Foundations Ashley
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UNIT TITLE: Exposing ENDURING IDEAS:
Throughout time and across cultures artists have worked with the idea of “exposure”. Whether the exposure is technically through drawing or literally as with photography exposure creates a sense of vulnerability that must be shared. COURSE: Foundations ELO (Essential Learning Objectives-‐list provided) Create a metaphorical self-‐portrait Investigates & experiments the medium of drawing and photography Integrate the mediums of drawing/photography/mixed media Experiment with layering Explore the idea of Exposure Apply Exposure to student’s life to create personal meaning Create a Secretive or Metaphor Image underneath for what’s being “exposed” Focus on artists who work in these particular mediums Organize knowledge of a self-‐portrait by constructing one Execute a finished piece ESSENTIAL QUESTIONS (What are students investigating? What will they discover?)
Students should be investigating these questions: How little can one draw for someone to understand its meaning? Compositionally, what creates a successful minimal project? How does it mean to be “exposed”? How does it make you feel when you are “exposed”? Is it a good or bad thing to be “exposed”? Can you connect “exposure” to something personal in your life?
EXEMPLAR ARTISTS:
Leonardo da Vinci
Classical Rendering of a famous self-‐portrait of and by Leonardo da Vinci; Here we are able to view the facial features and part of the hair despite the faintness of it against the background. http://www.ted.com/talks/siegfried_woldhek_shows_how_he_found_the_true_face_of_leonardo.html
Self-‐portrait Date: c.1512 Bruno Catalano-‐ Bronze Sculpture Artist
Sylvie Matteo http://brunocatalano.com/ Bryan Lewis Saunders “Artist draws 8, 628 Self-‐Portraits under the Influence of Love and Other Drugs.”
I’m all out of hair I’m so Lost Without You 2
http://www.wired.com/underwire/2012/08/bryan-‐lewis-‐saunders-‐self-‐portraits/?pid=7974 Different Self-‐Portraits of this artist’s alternative views of himself; The use of the title also creates a different level of exposure of the artist. OBJECTIVES (Artists will be able to: 1. 2. 3.)
1. Define exposure & its meaning to self 2. In journals write down what exposure means and how it applies to self 3. Discuss as a class what exposure means 4. Show video of exposure and self-‐portraits
Third Ear Experiment 1
MATERIALS: -‐Camera -‐Found Objects -‐Drawing Utensils: Colored Pencils Charcoal Pencils Pastels Etc. etc. -‐Foam Core -‐Paper PROCEDURES (Artists will… explore, play relate, choose, reflect)
1. Investigate the meaning of “exposure” and the idea of “less is more” 2. Explore minimal artists & artists who extenuate their work on exposing oneself
emotionally or in other forms 3. Sketch out 10 different possible ideas of your self-‐portrait using the idea of
exposure 4. Then show my teacher exemplar of what is to be expected. 5. Create a two-‐layered self-‐portrait using these previous examples & sketches to
relate to their self and what they will be “exposing”. 6. Apply different mediums & techniques to accurately display their knowledge of
exposure & how it applies to them. ASSESSMENT (What evidence do you have about what the students know and what will they be able to do?)
CULMINATING ACTIVITY (Will it include rubrics/portfolios/journals/performances/artists statements/exhibitions/videos/websites/blogs?)
Create a Haku poem about your exposure that is relevant to the artwork and emphasizes what the title is. I will also be using ongoing formative assessment which “…refers to judgments made during the implementation of a program that are directed toward modifying, learning, or improving the program before it is completed…” (90). Formative assessment also includes “…informal oral activities such as conversations with students, questioning students during instruction, or student interviews; pencil-‐and-‐paper techniques; or, alternative methods such as questionnaires and journal entries.” (90)
UNIT EXEMPLAR (Compelling piece showing your metacognition and technical facility) EVIDENCE OF PRIOR KNOWLEDGE (Unit exhibits a deep understanding of current issues in Art Education to include the ideas of Gude, Eisner, Walker, Pink, TETAC, etc.) As evidence of prior knowledge I often refer back to “Rethinking Curriculum in Art” by Stewart and Walker. I first refer to the TETAC project that includes:
“Actively construct[ing] knowledge, rather then passively receiving knowledge, Pursue understanding, not simply memorize and reproduce knowledge. Engage in developing contextualized meanings, not learn isolated facts Develop self-‐awareness as learners” (42).