entirely from the piece.

Use of inspiration and creativity based on the contemporary artist(s) for this lesson

Used inspiration from artists reviewed and created a unique artwork based on contemporary artist(s) work.

Used some of what was learned about artist(s) reviewed and did not put much creativity into a unique piece.

Used little to no inspiration from reviewed artist(s) and lacked unique creativity.

Participation/ Completion

Participated in group discussions. Worked diligently and participated in critique. Piece is over 90% complete.

Somewhat participated in group discussion and needed reminders to stay on task. Piece is 70%-89% complete

Did not participate in group discussion and was not on task. Piece is less than 70% complete

RUBR IC

Kerri James Marshall

http://www.pbs.org/art21/watch-now/segment-kerry-james-marshall-in-identity

Statement of OriginThis lesson was inspired by findings in the

book Art Before 1980 in the identity chapter which contained the artwork of Kerry James Marshall. Marshall's work tells a narrative story about his upbringing and the culture and surroundings he observed as a young african american in the 1960's and 70's. The scenes Marshall paints impacted his life and shaped his own identity in one way or another. I know students will be able to express an aspect of their own identity by reflecting on a place that has contributed to their own uniqueness.

Standards & ObjectivesStandardsNational Standard: 5. Reflecting upon and assessing the characteristics and merits of

their work and the work of others.NGSSS: VA.912.O.3.1 Create works of art that include symbolism, personal

experiences, or philosophical view to communicate with an audience. VA.912.S.3.8 Develop color-mixing skills and techniques through

application of the principles of heat properties and color and light theory.

Objectives Students will understand the importance of color and cropping in

regards to a successful landscape. Students will develop an understanding for acrylic paint and visual

communication through critiquing artworks based on visual narrative quality and media exploration.

Students will create color and color blend charts using acrylic paint and teacher guidance to better their understanding of the media.




Questions for Consideration1. What are some important elements of a

narrative landscape, and how do you think the artist use these elements in the artwork?

2. What do you think the artist is attempting

to share? Why? Are there visual clues such as placement, color, language?

3. Do you think there may be opportunities

to better communicate the message of the artwork? How did the artist successfully tell a story with their work?

Procedures Watch identity video with Kerry James Marshall at http://www.pbs.org/art21/watch-

now/segment-kerry-james-marshall-in-identity View images by Kerry James Marshall, and discuss possible answers to the above

questions that students should record in their sketchbooks. Students will think back to a time and place that is significant to them, something

that makes them who they are as an individual. (This could be a place they visited as a child, a family members home where they spent time, or a capture of an event or ceremony that is significant.)

As a class we will make color mixing charts using acrylic paints so students can familiarize themselves with the material and how to mix different colors.

For homework, students will create 3 planning sketches of a place that made a significant impact on the person they are today.

Students will bring in sketches and with the help of classmates and the teacher, they will move forward with their strongest idea.

Students will sketch their idea on a 16x20 canvas board and plan color choices before painting.

Students will learn varying brush techniques before panting that they will practice on sheets of paper that will be turned in with the final painting. The teacher will demo different brush techniques as students practice simultaneously.

Students will have 2-3 classes to complete their paintings on canvas panels. Students will participate in critique, hand in their rubrics with the student portion

filled out along with their artist statements (about why they chose this place and how they feel their work communicates the significance). Teacher will grade during class critique.

Critera






Sketchbook Planning







Story was unclear.

Neatness of artwork












RUBR IC

Statement of Origin This lesson was inspired by the content and

appeal of the works of artist Julie Dodd. Dodd utilizes papers ranging from notes, letter, postcards, and even bills to narrate stories about her own life and travels. She uses suitcases to hold these papers (folded into cubes) to represent how each of these things have helped build the life she has today. Students might also be aware of the impact material objects have in our lives and how judgment might occur based on what they wear or what they have. The process Dodd uses that takes a material object of significance and makes it part a uniform assemblage creates a new meaning; these are the building blocks of life. This artist will inspire my future students to symbolize valuable life experiences and objects into a unique sculpture that expresses aspects of their own identity.

Standards & ObjectivesStandardsNational Standard: 2. Using knowledge of structures and functionsNGSSS: VA.912.C.1.7 Analyze challenges and identify solutions for three-

dimensional structural problems. VA.912.S.3.10 Develop skill in sketching and mark-making to plan,

execute, and construct two-dimensional images or three-dimensional models.

Objectives Students will create a unique sculpture from existing objects that

incorporate a part of the student's identity. Students will draw inspiration from artist Julie Dodd by having the

objects they choose be contained in a case that adds to a story about the student's identity.

Students will plan using sketchbooks and critically critique artwork and artist statements.



Questions for Consideration1. What are some important elements of a

narrative sculpture, and how do you think the artist use these elements in the artwork?





Procedures As a class we will view the works of Julie Dodd and share answers to the

above questions. Students will make a list in their sketchbooks of things that are

important to them and reflect their identity. Students will then brainstorm how they can visually express these things.

Students will create 3 planning drawings of their assemblage sculpture including the object or case that will contain their materials (much like a shadowbox).

Students will create their case from cardboard, foam core, contac paper, and/or any additional materials the student provides.

Students (with the help of the teacher) will select their strongest planning drawing and begin construction of the case or box that will hold a story of their identity.

Students will have 4 class periods to construct their cases and add/ create their material objects to be included in their case.

Students will turn in a completed artist statement that explains the identity related story their piece tells along with their rubric with the student portion completed.

Students will then participate in a critique using the Feldman model while remembering to report both successes and opportunities.

Julie Dodd

Critera






Sketchbook Planning







Story was unclear.

Neatness of artwork












RUBR IC

Christine Federighi "My patterns are images and symbols that have

reference to places, situations or experiences in my life. I organize the shapes in a floating composition that wrap each figure form. They are somewhat enigmatic and visually poetic. The images might refer to mountain landscapes of the Western United States, where I spend my summers or the tropical foliage and leaf forms of my Florida residence. Other symbols such as the spiral (infinity form), furrowed water forms, house shapes and stair sections have been introduced and used to continue the personal narrative and journal. They also become part of the moving composition that wraps each figure. It is a man and

http://www.sherriegallerie.com/artistprofile.php?artist=20 nature or man and experience reference.”

Lesley Dill

Statement of OriginThis lesson was inspired by further research

into the world of sculpture and ceramics. Christine Federighi was introduced to me via my ceramics professor, Haadi Abbas. Due to Federighi's use of forms and incorporation of her own identity into her torso studies I concluded her work would be excellent for students to find inspiration from. I have always admired Lesley Dill's works in textiles and paper, and through further research on her website I found she also works in bronze and wire. Her sculptures have a unique quality that incorporate language and I know students will find additional inspiration from her works.

Questions for Consideration1. What are some important elements of a 3-

D ceramics work, and how do you think the artist use these elements in the artwork?





Standards & ObjectivesStandardsNational Art Standard: 5. Using knowledge of structures and functionsNGSSS: VA.912.S.3.3 Review, discuss, and demonstrate the proper

applications and safety procedures for hazardous chemicals and equipment during the art-making process.

VA.912.S.3.9 Manipulate and embellish malleable or rigid materials to construct representational or abstract forms.

Objectives Students will take inspiration from artists to create a 3-D clay

torso or bodice that contains clues about the student's identity. Students will understand how to successfully create a 3-D object

out of clay that is glazed and fired. Students will learn the stages of clay and the proper handling

procedures associated with ceramics works.




Procedures The class will review the works of Leslie Dill and Christine Federighi and as

a class we will share individual answers to the questions above as a class. Students will pre-test with a group activity where they will match cards

with ceramics words and their definitions. Words will consist of; bisqueware, greenware, glaze, slab, coil, plastic, leather-hard, bone-dry, slip, slip and score.

Each group will note in their sketchbooks the number of correct matches they made.

Students will participate in a clay safety demonstration and sign a contract stating they understand proper clay and tool handling and they will participate safely in this activity.

Parents will also receive notification via a note home they must sign that states their student is going to be working with clay and tools that could be dangerous and they have talked with their students about carefully following the rules set forth by the instructor.

Students will watch a demonstration of creating a hollow torso out of clay, along with a demonstration on a bas-relief style torso.

Students will sketch 3 ideas in their sketchbook along with designs for their torso that can be carved or added to express a narrative of their identity.

Students should refer to their initial word bank or create a new one to aid in ideas for symbols in this project.

Procedures (cont’d) Students will participate in a slip painting demonstration to learn about

adding designs and color to their pieces. With the help of the teacher, students will select their strongest idea

and begin work on their torso's (as long as the teacher has received the parent and student signed contracts).

Once students have created their torso's they will participate in class critique before the bisque firing and will have the opportunity to make changes.

Once pieces are complete and bone dry the teacher will fire them in the kiln.

Students can choose to have their pieces clear glazed by the teacher, or they can keep their pieces as is.

After all pieces are completely fired, students will participate in a final critique with an artist statement and the student portion of their rubric filled out.

After critique students will receive a written matching worksheet with the same terms they pre-tested with in groups. They will complete this worksheet and add it to their sketchbooks on the same page with their group's initial score for the teacher to assess during sketchbook grading.

Critera






Sketchbook Planning







Story was unclear.

Neatness of artwork












RUBR IC

ReferencesDill, L. (2006). Wonderstruck. [Digital Image]. Retrieved April 7, 2014, from:

(lesleydill.net/bronze) Dill, L. (2010). I Envy Light. [Digital Image]. Retrieved March 7, 2014, from:

(library.artstor.org.ezproxy.net) Dodd, J. (2011). Building Blocks of Life. [Digital Image]. Retrieved March 6, 2014, from:

(library.artstor.org.ezproxy.net) Dodd, J. (2011). Building Blocks of Life 2. [Digital Image]. Retrieved March 6, 2014, from:

(library.artstor.org.ezproxy.net) Federighi, C. (1994). The House. [Digital Image]. Retrieved April 7, 2014, from:

(library.artstor.org.ezproxy.net) Federighi, C. (1995). Listen to the Breath. [Digital Image]. Retrieved April 7, 2014, from:

(library.artstor.org.ezproxy.net) Marshall, K. J. (1999). Our Town. [Digital Image]. Retrieved February 3, 2014, from:

(library.artstor.org.ezproxy.net) Marshall, K. J. (1999). Better Homes Better Gardens. [Digital Image]. Retrieved February 3, 2014,

from: (library.artstor.org.ezproxy.net) Neshat, S. (1997). Unveiled. [Digital Image]. Retrieved February 11, 2014, from from: URL

(library.artstor.org.ezproxy.net)Neshat, S. (2001). Untitled. [Digital Image]. Retrieved February 11, 2014, from from: URL

(library.artstor.org.ezproxy.net)Sherman, C (2001). Untitled. [Digital Image]. Retrieved February 11, 2014, from from: URL

(library.artstor.org.ezproxy.net)Sherman, C (2001). Untitled. [Digital Image]. Retrieved February 11, 2014, from from: URL

(library.artstor.org.ezproxy.net) Sherman, C (2001). Untitled. [Digital Image]. Retrieved February 11, 2014, from from: URL

(library.artstor.org.ezproxy.net)

Artistic Identity Kristen Warskow Proposal 2. Media Criticism Media Criticism.

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