EDUCATION DAYS TEACHER PACKETassets.artprize.org/assets/uploads/APeduTeacherPacket-2.pdf · of time...

EDUCATION DAYSTEACHER PACKET

EVERYDAY IS AN EDUCATION DAY AT ARTPRIZE 2012!

ARTPRIZE EDUCATION DAYS BROUGHT TO YOU BY: Education Days Curriculum Underwriters: AMDG Architects Aquinas College BDO USA, LLP Calvin College Clark Hill PLC Hope College Macatawa Bank Michigan State University College of Human Medicine UBS | Peninsula Wealth Management Education Days Venues: Gerald R. Ford Presidential Museum Grand Rapids Art Museum Grand Rapids Public Museum Grand Valley State University Kendall College of Art and Design St. Cecilia Music Center Urban Institute for Contemporary Arts Media Partner

INTRODUCTIONARTPRIZE 2012 EDUCATION DAYS

EVERYDAY IS AN EDUCATION DAY AT ARTPRIZE 2012!

Our curriculum partners have developed multi-sensory lessons that explore a variety of artistic media. From drawing to writing and music – there is something to inspire every talent.

Educational programming will take place every week day of the ArtPrize event thanks to a collaboration with seven arts and cultural institutions in the downtown Grand Rapids area. Dates and times are listed in the beginning of each venue’s section of the guide.

The following is a list of the seven Education Days venues and their program titles:

ArtPrize 2012CHAIR CAMP

Gerald R. Ford Presidential MuseumTHROUGH YOUR EYES

Grand Rapids Art MuseumDYNAMIC DRAWINGS: EXPLORING NATURE’S

TRANSFORMATIONS THROUGH COLLABORATIVE ART

Grand Rapids Public Museum

Grand Valley State UniversityICE AS ART

Kendall College of Art and DesignTHE “ABSEE’S” OF LOOKING AT ART THROUGH

KENDALL COLLEGE OF ART AND DESIGN.

St. Cecilia Music CenterSCOTT PELLEGROM – PERCUSSION

Urban Institute for Contemporary Arts SOMEWHERE ELSE

Included in this packet are the Michigan Common Core

Standards for each program. We have included both Art

and Integrated Standards for your convenience.

If you have any questions, please contact our Education

Consultant – Angela De Luca-Placencia by email

[email protected] or by phone 616.214.7924.

INFORMATION FOR TEACHERS

Program Registration• Registration opens at 9:00am Tuesday, September 4th

and close Friday, September 14th at 11:59pm.

• Each teacher may enroll up to 50 students.

• Students may attend ONE program during ArtPrize 2012.

• The remaining tour is self-guided.

• Program times are filled on a first-come, first-served basis.

Busing Reimbursement• ONE transportation grant will be awarded per school.

• Forms can be filled out online at http://www.artprize.

org/visit/education/k-12-education-days/. Just click on

the Transportation Reimbursement link. This link will

be active September 4 – 14.

Chaperones• Chaperones must supervise and accompany their

students at all times. Classroom teachers and

chaperones are responsible for ensuring the students

behave appropriately during their field trip. We require

one chaperone for every 10 participating students.

Venue Etiquette• Food and drink CANNOT be brought into the venues.

• School backpacks are NOT allowed. Please leave them

at school or on the bus.

• Please silence all cell phones inside venues.

• Flash photography is NOT permitted inside venues.

• DO NOT TOUCH the artwork (both inside AND outside).

Lunch• Participating venues do not have the space to

accommodate your school during lunchtime. Please

feel free to bring a sack lunch and eat outside. Don’t

forget to pick up your trash!

Busing• Students may be unloaded at the venue hosting their

program. After which, all buses must park at the

Gerald R. Ford Presidential Museum Parking Area OR

the City lot behind the Van Andel Arena, underneath

the highway.

• If you don’t want to schedule a bus, and are on the

Rapid route, you can ride the Rapid for only $.25!

• You must contact the Rapid ahead of time: www.

ridetherapid.org or 616.456.7415

Car/Van Parking• There are a variety of parking structures located in

downtown Grand Rapids. In addition, there is metered

parking on the street (most metered parking is limited

to 1 – 3 hours, and is strictly enforced). The parking

garage on Louis St. and Ionia St. offers one hour of

free parking before 6pm.

Accessibility• All of the participating venues are fully accessible and

meet the Americans for Disabilities Act guidelines.

Videotaping and Photography• Videotaping will take place at some venues.

• There will be professional photographers at each

program venue.

• If you or your students do not wish to be recorded,

please avoid these areas. They will be clearly marked.

Weather• You will spend some of the day outside, so be

prepared for inclement weather.

• Don’t forget your umbrellas if it looks like rain!

Audio Guides• Each artist that has recorded an interpretive

statement about her/his work, has this graphic

next to their name, along with the phone and stop

numbers. Educators and students can use their cell

phones to dial into the audio guide and listen directly

to the artist’s statement. We encourage you to take

advantage of this interpretive resource.

INTRODUCTIONARTPRIZE 2012 EDUCATION DAYS

ALL ARTISTS MAKE CHOICES…

Today’s artists are knowledgeable about how art has

been made throughout history, but they have access

to a limitless variety of materials. Contemporary artists

make choices such as whether to work with traditional

media, use industrial processes, create images with the

help of new technologies, or invent hybrid art forms

by combining techniques and styles. In this process,

conventional rules for creating art are often broken and

the nature of art itself is called into question. Today’s

artists strive to interpret their world, while defining and

then re-defining what art can be.

Keep this in mind as you and your students discover

the wide array of art that has been submitted to

ArtPrize. Spend a longer time looking at entries that

intrigue your group.

Use these guidelines to help structure your class’s

exploration of ArtPrize works. Discuss the choices that

artists have made and how students have arrived at

their interpretations.

ARTPRIZE LOOKING GUIDEARTPRIZE 2012 EDUCATION DAYS

GETTING TO KNOW AN INDIVIDUAL WORK… LOOKING CAREFULLY

• How was this work of art made?

• What materials were used? How were they assembled?

• Using your senses, what can you learn about this work?

• Describe what you see… colors, shapes, size/scale

• Is there a smell?

• How do you think it would feel?

• How is the work organized? Is the composition

balanced and harmonious or not?

• How does the art interact with its setting?

CREATING AN INTERPRETATION… WHAT DOES IT MEAN TO YOU?

• What is the subject of this work?

• What is the feeling or mood that it expresses?

• Do you think that what the art represents conceptually

is more important than what you can see?

• Does this work express a new concept or challenge

you to think about something you normally would

not? How?

• What do you think inspired this artist?

• If the artist were standing next to the work what

questions would you ask?

FINDING A PLACE…WHERE DO YOU THINK THIS WORK FITS?

• Compare this work to others that you have seen

at ArtPrize:

Are there similarities in technique?

Does it connect thematically?

• What does this work say about today’s world?

How does it relate to…

Community

Politics

Gender or Race relations

Economics

Or, any other issue that you can think of

• Could this work only have been made today?

This looking guide was adapted from interruptive materials

created by the Grand Rapids Art Museum Education Department

WHAT IS CONTEMPORARY ART?

• It is art that is created in the 21st century

• It reflects a globally infused and culturally diverse world

• It is an evolving set of relationships between materials,

concepts, subjects and methods that consistently

challenge traditional notions of what art is

• It lacks a uniform organizing principle or ideology

• It requires viewers to play an active role in finding

meaning within the artwork

THE CONTEMPORARY LANGUAGE OF ART

Contemporary art takes time to understand. Asking

whether a work of art is beautiful or not is no longer the

seminal point of inquiry. Viewers must invest some time

and consideration when engaging with contemporary

art. Openness and curiosity are important points of

departure when viewers begin their inquirybased

approach to finding meaning within the work.

Traditional Elements and Principles of Design will

always be relevant when looking at and discussing all

kinds of artwork. Words like shape, line, color, texture,

size, balance, unity and movement, can be applied to a

painting, performance, film, sculpture or an installation.

However, there are some newer principles of art that

need to be understood when contemplating and

engaging with today’s artwork.

UNDERSTANDING CONTEMPORARY ARTARTPRIZE 2012 EDUCATION DAYS

TIME

Some works of art are time-based, meaning the viewer

must invest some time to fully experience the work

such as listening to a piece of music, watching a video

or performance, or walking through and around an

installation. Other works of art use technological tools to

manipulate time. For example, a video artist may rewind

footage, repeat it or slow it down to express their ideas

of time.

• When looking at artwork consider how the element of

time affects your interaction with the piece.

• How much time are you willing to invest when looking

at artwork?

• How much time do you spend in front of a painting or

sculpture versus an installation or video?

• If you could express an idea or feeling about the passing

of time what art genre would you choose and why?

SPACE

Today the idea of space encompasses much more

that creating an illusion of space on a 2-dimensional

surface. Contemporary artists use real space – outside/

inside, urban/natural and very little/limitless in order to

express something about how humans move and live

in space today.

Consider how the element of space is present in several

different genres of art like:

• Public sculptures

• Performance art

• Multi-sensory installations

• Artwork dependent on viewer participation

PERFORMANCE

Performance art can include public, private or video

recordings, which often include the artist performing a

compelling series of actions. There are many styles within

the genre of performance art from large-scale multimedia

productions to solo autobiographical performances.

• Have you seen any performance art during ArtPrize?

• How is creating a performance different from creating

a sculpture?

• If you could create a performance-based artwork,

what would it be about?

“Understanding Contemporary Art”

courtesy of the UICA

APPROPRIATION

When artists appropriate imagery, video or film footage

they are taking existing material and transforming it into

a new artwork or adding and combining it with other

imagery, video or film footage. Artists appropriate from

a variety of personal, historical, social or political sources

in order to put those references in a new context.

Consider how the element of appropriation may or may

not be present in:

• Two-dimensional work, especially collage or

photomontage work.

• Have you seen video based art that appropriates

footage from other sources?

• Have you ever appropriated imagery from other

sources in your own artwork?

HYBRIDITY

Contemporary artists create hybrid art forms all the time

when they bring the better of two different art forms

together to create a new one. By combining genres like

painting, dance, and poetry with new media such as

digital photography, video feeds and sound recordings,

artists create new hybrid art forms.

• Is any of the artwork you’ve seen a hybrid?

• Can you identify each genre of art within that

specific piece?

• Why do you think artists like to create new art forms

like hybrids?

UNDERSTANDING CONTEMPORARY ARTARTPRIZE 2012 EDUCATION DAYS

ARTPRIZEJW MARRIOTT – 235 LOUIS CAMPAU PROMENADE NW

CHAIR CAMP

MONDAY, SEPTEMBER 24TH AT THE JW MARRIOTT

1,000 STUDENTS OF VARIOUS AGES AND GRADES WILL CREATE MODEL CHAIRS AT THE EXACT SAME TIME(number will be the ticket limit displayed on Eventbrite)

Chair Camp is a program designed by Carla Hartman, Education Director of the Eames Office and granddaughter of Charles and Ray Eames. Last year, Carla visited ArtPrize and felt it would be the perfect venue to present the largest Chair Camp event.

In order to have the largest Chair Camp program 1,000

students must create model chairs in one location,

within the first week of ArtPrize. All of the students will

design their chair at the exact same time on Monday of

ArtPrize, September 24th at the JW Marriott.

Ms. Hartman will give a brief lecture and show examples

of chairs from commonplace to rare. She will then ask

students to think about chairs in ways they might not

otherwise. The educational goal is to have the students

create something different from what they might have

created the day before, and to see the uncommon

beauty in a common object.

The students will all start with a simple, black die-cut

chair approximately 6” high. Various materials will be

available to students from Learning from Scratch, a non-

profit organization that collects scrap materials from

companies across West Michigan. The students will build

and embellish their chairs using these recycled materials.

Kendall College furniture design and art education

students will help facilitate the program. They will be

available to give the students ideas and help them create

their chairs.

Chair Camp is made possible thanks to a grant from the Michigan Council for Arts and Cultural Affairs.

GERALD R. FORD PRESIDENTIAL MUSEUM303 PEARL STREET, NW

THROUGH YOUR EYES

K-6 GRADE:

9/19/12 Session One 9:00 – 10:00

Session Two 10:15 – 11:15

Session Three 11:30 – 12:30

Session Four 12:45 – 1:45

6-12 GRADE:

10/5/12 Session One 9:00 – 10:00

Session Two 10:15 - 11:15

Session Three 11:30 - 12:30

Session Four 12:45 – 1:45

35 STUDENTS PER SESSION (number will be the ticket limit displayed on Eventbrite)

FEATURED ARTISTCharlotte Ambrose

GERALD R. FORD PRESIDENTIAL MUSEUMCOMMON CORE STANDARDS

GERALD R. FORD PRESIDENTIAL MUSEUM GRADES K-6

ART STANDARDS

MI.A.K-6.01.23.VAUse visual characteristics and organizational principles

of art to communicate ideas.

MI.A.K-6.03.21.VAGeneralize about the effects of visual structures and

functions and reflect upon these effects in personal work.

MI.A.K-6.04.03.VADemonstrate how history, culture, and the visual arts can

influence each other in making and studying works of art.

MI.A.K-6.05.12.VAExplain how visual arts have inherent relationships to

everyday life.

MI.A.K-6.05.14.VAUnderstand and use comparative characteristics of the

visual arts and other arts disciplines.

INTEGRATED STANDARDS

MI.S.K-6.04.04.01Describe sounds in terms of their properties (pitch,

loudness). (Key concepts: Pitch-high, low. Loudness-

loud, soft. Real-world contexts: Sound from common

sources, such as musical instruments, radio, television,

animal sounds, thunder, human voices.)

MI.MA.K-6.02.01.01Recognize and name familiar shapes in one, two and

three dimensions such as lines, rectangles and spheres

and informally discuss the shape of a graph.

MI.MA.K-6.02.01.03Compare, sort and classify familiar shapes.

MI.CE.K-6.03.03.05Communicate ideas in varied formats (e.g., pictures, charts,

grap.10-12, oral reports, and three dimensional objects).

GERALD R. FORD PRESIDENTIAL MUSEUM GRADES 6-12

ART STANDARDS



MI.A.7-9.01.26.VASelect and use the visual characteristics and

organizational principles of art to communicate ideas.

MI.A.10-12.01.16.VAApply organizational principles and functions to solve

specific visual arts problems.

MI.A.K-12.03STANDARD: All students will analyze, describe and

evaluate works of art.

MI.A.K-6.03.22.VAIdentify various purposes for creating works of visual art.


MI.LA.7-9.12.05Refine their own standards to evaluate personal and

public communications within a responsible and ethical

system for the expression of ideas.

MI.MA.K-6.02.03.05Explore scale drawings, models and maps and relate

them to measurements of real objects.

MI.CE.7-9.06.06.07Explore the use of materials, tools, and processes to

complete a task.

GERALD R. FORD PRESIDENTIAL MUSEUM303 PEARL STREET, NW

THROUGH YOUR EYES

Students will begin with a tour of select pieces among the 24 artists displayed at the Gerald R. Ford Presidential Museum (indoors and out), followed by a brief discussion of what they observed. Charlotte Ambrose, West Michigan artist and educator, will then lead students in a hands-on exploration of various drawing techniques and their uses. Students will then use these drawing techniques to begin creating their own work of art. Kindergarten - 6 grade students will focus on the many animal sculptures on display at the Museum during their tour and in their hands-on activity. Older students will be encouraged to use the variety of medium on display at the Museum as inspiration for their creations.

CHARLOTTE AMBROSECharlotte Ambrose has her Master of Arts in Education

from the University of Michigan (’70), and BS in Art

Education from Wayne State University (’57). She has

also studied art at Purdue, Western Michigan, and

San Francisco Universities as well as Art Institutes in

Florida, Colorado, Georgia, Pennsylvania, Illinois, and the

Savannah College of Art. As a practicing Artist, Charlotte

has earned over 150 First Place awards throughout the

nation, and is a long time member of the Grand Valley

Artists Association. An award-winning art educator,

Charlotte has been recognized by the National Teachers

Hall of Fame and has received many national and state

teaching awards including National Art Educator of

the Year (’85) from the National Art Ed Association;

Michigan Art Educator of the Year (’84) from the

Michigan Art Education Association; Teacher of the Year

(“76) from the Sparta Education Association;

Outstanding Secondary Teacher (‘74) from the Michigan

Art Education Association; and the United Teachers of

North Kent Distinguished Service Award (‘74). She was

also a teacher in space candidate and considered by

NASA to illustrate a lift off. Charlotte is currently the

producer/ host of a GRTV television show featuring her

art lessons.

MEDIUMPencil and paper

GRAND RAPIDS ART MUSEUM101 MONROE CENTER

DYNAMIC DRAWINGS: EXPLORING NATURE’S TRANSFORMATIONS THROUGH COLLABORATIVE ARTK-6 GRADE: 9/25/12 and 9/27/12Session One 9:00am-10:00am

Session Two 11:00am-12:00pm

Session Three 12:00pm-1:00pm

Session Four 1:00pm-2:00pm

6-12 GRADE: 10/2/12 and 10/4/12Session One 9:00am-10:00am

Session Two 11:00am-12:00pm

Session Three 12:00pm-1:00pm

Session Four 1:00pm-2:00pm

75 STUDENTS PER SESSION(number will be the ticket limit displayed on Eventbrite)

FEATURED ARTISTS

K-6 GRADE PROGRAMSky Pape

6-12 GRADE PROGRAMVirginia Kistler (6-12 Grade Program)

GRAND RAPIDS ART MUSEUM (GRAM) GRADES K-6

ART STANDARDS

MI.A.K-6.01.23.VAUse visual characteristics and organizational principles of

art to communicate ideas.

MI.A.K-6.02.18.VAApply knowledge of how visual characteristics and

organizational principles communicate ideas.

MI.A.K-6.02.21.VAKnow different purposes of visual art to creatively

convey ideas.





MI.S.K-6.01.01.02Develop solutions to unfamiliar problems through

reasoning, observation, and/or experiment. (Key

concepts: See Using Scientific Knowledge. Real-world

contexts: See Using Scientific Knowledge).

MI.S.K-6.02.01.02Show how science concepts can be interpreted through

creative expression such as language arts and fine arts.

(Key concepts: Poetry, expository work, painting, drawing,

music, diagrams, graphs, charts. Real-world contexts:

Explaining simple experiments using paintings and

drawings; describing natural phenomena scientifically

and poetically) be interpreted through creative

expression such as language arts and fine arts. (Key

concepts: Poetry, expository work, painting, drawing,



drawings; describing natural phenomena scientifically

and poetically).

MI.MA.K-6.02.01.01Recognize and name familiar shapes in one, two and

three dimensions such as lines, rectangles and spheres

and informally discuss the shape of a graph.

MI.CE.K-6.03.03.05Communicate ideas in varied formats (e.g., pictures, charts,

grap.10-12, oral reports, and 3-dimensional objects).

GRAND RAPIDS ART MUSEUM (GRAM) GRADES 6 – 12

ART STANDARDS



MI.A.7-9.02.17.VAIntegrate visual, spatial, and temporal concepts with

content to communicate intended meaning in artworks.

MI.A.10-12.02.20.VACreate artworks that use organizational principles and

functions to solve specific visual arts problems.



MI.S.7-9.03.05.06Describe ways in which humans alter the environment.

(Key concepts: Agriculture, and use, resource

development, resource use, solid waste, and toxic waste.

Real-world contexts: Human activities, such as farming,

pollution from manufacturing and other sources, hunting,

habitat destruction, and development.)

MI.S.10-12.03.05.04Describe responses of an ecosystem to events that

cause it to change. (Key concepts: Succession, climate/

physical conditions, introduction of new/different species,

and elimination of existing species. Real-world contexts:

Climax forests comprised of maple, beech, or conifers;

effects of urban sprawl or clear cutting forests; selected

ecosystems-see elementary benchmark 3.)

MI.S.7-9.04.02.04Describe how waste products accumulating from natural

and technological activity create pollution. (Key concepts:

Manufacturing, distribution, refining, mining, landfill, water

treatment. Real-world contexts: Many sources of pollution,

both natural and technological.)

MI.CE.7-9.07.07.04Work as a member of a team to solve problems.

MI.A.K-6.02.14.THVisualize environments and construct designs to

communicate locale and mood using visual elements

(such as space, color, line, shape, texture) and aural

aspects using a variety of sound sources.

GRAND RAPIDS ART MUSEUMCOMMON CORE STANDARDS

SKY PAPEwww.skypape.comSky Pape is an artist who lives and works in

northernmost Manhattan. Her work is featured in many

major collections such as the Museum of Modern Art,

Solomon R. Guggenheim Museum, and the Brooklyn

Museum of Art. She has shown art nationally and

internationally since the early 1980’s. She describes

herself as, “an ardent nature-nerd, culture-hound, and

pom-pom waver for creative folks of all stripes.”

In this workshop experience, elementary students

will use drawing media and paper folding to create a

work that explores the concepts of cause and effect

through exploratory processes and nontraditional art

methods. Students will use Sky Pape’s Drawing Work

on paper and Inklings series as inspiration for creating

a work of their own. Students will gain experience in

working as a team as they create a piece that obscures

the boundaries between two and three dimensions.

MEDIUM Water and ink on handmade paper

KEY CONCEPTS2 dimensional – A space that is comprised of only length

and width. The space could be referred to as being flat.

3 dimensional – Similar to a 2 dimensional space, in that

it contains length and width; however, what makes a

3 dimensional space unique is that there is also depth,

which is sometimes known as height.


DYNAMIC DRAWINGS: EXPLORING NATURE’S TRANSFORMATIONS THROUGH COLLABORATIVE ART

Experimental methods – A way of discovering

something that is unknown by approaching it in a new

and different way.

Cause and effect – Choices/actions (causes) are always

followed by consequences (effects)

Collaboration – Working collectively on a shared project

as opposed to by oneself.

CLASSROOM ACTIVITY• Drawing doesn’t always have to be with just a pencil

and a piece of paper. If you were to invent your own

way to draw, what would it be? What materials would

you use? Try it!

• Sometimes other people can help inspire ideas that

you may not have been able to think of all by yourself.

What other types of activities, other than making art,

would benefit from teamwork?

• A piece of artwork can combine 2 and 3 dimensional

elements. Using 1 piece of paper create a

3-dimensional sculpture.

VIRGINIA KISTLERwww.virginiakistler.com

Virginia Kistler is an artist who lives and works in

Columbus, Ohio. In addition to being a sculptor, she

also has experience as an exhibit designer of children’s

museum and science center exhibitions. She recently

graduated from the Columbus College of Art & Design

with an MFA. Her most recent body of work takes

a personal approach to addressing environmentally

based issues.

In this hands-on experience, students will utilize light

patterns and drawing to create a collaborative piece that

explores urban development and population fluctuation.

Drawing inspiration from Virginia Kistler’s piece

Chiaroscuro, students will explore ways to creatively

solve the problem of population dispersion through the

organization of positive and negative space.

MEDIUM

PVC Sheeting, Steel Wire

KEY CONCEPTSPositive and negative space – In a black and white or

two-tone image, black represents occupied space while

white represents unoccupied space or vice-versa.

Drawing – A two dimensional form of visual art that uses

an instrument of drawing to mark a surface such as a

sheet of paper.

Light pollution – Obtrusive artificial light that interferes

with the natural rhythm of the surrounding ecosystem.


DYNAMIC DRAWINGS: EXPLORING NATURE’S TRANSFORMATIONS THROUGH COLLABORATIVE ART

Urban Planning – A process concerned with designing

the urban environment and organizing communities that

takes into consideration the use of land.

Creative problem solving – Creatively and collaboratively

providing a solution to a situation that could be

improved upon.

CLASSROOM ACTIVITY

• When the opportunity allows, and the sky is clear, take

a look up into the night sky. Can you see the stars

or are they obscured? Are you in a highly populated

or rural area and how do you think this affects your

visibility of the stars?

• Think about the way in which your own community

is organized. Are people spread far apart or close

together in clusters? Why do you think it is the way

that it is?

• Human history has demonstrated that people have

often found it difficult to balance population growth

with maintaining a healthy natural environment.

Imagine you are designing a settlement in an

untouched valley. Brainstorm ways you could provide

the population with a comfortable standard of living,

while preserving the environment.

GRAND RAPIDS PUBLIC MUSEUM272 PEARL ST NW

K-6 GRADE:

10/3/12 and 10/5/12 Session One 9:30-10:30

Session Two 10:30-11:30

Session Three 12:30-1:30

Session Four 1:30-2:30

6-12 GRADE:

9/26/12 and 9/28/12 Session One 9:30-10:30





FEATURED ARTISTSNnamdi Okonkwo

Craig Mitchell Smith

Ron and Miriam Pederson

GRAND RAPIDS PUBLIC MUSEUMCOMMON CORE STANDARDS

GRAND RAPIDS PUBLIC MUSEUM GRADES K - 6

ART STANDARDS




MI.A.K-6.04.02.VAIdentify specific works of art as belonging to particular

cultures, times, and places.




everyday life.


MI.S.K-6.04.01.02Measure weight, dimensions, and temperature of

appropriate objects and materials. (Key concepts: Linear

dimensions-length, width, height, long, short, wide,

narrow, tall, short, taller, shorter. Units of measure (both

standard and nonstandard)-meters, centimeters, others.

Measurement tools: Ruler, meter stick, balance or scale,

thermometer. Real-world contexts: Common objects

such as those listed above.)

MI.LA.K-3.12.05Recognize that the style and substance of a message

reflect the values of a communicator.

MI.LA.4-6.12.01Develop individual standards for effective

communication for different purposes, and compare

them to their own oral, visual, and written texts. An

example is evaluating a project report in terms of

personal standards for content, style, and organization.

GRAND RAPIDS PUBLIC MUSEUM GRADES 6 - 12

ART STANDARDS

MI.A.K-6.04.01.VAKnow that the visual arts have a history and specific

relationships to various cultures.



MI.A.7-9.04.01.VAKnow and compare the characteristics of artworks in

various eras and cultures.

MI.A.10-12.04.01.VAReflect on how the subjects, ideas, and symbols of

artworks differ visually, spatially, temporally, and

functionally with respect to history and culture.

MI.A.10-12.04.02.VADescribe the functions and explore the meaning of specific

art objects within varied cultures, times, and places.

MI.A.10-12.04.03.VAAnalyze relationships of works of art to one another

in terms of history, aesthetics, and culture, justifying

conclusions made in the analysis and using conclusions

to inform personal artwork.


MI.S.7-9.04.01.01Measure physical properties of objects or substances

(mass, weight, area, temperature, dimensions, volume).

(Key concepts: Units of measure-kilogram, gram, liter,

degrees Fahrenheit, degrees Celsius. Measurement tools:

Balances, spring scales, measuring cups or graduated

cylinders, thermometers, metric ruler. Real-world

contexts: Common substances such as those listed in

elementary benchmark 1; hot and cold substances, such

as ice, snow, cold water, hot water, steam, cold air, hot air).

MI.MA.K-6.02.03.06Apply measurement to describe the real world and to

solve problems.

MI.MA.7-9.02.03.05Use proportional reasoning and indirect measurements

to draw inferences.

MI.CE.7-9.07.07.10Understand one’s own culture, the cultures of others,

and how cultures differ and are the same.

Students will observe the piece by Nnamdi Okonkwo and think about his message of inspiration, inner strength, humility and hope. Students are encouraged to walk around the piece to see it in its entirety. They will then be given a viewfinder and asked to sketch a portion of the sculpture that they feel best represents Nnamdi’s message. Drawing utensils and paper will be supplied.

NNAMDI OKONKWOOkonkwo was born in Nigeria in 1965, and was always

drawn to art. He was recruited by BYU-Hawaii to play

basketball, and there he found his opportunity to nourish

all his talents. He played basketball and graduated

with a BFA in sculpture, then went on to receive his

MFA in sculpture from BYU-Provo in 1997. Okonkwo’s

sculptures of women are rotund forms that symbolize

the abundance of life, “an outward manifestation of a

largeness of soul.” The souls are full of gesture, even

in their seeming stillness. Whether enclosed within

themselves, or interacting with another form, their subtle

“actions” evoke a depth of empathy. His art speaks so

clearly of his motivation. “My inspiration comes from the

aspect of the human soul that I find sublimely beautiful

and noble.” His art is a personal statement, a unique

viewpoint formed by his life experiences.

TITLE Friends

MEDIUMSculpture, Bronze


Nnamdi believes that life is not ordinary, but that there

is a heroic, monumental, and divine capacity to the

human spirit. Sculpture is an avenue for him to express

this beauty and nobility that is inherent in humanity.

In short, he seeks for the sublime in the emotions and

feelings. He has chosen the female form to portray this

magnificence of the soul, because in his indigenous

culture, womanhood is venerated, and “mother is

supreme.” He believes that the noble virtues such as

serenity, love, hope, humility, charity, and inner strength,

which enable us to face and transcend the adversities of

life, are best exemplified in womanhood. The voluminous

shapes are aesthetically pleasing and intoxicating to

him, but they also serve to emphasize the largeness of

soul of womanhood.

KEY CONCEPTSThe forms in Nnamdis sculptures are simplified and

stylized to better express his thoughts and ideas which

are embodied in fluid lines and simple shapes. It is a

mode of expression that comes naturally to him, and it is

straight to the point and devoid of pretension. Stylization

also offers a greater avenue for the expression of universal

themes and emotions.

One of the few guidelines that he follows is best

exemplified in a statement made by Michelangelo:

“Measurement should be in the eyes and not in the

hands, for while the hand measures; it is the eye that

judges.” His proportions, therefore, are not based on any

rigid principle, but rather are based on a personal ideal

of beauty and balance. “I want my figures to be more

symbolic rather than literal copies of the human form.”

Thus in sculpture, his figures, instead of being confined

to a model, become a symbol of humanity.

Furthermore, the big, rotund forms symbolize abundant

life. It is an outward manifestation of a largeness of soul.

CLASSROOM ACTIVITY• Have students research other artists and artwork

that share the concepts of inspiration, inner strength,

beauty, humility and love. Ask them to share with other

students why they chose the work they did.

• Using a view finder, have students sketch the areas

of the artwork they chose that best represents the

above concepts.

• Have students create their own original work relating

to these themes.

Students will be asked to write down what their hopes and dreams are. This can be done in the form of a short story, a poem or direct statements. They can be shared or kept private but will be the words used to inspire a sketch that represents those hopes and dreams.

CRAIG MITCHELL SMITHAs a self-taught artist, Smith’s curiosity and creativity

have taken him in many directions over the years. He

is a painter. He has done interior and garden design

throughout the U.S., set design for local theaters, and

floral design. He has designed weddings throughout

the US and in England. In late 2005, he found glass.

He started with making glass jewelry. Soon, however,

he felt limited by the size and dimension. He moved

quickly to glass sculpture because he liked the freedom

of expression and scale. In his kiln, he draws with

hundreds of pieces of hand cut glass, and fire them into

fused forms. Then, he re-fires these forms over broken

shards of pottery or custom built stainless steel forms.

For those based on precise designs, he controls the

dimensions very closely. For the organic shapes, he takes

the free-form pieces of glass in his hands and feels how

they want to be together. Then he cuts and drills the glass

pieces and bolt them into permanence.

TITLE

Making a Wish

MEDIUM

Glass

Making a Wish is a glorious metaphor designed to

inspire, hope, and belief in our dreams and wishes. Who

amongst us has not blown on a dandelion head and

delighted in the wafting trail of wishe? The hope of

the whispers of wishes reaching God’s ear as fluttering

prayers. It inspires the spirituality of the everyday and

the hope for tomorrow in our journey. The eye will trace

the graceful strong stainless steel stem to a poof of

glittering iridescent wishes. This so called weed takes

on new meaning. Overhead, a truly joyful and exuberant

trail of wind blown glittering wishes expands into the

open space.

KEY CONCEPTSIn his kiln he draws with hundreds of pieces of hand

cut glass, and fires them into fused forms. Then, re-fires

these forms over broken shards of pottery or custom built

stainless steel forms. For those based on precise designs,

he controls the dimensions very closely. For the organic

shapes, he takes the free-form pieces of glass in his

hands and feels how they want to be together. Then cuts

and drills the glass pieces and bolt them into permanence.

For Smith, the transparency of glass is a metaphor for

memory. Even though the glass sculpture or design

stays the same, if you move around the piece, or change

the direction of the light or its intensity, you can change

the memory.

CLASSROOM ACTIVITYDiscuss with students the relationship that metaphors

like dreams and hope have with creating a piece of

artwork. Does this lead to better creativity? What

different techniques, whether it be the use of color, size

and shape of the subject, or perspective, can be used to

effectively convey these metaphors?


Writing and art have always been closely tied together and as you can see from the artist biography, these two artists have done several collaborations bringing those two mediums together. Students will be asked to team up with one other student and work on a collaborative piece. One student will have the assignment of writing a small poem and the other will then make a quick sketch to accompany that poem. Time permitting, they will then switch roles and complete another collaborative piece.

RON AND MIRIAM PEDERSONRon and Miriam Pederson have been married for 41

years, and during the past twenty plus years have

produced ten collaborative exhibitions featuring

Ron’s sculpture and Miriam’s poetry. Professors of

Art and English respectively at Aquinas College, they

regularly teach a course called Artists and Writers in

Collaboration. Both Ron and Miriam have been active

regionally and nationally during their long teaching

careers. In 2003 Miriam’s chapbook THIS BRIEF LIGHT

was published, and in 2008 Ron was honored by the

International Sculpture Center as Educator of the

Year. The collaborative process has encouraged them

to arrive at images and ideas that could not have

been anticipated with each working independently.

The resulting poems and sculptures include themes

reflecting mutual values formed in a long marriage.

TITLE

WHAT Series poems and Sculptures

MEDIUM

Steel sculpture and steel poetry panels

This is a grouping of four sculptures and four poems,

produced collaboratively. The photos accurately convey

the sculpture; the poems are printed on freestanding

steel panels that are displayed as spatial co-equals with

the sculpture, so that viewers may read the poems

while standing far enough back to see the sculptures.

Because all eight elements of the grouping are free-

standing, the display format can conform to the size

and shape of the available space, ranging from aligning

them in curved or straight rows to rectangular or square

or biomorphic groupings.

CLASSROOM ACTIVITY• Have students research a poem from their favorite

writer, or if they don’t have a favorite writer, give some

possible writers for them to research. Find a poem

that inspires them to create a piece of artwork.

• Have students either draw or paint a piece that

incorporates poetry into the piece.


GRAND VALLEY STATE UNIVERSITY400 W FULTON STREET

ICE AS ART

K-6 GRADE:

10/1/12 Session One 9:00

Session Two 10:00

Session Three 11:00

6-12 GRADE:

10/2/12 Session One 9:00

Session Two 10:00

Session Three 11:00


FEATURED ARTISTSThe Ice Gurus: Randy Finch and Derek Maxfield

from Ice Sculptures Limited

GRAND VALLEY STATE UNIVERSITY GRADES K-6

ART STANDARDS



MI.A.K-6.02.19.VAExplore and understand prospective subject matter,

ideas, and symbols for works of art.

MI.A.K-6.02.20.VASelect and use subject matter, symbols and ideas to

communicate meaning.


convey ideas.



everyday life.


MI.S.K-12.04.02STANDARD: All students will investigate, describe and

analyze ways in which matter changes; describe how

living things and human technology change matter and

transform energy; explain how visible changes in matter

are related to atoms and molecules; and how changes in

matter are reacted to changes in energy (Changes in Matter).

MI.S.K-6.04.02.01Describe common physical changes in matter-size,

shape, melting, freezing, dissolving. (Key concepts:

States of matter-solid, liquid, gas. Changes in size and

shape-bending, tearing, breaking. Changes in state of

matter-melting, freezing, dissolving, invisible heat source.

Real-world contexts: Changes in size or shape of familiar

objects, such as making snowballs, breaking glass,

crumbling cookies, making cay models, carving wood,

breaking bones; changes in state of water or other

substances, such as freezing of ice cream, or ponds,

melting wax or steel).

MI.MA.K-6.01.02.03Explore change, and realize that changes are frequently

interdependent.

MI.MA.K-6.02.01.05Explore ways to combine, dissect and transform shapes.

GRAND VALLEY STATE UNIVERSITY GRADES 6 – 12

ART STANDARDS


convey ideas.





MI.A.7-9.04.03.VAAnalyze, describe, and demonstrate how factors of

time and place (such as climate, resources, ideas, and

technology) influence visual characteristics that give

meaning and value to a work of art.

MI.A.K-6.05.14.VAUnderstand and use comparative characteristics of the

visual arts and other arts disciplines.

MI.A.10-12.05.13.THDescribe and compare the basic nature, materials,

elements and means of communicating in theatre,

dramatic media, musical theatre, dance, music, multi-

media, and the visual arts.


MI.S.K-6.04.01.01Classify common objects and substances according to

observable attributes: color, size, shape, smell, hardness,

texture, flexibility, length, weight, buoyancy, states of

matter, or magnetic properties. (Key concepts: Texture-

rough, smooth. Flexibility-rigid, stiff, firm, flexible, strong.

Smell-pleasant, unpleasant. States of matter-solid, liquid,

gas. Magnetic properties-attract, repel, push, pull. Size-

large, small, larger, smaller. Buoyancy-sink, float. Color-

common color words. Shape-circle, square, triangle,

rectangle, oval. Weight-heavy, light, heavier, lighter. Real-

world contexts: Common objects, such as desks, coins,

pencils, buildings, snowflakes; common substances,

including-solids, such as copper, iron, wood, plastic,

Styrofoam; liquids, such as water, alcohol, milk, juice,

gasoline; gases such as air, helium, water vapor.)

GRAND VALLEY STATE UNIVERSITYCOMMON CORE STANDARDS

MI.S.7-9.04.02.01Describe common physical changes in materials:

evaporation, condensation, thermal expansion, and

contraction. (Key concepts: States of matter-solid,

liquid, gas. Changes in states of matter-evaporation,

condensation. Thermal expansion and contraction.

Real-world contexts: States of matter-solid, liquid, gas.

Changes in state, such as water evaporating as clothes

dry, condensation on cold window panes; expansion

of bridges in hot weather.)

MI.MA.K-6.01.02.03Explore change, and realize that changes are frequently

interdependent.

MI.MA.K-12.02.01STANDARD: Students develop spatial sense, use

shape as an analytic and descriptive tool, identify

characteristics and define shapes, identify properties

and describe relationships among shapes (Shape and

Shape Relationships).

GRAND VALLEY STATE UNIVERSITYCOMMON CORE STANDARDS

GRAND VALLEY STATE UNIVERSITY400 W FULTON STREET

ICE AS ART

Students will be engaged by the Ice Gurus as they create a 2’ x 5’ tall sculpture from a block of ice.

THE ICE GURUS: RANDY FINCH AND DEREK MAXFIELD FROM ICE SCULPTURES LIMITED www.iceguru.comRandy Finch and Derek Maxfield are the artists behind

Ice Sculptures, LTD. Collectively they have been

working in ice for more than 20 years. Their work has

been featured on national television, at movie

premiers, concerts, sporting events, and recognized in

industry media.

MEDIUM Ice

KEY CONCEPTSSculpture

Add It, Subtract It, and Time:

Artists can either take away matter or they put things

together in the process of making a sculpture. Some

artists create sculptures by removing matter from a

substance others make sculptures by assembling many

parts to make a whole, and some artists do both in the

process of assembling a sculpture.

Some artist take years to create a single work of art,

others make it in an instant. Time is required to make

artwork and to fully engage a work of art. Some art

work lasts forever, while others are a flash in a pan.

Time is required to make artwork and to fully engage

a work of art.

CLASSROOM ACTIVITY• What does it mean to say that a sculpture is additive

or subtractive?

• How long must it take to make something that is

considered art and how long does it have to last to be

considered art?

K-6 GRADE:

10/1/12, 10/3/12, and 10/5/12Session One 9:30-10:15




6-12 GRADE:

9/24/12, 9/26/12, and 9/28/12Session One 9:30-10:15





FEATURED ARTIST

K-6 GRADE PROGRAMBeth Jacobson “Cupcakes” (Personal)

Rebecca DeGroot “Furniture as danger” (Formal, Personal)

Chris Jones “Relationship” (Formal)

Jon McDonald – Realism (Personal)

Tom Post “Portrait Series” (Formal)

6-12 GRADE PROGRAMDiane Zeeuw “Vital Circulation Project” (Personal)

Deb Rockman “The Space Between Us” #6 (Contextual)

Salvador Jimenez “Day of the Dead” (Contextual)

Donna St. John “Sanctuary” (Personal, Contextual)

Emily Blocker – Realistic portrait in charcoal (Formal)

Rebecca DeGroot “Furniture as danger” (Formal, Contextual)

Chris Jones “Relationship” (Formal)

KENDALL COLLEGE OF ART AND DESIGN17 PEARL ST NW & 17 FOUNTAIN ST NW

THE “ABSEE’S” OF LOOKING AT ART THROUGH KENDALL COLLEGE OF ART AND DESIGN

KENDALL COLLEGE OF ART AND DESIGN GRADES K-6

ART STANDARDS

MI.A.K-12.03All students will analyze, describe and evaluate works of art.







MI.A.K-6.03.25.VAUnderstand how personal experiences can influence the

development of artwork.


MI.LA.K-12.07 STANDARD All students will demonstrate, analyze, and reflect upon

the skills and processes used to communicate through

listening, speaking, viewing, reading, and writing.

MI.LA.4-6.12.03Demonstrate preferences in reading, writing, speaking,

listening, viewing, and representing based on aesthetic

qualities, and explain their choices.

MI.S.K-6.01.01.01Generate reasonable questions about the world based on

observation. (Key concepts: See Using Scientific Knowledge.

Real-world contexts: See Using Scientific Knowledge).

MI.SS.4-6.04.01.03Use a decision making model to explain a personal choice.

MI.CE.K-6.08.08.03Demonstrate listening to the ideas of others and making

an informed choice.

KENDALL COLLEGE OF ART AND DESIGNCOMMON CORE STANDARDS

KENDALL COLLEGE OF ART AND DESIGN GRADES 6-12

ART STANDARDS



MI.A.7-9.01.26.VASelect and use the visual characteristics and

organizational principles of art to communicate ideas.

MI.A.10-12.01.16.VAApply organizational principles and functions to solve

specific visual arts problems.




convey ideas.



MI.A.K-12.03STANDARD: All students will analyze, describe and

evaluate works of art.

MI.A.10-12.03.10.DEvaluate a performance, composition, arrangement, or

improvisation by comparing it to similar or exemplary models.


MI.S.10-12.01.01.08Discuss topics in groups by being able to restate or

summarize what others have said, ask for clarification

or elaboration, and take alternative perspectives. (Key

concepts: A newspaper or magazine article discussing

a topic of social concern. Real-world contexts: A

newspaper or magazine article discussing a topic of

social concern.)

MI.S.7-9.02.01.01Evaluate the strengths and weaknesses of claims,

arguments, or data. (Key concepts: Aspects of

arguments such as data, evidence, sampling, alternate

explanation, conclusion. Real-world contexts: Deciding

between alternate explanations or pans for solving

problems; evaluating advertising claims or cases made

by interest groups.)

MI.LA.7-9.03.05Select appropriate strategies to construct meaning

while reading, listening to, viewing, or creating texts.

Examples include generating relevant questions, studying

vocabulary, analyzing mood and tone, recognizing how

authors and speakers use information, and matching

form to content.

MI.LA.10-12.03.05Employ the most effective strategies to construct

meaning while reading, listening to, viewing, or creating

texts. Examples include generating focus questions;

deciding how to represent content through analyzing,

clustering, and mapping; and withholding p

MI.LA.10-12.05.05Analyze and evaluate the authenticity of the portrayal

of various societies and cultures in literature and other

texts. An example is critiquing print and non-print

accounts of historical and contemporary social issues.

MI.LA.4-6.08.04Identify and use aspects of the craft of the speaker,

writer, and illustrator to formulate and express their ideas

artistically. Examples include intonation, hues, design,

perspective, dialogue, characterization, metaphor, simile,

and points of view.

MI.LA.4-6.09.02Draw parallels and contrasts among key ideas, concepts,

and varied perspectives found in multiple texts.

MI.LA.7-9.09.02Synthesize content from multiple texts representing

varied perspectives in order to formulate principles and

generalizations.

MI.LA.10-12.10.01Use themes and central ideas in literature and other

texts to generate solutions to problems and formulate

perspectives on issues in their own lives.

MI.LA.10-12.11.03Synthesize and evaluate information to draw conclusions

and implications based on their investigation of an issue

or problem.

MI.LA.7-9.12.05Refine their own standards to evaluate personal and

public communications within a responsible and ethical

system for the expression of ideas.

MI.LA.10-12.12.05Apply diverse standards (e.g. rhetorical and societal)

to evaluate whether a communication is truthful,

responsible, and ethical for a specific context.

MI.SS.7-9.01.04.04Select historic decisions and evaluate them in light of

core democratic values and resulting costs and benefits

as viewed from a variety of perspectives

KENDALL COLLEGE OF ART AND DESIGNCOMMON CORE STANDARDS

This exploration will engage the audience by examining how our brain “Sees” and why it prefers to look at certain things. This interactive study will give the participants time to “See” and reflect on artwork considering their intuition, sensory perception, and conscious awareness. This hands-on program will consider the personal, contextual, and formal preferences that determine how we each connect with different art pieces and how those preferences designate what each viewer considers to be great art.

The presentation will begin with the “Moon Walking Video.”

This one-minute video is a great way to help students

realize that visual information is not always seen and if

you aren’t careful, you will miss important information.

The lesson continues with the instructor holding up a

sheep brain. In order to really SEE art you need to use

both hemispheres. The left hemisphere sees the details

(the trees) and the right hemisphere sees the whole

picture (the forest). Kendall would like you to look at

art using BOTH hemispheres. Teacher will show the two

hemispheres asking questions like: is one side bigger

than the other?

PROCEDURESStudents will be asked to open their journal and write

down which piece of artwork in this room that they like

best. Write down a couple of words describing what

they like about that piece.

To explain what aesthetic means, the presenter asks

students whether they made any aesthetic decisions

today. The answer is YES. They picked out their clothing;

that is an aesthetic choice. What they choose to wear

helped them communicate who they are, through their

clothing. Clothing of some famous personalities, such

as Katie Perry, Miley Cyrus, Princess Kate, Johnny Depp,

Will Smith and Sponge Bob), is considered to help

identify what tools are used to create an images (the

elements of art but also traditional or unexpected, etc.,

to create an image).


THE “ABSEE’S” OF LOOKING AT ART THROUGH KENDALL COLLEGE OF ART AND DESIGN.

Students are given two jellybeans of the same color.

These will be prepared in little Dixie cups to save time

before the session begins. Each student is asked to

eat the two different flavors slowly, savoring the taste.

Students will be prompted with questions asking them

to slow down and reflect on the subtle flavor and

texture differences. Looking at art is similar to taste

testing. Really looking at art requires you to use both

hemispheres and consider not only the whole image

but also the subtle details. Remind students of the brain

and the two hemispheres. What is the main difference

between each hemisphere? Remind them of the “Forest

and the Trees” metaphor.

Students then revisit the artwork they originally selected

and think about what category of aesthetics they believe

they were considering in their choice. The students will

be given 4 – 5 minutes to connect with their chosen

piece of art and expand upon their response. Next, they

analyze the same work of art through considering one

of the other categories. There will be ambiance music

playing while the students sit on carpet squares in front

of their chosen artwork.

All the students that selected the same work of art

meet in front of the image and discuss their reasons for

selecting that particular piece. They will discuss what

category each response would be under. If a single

person selected a work that was not chosen by someone

else than they are asked to complete the written

questions and may join a group to take part in the

discussion. The session is completed with the presenter

asking students questions about the artwork in the

gallery and preparing them to apply the critique method

to works at other venues.

KEY CONCEPTSConsider what needs to happen when you truly view a

piece of artwork:

1. It takes time!

2. It is physical work to look at art.

3. An interesting piece of artwork will evoke feeling for

the viewer and many times the piece of artwork will

be remembered later on.

4. Everybody will prefer different pieces of art.

5. Everybody will remember different pieces of art for

different reasons.

6. You need to be open-minded when looking at artwork.

CLASSROOM ACTIVITYBefore the students begin their exploration in the

galleries we will ask them general gallery questions like:

• Which work of art reminds you of something from your

life or your past? What aspect of it reminds you of your

own life? Is this painting interesting to you beyond the

memory? Would you like it even if it did not remind you

of an experience in your own life? (Personal)

• When you look around the room quickly, which artist

used color in a way that got your attention first? What

did they do? (Formal)

• Choose one of the works of art and write the first

sentence or two for a story inspired by the artwork.

(Personal/Contextual)

• Don’t forget to read the artists’ statements; they can

be very informative.

Students are asked questions to gauge their

understanding of what was taught:

• Do you think you like artwork that has images of

things that you are familiar with?

• Which category do you think most people will use

when viewing art in ArtPrize? Why?

• What does the word Aesthetics mean?

• Do you each make Aesthetic decisions every day?

• What hemispheres help you to see the whole piece

of art? The details?

• Which hemisphere is more important?


THE “ABSEE’S” OF LOOKING AT ART THROUGH KENDALL COLLEGE OF ART AND DESIGN.

VOCABULARYThe three categories for analyzing a work of art,

personal and formal are introduced. Examples are shown

for each. The definitions of each kind of Aesthetics are:

Personal – artwork that triggers an individual response

from you because of your personal memories or brain

preferences in colors or shapes

Formal – artwork that considers the elements of design

that are composed in a way that you find interesting

Contextual – artwork that uses cultural references

familiar to a specific group. Nationality, region, political

association, religion, race, gender, or age may define

this group. The artwork will often also create a personal

response in relation to your point of view/group member.

K-6 GRADE:

9/21/12 Session One 9:30am (40 min)

Session Two 10:30am (40 min)

6-12 GRADE:

9/24/12 Session One 9:30am (40 min)

Session Two 10:30am (40 min)


FEATURED ARTISTScott Pellegrom

ST. CECILIA MUSIC CENTER24 RANSOM AVE NE

SCOTT PELLEGROM – PERCUSSION

ST. CECILIA MUSIC CENTERCOMMON CORE STANDARDS

ST. CECELIA MUSIC CENTER GRADES K-6

ART STANDARDS

MI.A.K-6.01.14.MUEcho short rhythms and melodic patterns.

MI.A.10-12.01.03.DDemonstrate rhythmic acuity.

MI.A.K-6.03.07.DDemonstrate perceptual skills by moving, by answering

questions, and by describing aural examples of music of

various styles representing diverse cultures.

MI.A.7-9.03.11.DDemonstrate knowledge of the basic principles of

meter, rhythm, tonality, intervals, chords, and harmonic

progressions in their analyses of music.

MI.A.K-6.04.05.MUIdentify by genre or style aural examples of music from

various historical periods and cultures.

MI.A.K-6.04.06.MUDescribe how elements of music are used in examples

from various cultures of the world.

MI.A.K-6.04.08.MUIdentify and describe roles of musicians in various

settings and cultures.


MI.LA.K-3.12.03Discuss choices in reading, writing, speaking, listening,

viewing, and representing that reflect aesthetic qualities,

such as rhyme, rhythm of the language, or repetition.

MI.SS.4-6.02.02.04Explain how various people and cultures have adapted

to and modified the environment.

MI.CE.K-6.07.07.10Explore one’s own culture, the cultures of others, and

how cultures differ and are the same.

MI.PE.K-3.4.1Demonstrate locomotor skills in time to selected rhythmic

patterns (e.g., aerobic rhythmic activities. even, uneven,

fast and slow).

ST. CECILIA MUSIC CENTER GRADES 6 – 12

ART STANDARDS

MI.A.K-6.01.14.MUEcho short rhythms and melodic patterns.

MI.A.10-12.01.03.DDemonstrate rhythmic acuity.

MI.A.K-6.02.08.MUImprovise simple rhythmic variations and simple melodic

embellishments on familiar melodies.

MI.A.K-6.03.07.DDemonstrate perceptual skills by moving, by answering

questions, and by describing aural examples of music of

various styles representing diverse cultures.

MI.A.7-9.03.09.DAnalyze the uses of elements of music in aural examples

representing diverse genres and cultures.







MI.A.K-6.04.05.MUIdentify by genre or style aural examples of music from

various historical periods and cultures.

MI.A.K-6.04.06.MUDescribe how elements of music are used in examples

from various cultures of the world.

MI.A.K-6.04.08.MUIdentify and describe roles of musicians in various

settings and cultures.


MI.S.K-6.02.01.02Show how science concepts can be interpreted through

creative expression such as language arts and fine arts.

(Key concepts: Poetry, expository work, painting, drawing,



drawings; describing natural phenomena scientifically and

poetically) be interpreted through creative expression

such as language arts and fine arts. (Key concepts: Poetry,

expository work, painting, drawing, music, diagrams,

graphs, charts. Real-world contexts: Explaining simple

experiments using paintings and drawings; describing

natural phenomena scientifically and poetically).

MI.S.K-6.04.04.01Describe sounds in terms of their properties (pitch,

loudness). (Key concepts: Pitch-high, low. Loudness-

loud, soft. Real-world contexts: Sound from common

sources, such as musical instruments, radio, television,

animal sounds, thunder, human voices).

MI.S.K-6.04.04.02Explain how sounds are made. (Key concepts:

Vibrations-fast, slow, large, small. Real-world contexts:

Sounds from common sources, such as musical

instruments, radio, television, animal sounds, thunder,

human voices.)

ST. CECILIA MUSIC CENTERCOMMON CORE STANDARDS

ST. CECILIA MUSIC CENTER24 RANSOM AVE NE

SCOTT PELLEGROM – PERCUSSION

SCOTT PELLEGROMwww.scottpellegrom.comScott Pellegrom is one of the hottest rising stars of

today. Since performing live at the age of five, he

has transformed from a natural born rhythmist to an

international clinician and educator. Scott finds rhythm

in everything that surrounds him and currently inspires

over fifty students with his world renowned talent.

Scott currently does thirty clinics a year. He endorses

and works exclusively for Dream Cymbals, DrumCraft

Drums, Pro-Mark Sticks and Aquarian heads. Scott

can be seen in Modern Drummer Magazine, DRUM

magazine, and a host of many other publications world

wide. Scott has made appearances at the Cape Breton

International Drum Festival 2009 and 2010, Tiger Bill’s

Drum Beat Fest 2009, Fun With Drum Clinic in 1999,

2005 and 2008, Portland Vintage Drum Show 2004,

and Bass Up in Atlanta. You can also find Scott

performing and demonstrating products at NAMM,

Musikmesse and PASIC events every year. In 2006 he

was in the Guitar Center Drum Off national finals out of

5000+ competitors.

Scott currently resides in West Michigan and

tours internationally.

MEDIUM Percussion/music

KEY CONCEPTSPercussion is music involving drums and other instruments

such as gongs, bells, cymbals, rattles, and tambourines.

The instruments themselves are also called percussion.

How do percussion instruments differ from guitars

or horns? Percussion comes from the Latin word

percussionem, which means “a striking, a blow.”

CLASSROOM ACTIVITY• What everyday objects can be used for percussion?

• How can you make music with those objects?

• Can you think of any sounds in nature that are percussive?

VOCABULARYRhythm: Rhythm comes from the Greek rhythmos

“measured movement, flow.” The beat of a song or the

meter of a poem is its rhythm. You can also describe

the cycle of things that happen in life or nature like the

ocean tide or the passing of the seasons as a rhythm. If

you have no rhythm, you’re not very good at dancing.

Beat: In music beat can mean “hit repeatedly,” “stir

vigorously,” or “defeat.” A beat can also be a rhythmic

pulse, a physical blow, or a funky poet.

Tempo: In music, tempo (Italian for time, plural: tempi)

is the speed or pace of a given piece. Tempo is a crucial

element of any musical composition, as it can affect the

mood and difficulty of a piece.

K-6 GRADE:

9/25/12 and 10/2/12 Session One 9:30-11:00


6-12 GRADE:

9/27/12 and 10/4/12 Session One 9:30-11:00



FEATURED ARTISTSABCD83 Collective

Scott Carter

Sage Dawson

Ryan McDaniel

Ann Morton

Carol Prusa

URBAN INSTITUTE FOR CONTEMPORARY ARTS (UICA)2 FULTON STREET WEST

SOMEWHERE ELSE

URBAN INSTITUTE FOR CONTEMPORARY ARTS (UICA) GRADES K-6

ARTS STANDARDS











MI.LA.4-6.09.02Draw parallels and contrasts among key ideas, concepts,

and varied perspectives found in multiple texts.

MI.SS.K-3.02.02.02Describe the ways in which their environment has been

changed by people, and the ways their lives are affected

by the environment.

MI.SS.K-3.06.01.02Compare their own viewpoint about the matter raised

with that of another individual.

URBAN INSTITUTE FOR CONTEMPORARY ARTS (UICA)COMMON CORE STANDARDS

URBAN INSTITUTE FOR CONTEMPORARY ARTS (UICA) GRADES 6-12

ARTS STANDARDS

MI.A.K-6.02.17.VAApply knowledge of materials, techniques, and

processes to create artwork.

MI.A.7-9.02.19.VAIntegrate organizational structures and characteristics to

create art for different purposes.

MI.A.10-12.02.20.VACreate artworks that use organizational principles and

functions to solve specific visual arts problems.

MI.A.7-9.03.23.VAObserve and compare works of art that were created for

different purposes.






MI.LA.7-9.04.01Compare and contrast spoken, written, and visual

language patterns used in their communication contexts,

such as community activities, discussions, mathematics

and science classes, and the workplace.

MI.LA.K-12.07STANDARD: All students will demonstrate, analyze,

and reflect upon the skills and processes used to

communicate through listening, speaking, viewing,

reading, and writing.

MI.LA.4-6.11.01Generate questions about important issues that affect

them or topics about which they are curious, and use

discussion to narrow questions for research.

MI.SS.4-6.02.02.04Explain how various people and cultures have adapted

to and modified the environment.


SOMEWHERE ELSE

UICA’s exhibition, Somewhere Else features work that transports viewers to another place, constructs surreal contexts and envisions different environments. We will be exploring this concept in a three-part program.

THEATER PRESENTATIONStudents will begin in the theater for a 30minute

presentation by ABCD83 Collective. The focus will be

ABCD83’s piece, More or Less and feature a time-lapse

video of their installation. The collective will share their

artistic process, explain how it relates to the exhibition

theme: Somewhere Else. Included in the presentation will

be an introduction to the collective members and their

journey as working artists.

TOUR The group of 60 students will be broken into smaller

groups of 15 (there must be a chaperone/15 students)

each teacher/chaperone will be given a map and start

the tour at different locations within the UICA. Docents

will be stationed in front of the artwork to explain the

work and guide students in discussion. The tour lasts

approximately 45 min.

KEY CONCEPTSUICA’s exhibition features work that transports viewers

to another place, constructs surreal contexts and

envision different environments.

CLASSROOM ACTIVITYTeachers will be given a packet that includes a post

classroom activity during the program. UICA will provide

handout the day of program to participating teachers.

ABCD83 COLLECTIVE

Members of collective: Chris Silva, Brian Steckel,

David Cuesta and Anthony LeWeller

TITLEMore or Less

chrissilva.com

MORE OR LESS is an art installation which was

originally created in Chicago, at alternative gallery space,

Believe Inn. Constructed entirely with found objects,

reclaimed wood, beach detritus, etc., it had considerable

attraction as a static installation as well as the additional

draw of highly complex and perfectly mapped/isolated

video projections, all synced to an original soundtrack.

SCOTT CARTER Originally from Kentucky, Scott Carter is a Chicago

based artist whose work draws influence from areas

of sculpture, installation art, design and architecture.

His work manifests as immersive environments and

installations that facilitate subtle shifts of value and and

attempt to redefine utility in relation to each project/space.

TITLESynthetic Horizon

scottcarter.com

The installation will consist of a re-creation of a horizon

line using wheat grass, fluorescent light and the

construction of a false wall that will span the length and

height of the ramp space at the UICA. A break in the

false wall will expose a living landscape that will be back-

lit by fluorescent bulbs. As viewers enter the ramp space

they will feel as though they are walking along a hillside

as the sun breaks the horizon. As an artist Mr. Carter is

interested in the existing potential of Architecture and

Design and his ability to alter them, forcing subtle shifts

in context and function.


SOMEWHERE ELSE

SAGE DAWSONSage Dawson is a mixed media artist who’s work

examines the history of cartographic rendering: mapping

in order to investigate collective experiences, sublimity,

and the distinct identities of abandoned spaces.

TITLEItinerary Map West Through Time and Space

sagedawson.com

Cartographies of Ruin aims to document and present

lost, abandoned, and forgotten sites. These works

emphasize the momentariness of time and memory

that is suggested by the nature of these spaces. In

the case of abandoned sites, their gradual destruction

implies a history which unfolds from past to present, and

on to their precarious survival in the future. Whether

neglected over years or taken quickly in a fire–along with

their contents, they become collections: the delicate

remains of architecture, fragments of belongings,

decaying documents, ash and dirt. The sentimental

and the circumstantial are presented and catalogued

equally, matter-of-factly, as artifacts. In this way, the

work aims to better understand how the production and

destruction of spaces affects people collectively.

RYAN MCDANIELMcDaniel’s recent installations explore his anxiety. The

paintings deal with the balance between space and place.

TITLEAnxiety

This piece was site-specific and created for a large

industrial room with no windows and only a single

entrance. Each bag is filled with the artist’s breath

rendering an escape from anxiety, hyperventalation.

The viewer enters through a solid double door to be

confronted only a few feet away from this massive

covered wall.

ANN MORTON

TITLEThe Collective Cover Project

annmortonaz.com

collectivecover.com

The artwork entitled “Collective Cover Project” is a

long term project initiated in January of 2009 and

completed in 2012. Fiber-based items inducted into the

Collective Cover Project have been randomly found

along roadways or in the environment by the artist and

generous colleagues — culminating in a collection of

objects that have been numbered, photographed, and

for whom a “Constructed Archive” has been created with

current events from the day they were found. Members

are then fitted with a woven QR code that connects

them in cyberspace with their constructed history.


SOMEWHERE ELSE

CAROL PRUSACarol Prusa is known for her contemporary use of

silverpoint drawing on large curved forms punctuated by

patterns of fiber optic lights.

TITLEEmergent Worlds

www.carolprusa.com

As artists and scientists seek to understand our world,

Ms. Prusa joins the most advanced daydreamers –

those who imaginatively visualize a creative matrix and

explore otherworldly possibilities between infinitesimal

and immeasurable realms. Her constructed domes are

provocative symbols that invoke the idea of the universe

and physical objects that allude to real-life structures.

Constructed of acrylic hemispheres ranging from bowl-

sized to five feet in diameter, their convex illuminated

surfaces are articulated with delicate and intricate

silverpoint drawing washed with ground graphite and

heighented with white paint, punctuated by patterns

of fiber optic lights. The mathematics of her expressed

geometries offer a spiritual force that organizes

structures from the microscopic to the political.

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