Course Profile Media Arts, Grade 10, Open,
Catholic
Unit 1: Introduction to Media Arts and Image Manipulation
Time: 17 hours
Activity 1 | Activity 2 | Activity 3 | Activity 4 | Activity 5
The activities in this unit focus mainly on the manipulation of two-dimensional images and the use of these images in the creation of artwork. Each activity is linked to the work of at least one contemporary media artist. As an introduction, students begin with the deconstruction of historical and contemporary images and are introduced to the elements and principles of media arts. The remaining activities offer students opportunities to manipulate images and to experiment with a variety of image-making tools to express particular themes and messages. Students may work with traditional art tools (e.g., photography, drawing) as well as with new and emergent technologies (e.g., digital imaging and graphics, computer software) to create their own media artworks. The final activity allows students to bring together the skills learned in this unit to put together a proposal for a multimedia, interactive environment. Group discussions and individual responses to issues raised through the various activities are approached in light of Gospel values as students explore themes related to personal identity and the relationship between media arts and society.
CGE2a - listens actively and critically to understand and learn in light of gospel values;
CGE2e - uses and integrates the Catholic faith tradition, in the critical analysis of the arts, media, technology, and information systems to enhance the quality of life;
CGE3e - adopts a holistic approach to life by integrating learning from various subject areas and experience;
CGE4b - demonstrates flexibility and adaptability;
CGE5g - achieves excellence, originality, and integrity in one’s own work and supports these qualities in the work of others;
CGE6c - values and honours the important role of the family in society.
THV.01 - explain the elements and principles of media arts as they apply to their own work and the work of others;
THV.02 - explain the historical foundations of media arts;
CRV.02 - demonstrate skills in manipulating traditional art tools related to media art (e.g., camera, video camera, photocopier, tape recorder);
CRV.03 - demonstrate skills in manipulating new and emergent digital technologies used in creating media art (e.g., digital camera, scanner, digital recorder, computer);
CRV.04 - use the stages of the creative process to communicate their ideas individually and in groups (e.g., exploration, experimentation, production, evaluation);
CRV.05 - use concepts and procedures from other art forms in creating media artworks;
ANV.01 - use the stages of critical analysis to examine and discuss the aesthetic and compositional components of current and historical media artworks;
ANV.02 - identify the impact of media artworks and productions on themselves and their community.
TH1.01 - identify and describe the use of elements and principles of media arts in selected works and productions;
TH1.02 - identify and describe elements and principles borrowed from traditional art disciplines as found in media art;
TH1.03 - recognize and use vocabulary specific to media art;
TH2.01 - identify and describe the foundations of media art by viewing/experiencing selected media artworks and/or productions;
TH3.03 - demonstrate an understanding of ecological and environmental considerations in the development and production of media art;
TH3.04 - demonstrate an awareness of legal implications in the production and distribution of media artworks (e.g., acknowledge the sources of all non-original material, implications of personal privacy, and freedom-of-information laws);
CR1.01 - use elements and principles specific to media art in their own work;
CR1.03 - transform an existing artwork by modifying an element or principle (e.g., point of view, movement) through a media art technique;
CR2.01 - use a variety of the techniques and materials of traditional art forms related to media art;
CR2.02 - communicate an idea through a traditional art form related to media art;
CR2.05 - communicate an idea through the integrated use of digital techniques and materials;
CR3.01 - research existing media artworks and productions to inspire new works (e.g., create a journal of existing works and productions);
CR4.01 - use similarities between the arts to explore and experiment in the creation of media artworks;
CR4.02 - identify and apply a specific idea, concept, or theme common to other art forms (e.g., narration, colour) to a media artwork;
AN1.01 - use the stages of critical analysis (e.g., initial reaction, identification, analysis, interpretation, evaluation) to study their own media artworks or productions;
AN1.03 - use correctly an appropriate vocabulary (e.g., framing, digital photography, imaging) to discuss media art in group settings;
AN2.03 - exhibit or perform effectively media artworks or productions in individual and group settings for a variety of audiences (e.g., peers, community, teacher);
AN3.01 - identify, decode, and explain, orally and in writing, the codes and conventions (e.g., stereotypes, icons, structures) in various examples of media art;
AN3.02 - identify and explain, orally and in writing, how media artworks affect perceptions of identity (e.g., ethnic group, regional/provincial/national identity, religious affiliation, philosophical identity).
|
Activity 1 |
Deconstructing Images: Past and Present |
75 minutes |
|
Activity 2 |
Altering and Enhancing Images: Fact vs. Fiction |
120 minutes |
|
Activity 3 |
Photocollage: Documenting Memories |
330 minutes |
|
Activity 4 |
Making a Statement: Creating a Multimedia Artwork |
330 minutes |
|
Activity 5 |
Proposal for an Interactive Environment |
165 minutes |
Basic knowledge of elements and principles of visual and dramatic arts; photography, video, sound production, and digital imaging would be beneficial.
Teachers should keep resources for this unit as current as possible to correspond with technologies available to students. Each activity can be adapted depending on the technologies available. However, every effort should be made to allow students access to appropriate equipment. This may involve partnerships in the community, guest speakers/artists, sharing with other schools, field trips, etc.
With each activity, emphasis should be placed on content first and then on the use of the tools available to students, beginning with the critical analysis of traditional and emergent art forms and then proceeding with the students’ creation of their own artwork. The focus of this unit is on experimentation and interpretation of images and on using these tools to convey a particular idea or message. Students should focus on these goals as they proceed through the activities. Teachers and students need to be flexible and open to new ideas as the activities present a variety of possibilities for achieving the goals of each activity.
Artwork created or proposed in this unit is evaluated for evidence of experimentation, creativity, and the student’s ability to convey a particular idea or message. Students will also be assessed on their ability to work and communicate with others, on their participation in the creative and critical processes, and on their ability to use the various tools. The media arts journal is also an important assessment tool for this unit and for the course. It should be introduced at the beginning of the course and could take the form of a sketchbook, notebook, file folder, etc. The journal is used throughout the course as a place for reflection and for preparatory work for the media artworks created.
Ang, Tom. The Art of Digital Photography: A Step-by-Step Guide to Creating and Manipulating Great Images. New York: Amphoto Books, 1999. ISBN 0817437940
Clark, Michael T. Teach
Yourself Paint Shop Pro 6 in 24 Hours. Indiana: Sams Publishing, 2000.
ISBN 0672317206
Creative Backgrounds: Clip Art. Ohio: F & W Publications, Inc., 1994. ISBN 0891345566
Creative Backgrounds 2: Clip and Scan Art. Ohio: F & W Publications, Inc., 1996. ISBN 0891347011
Davies, Hugh M., Ronald J. Onorato, and Anne Farrell. Blurring the Boundaries: Installation Art 1970-1996. ISBN 0934418446
Golding, Stephen. Photo Montage: A Step-by-Step Guide to Building Pictures. Massachusetts: Rockport Publishers, Inc., 1997. ISBN 156496289X
Harter, Jim. Landscapes and Cityscapes for Artists and Craftspeople. New York: Dover Publications, Inc., 1999. ISBN 0486404633
Harvey, Liz. Shoot! Everything You Ever Wanted to Know About 35mm Photography. New York: Amphoto Books, 1993. ISBN 0817458697
Honnef, Klaus. Contemporary Art. Germany: Benedikt Taschen, 1990. ISBN 3822800759
Hume, Helen D. A Survival Kit for the Secondary School Art Teacher. West Nyack: The Centre for Applied Research in Education, 1990. ISBN 0876287984
Kruger, Barbara. Thinking of You. Massachusetts: MIT Press. ISBN 0262112507
Langford, Michael. Story of Photography, 2nd Edition. Oxford: Focal Press, 1997. ISBN 0240514831
Leland, Nita and Virginia Lee
Williams. Creative Collage Techniques. Ohio: North Light Books, 1994.
ISBN 0891345639
Lucie-Smith, Edward. ArToday. London: Phaidon Press Ltd., 1995. ISBN 0714838888
Meheut, M. Animal Studies: 550 Illustrations of Mammals, Birds, Fish and Insects. New York: Dover Publications, Inc., 1999. ISBN 0486402665
Nourmand, Tony and Graham Marsh,
eds. Film Posters of the 70’s. London: Aurum Press, Ltd., 1998.
ISBN 185410585X
Nourmand, Tony and Graham Marsh,
eds. Film Posters of the 60’s. London: Aurum Press, Ltd., 1999.
ISBN 1854105132
Nourmand, Tony and Mark H. Wolff,
eds. Hitchcock Poster Art. London: Aurum Press, Ltd., 1999.
ISBN 1854106430
Riemschneider, Burkhard and Uta Grosenick, eds. Art at the Turn of the Millennium. Koln: Taschen Publishers, 1999. ISBN 3822873934
Sheppard, Rob. Computer
Photography Handbook. New York: Amherst Media, Inc., 1998.
ISBN 0936262648
Weintraub, Linda. Art on the Edge and Over: Searching for Art’s Meaning in Contemporary Society, 1970’s-1990’s. Connecticut: Art Insights, Inc., 1996. ISBN 0965198812
Artforum. www.artforum.com
Lola. (a
Toronto art magazine – teacher reference only)
P.O. Box 265, Station C, Toronto, Ontario, M6J 3P4
Artforum – www.artforum.com
Artnews-www.ARTnewsonline.com
The New School International Art Tour 1997 – http://www.diaInsa.edu/iat97/index.html
Photomontage – http://www.photomontage.com/
The Power Plant Contemporary Art Gallery – www.thepowerplant.org
Cosmopolitan Virtual Makeover
JASC Paintshop Pro
Adobe Photoshop
CorelDraw™
Copyright-Free Photo Disks
Time: 75 minutes
In this activity, students are challenged to go beyond traditional images in search of contemporary forms of artistic expression. Students are presented with traditional images from mass media, pop culture, or fine art alongside images created by contemporary artists which are considered avant garde. These images are deconstructed to expose considerations of form, content, and context. As an extension, students work with the idea that the medium is the message as they explore and suggest a variety of ways to convey messages using traditional art tools and contemporary technologies.
Ontario Catholic School Graduate Expectations
CGE2e - uses and integrates the Catholic faith tradition, in the critical analysis of the arts, media, technology, and information systems to enhance the quality of life;
CGE4b - demonstrates flexibility and adaptability.
Strand(s): Theory, Analysis
Overall Expectations
THV.01 - explain the elements and principles of media arts as they apply to their own work and the work of others;
THV.02 - explain the historical foundations of media arts;
ANV.01 - use the stages of critical analysis to examine and discuss the aesthetic and compositional components of current and historical media artworks;
ANV.02 - identify the impact of media artworks and productions on themselves and their community.
Specific Expectations
TH1.01 - identify and describe the use of elements and principles of media arts in selected works and productions;
TH1.02 - identify and describe elements and principles borrowed from traditional art disciplines as found in media art;
TH1.03 - recognize and use vocabulary specific to media art;
TH2.01 - identify and describe the foundations of media art by viewing/experiencing selected media artworks and/or productions;
AN1.03 - use correctly an appropriate vocabulary (e.g., framing, digital photography, imaging) to discuss media art in group settings;
AN3.01 - identify, decode, and explain, orally and in writing, the codes and conventions (e.g., stereotypes, icons, structures) in various examples of media art.
For this activity, teachers collect samples from a traditional art or mass media form and from artwork created by contemporary artists who would be considered avant garde. This activity uses the movie poster as its base but alternatives could be used including ads for a specific product which has been around for decades (e.g., Coca-Cola, Levi’s, etc.) or a popular subject matter for art as it has been painted over decades and art movements (e.g., still life, landscape, portrait, etc.). Appendix C – Contemporary Artists – A Starting Point offers a list of artists whose work could be explored for this activity and throughout the course. The work of Barb Kruger in particular would be a good companion for the movie poster.
Some knowledge of basic mass media related concepts (e.g., viewer/audience) and of elements and principles of design as applied to the visual arts would be beneficial but is not absolutely necessary.
1. The teacher introduces the concept of the movie poster by:
· presenting a poster from a recent film;
· conducting a class discussion centred around the relationship between the poster and the film (i.e., How does the poster set the mood for the film? What information about the film’s storyline is conveyed in the poster? Would the poster make you want to go and see the film or rent the video? Why or why not?).
2. In groups, students are given movie posters to explore. Each group should be given a poster from a different era (1950s-2000s). Each student is given Appendix A - Deconstructing Images. The group works together to respond to the questions but each student records the responses on his/her own handout. A reporter from each group shares the group’s findings with the rest of the class (brief presentation).
3. The teacher presents the students with a variety of artwork created by contemporary artists working with contemporary tools and technologies (see Appendix C – Contemporary Artists – A Starting Point). The teacher leads the class in a deconstruction of at least one of these artworks using the right-hand column of Appendix A – Deconstructing Images.
4. The teacher introduces the elements and principles of media arts as they apply to the contemporary artwork chosen:
· Elements: light, colour, sound parameters, time, movement, point of view, performance, placement or framing, editing, balance, narrative
· Principles: interactivity, hybridization, heterogeneity, medium, temporality
5. Further explanation of the elements and principles of media arts can be found on pp. 63-64 of The Ontario Curriculum, Grades 9 and 10, The Arts.
6. As a follow-up, students engage in a group activity whereby each group is given a message and a medium (see Appendix B – The Medium is the Message). Each group is to discuss ways to convey their particular message using the medium given to them. Depending on time, the messages and media could be rotated around the class, allowing for more suggestions and possibilities for expressing the messages and for using the various media. (Groups could keep their message but rotate the media or vice versa.)
7. Students can also record thoughts and feelings pertaining to the exercises in their media arts journals.
· Appendix A – Deconstructing Images for participation in group work and for ability to deconstruct a variety of images
· Participation in group work and class discussion for understanding of basic concepts related to deconstruction and for a basic understanding of the elements and principles of media arts
· Media arts journal entries
· Assessment can be oral instead of written.
· Partner students to encourage participation in group discussions.
· Sample from pop culture could be chosen to match interest of a particular student.
Honnef, Klaus. Contemporary Art. Germany: Benedikt Taschen, 1990. ISBN 3822800759
Kruger, Barbara and Ann Goldstein. Barbara Kruger. Massachusetts: MIT Press. ISBN 0262112507
Lucie-Smith, Edward. ArToday. London: Phaidon Press Ltd., 1995. ISBN 0714838888
Nourmand, Tony and Graham Marsh,
eds. Film Posters of the 70’s. London: Aurum Press, Ltd., 1998.
ISBN 185410585X
Nourmand, Tony and Graham Marsh,
eds. Film Posters of the 60’s. London: Aurum Press, Ltd., 1999.
ISBN 1854105132
Nourmand, Tony and Mark H. Wolff,
eds. Hitchcock Poster Art. London: Aurum Press, Ltd., 1999.
ISBN 1854106430
Riemschneider, Burkhard and Uta Grosenick, eds. Art at the Turn of the Millennium. Koln: Taschen Publishers, 1999. ISBN 3822873934
Weintraub, Linda. Art on the Edge and Over: Searching for Art’s Meaning in Contemporary Society, 1970’s-1990’s. Connecticut: Art Insights, Inc., 1996. ISBN 0965198812
Appendix A – Deconstructing Images
Appendix B – The Medium is the Message
Appendix C – Contemporary Artists – A Starting Point
Time: 120 minutes
This activity introduces students to techniques used to digitally alter, distort, and enhance images. Through references to both popular culture products and the work of contemporary media artists, students are encouraged to question the reality of the images they see. Students reflect on the moral implications of the altered images as they explore related issues such as body image, self-esteem, and self-identity. Viewing and hands-on activities, discussions, and reflections work to provide students with an understanding of the ‘fiction’ that is created through these fabricated images.
Ontario Catholic School Graduate Expectations
CGE2a - listens actively and critically to understand and learn in light of gospel values;
CGE2e - uses and integrates the Catholic faith tradition, in the critical analysis of the arts, media, technology, and information systems to enhance the quality of life;
CGE3e - adopts a holistic approach to life by integrating learning from various subject areas and experience;
CGE4b - demonstrates flexibility and adaptability.
Strand(s): Theory,
Creation, Analysis
Overall Expectations
THV.01 - explain the elements and principles of media arts as they apply to their own work and the work of others;
CRV.03: demonstrate skills in manipulating new and emergent digital technologies used in creating media art (e.g., digital camera, scanner, digital recorder, computer);
CRV.04 - use the stages of the creative process to communicate their ideas individually and in groups (e.g., exploration, experimentation, production, evaluation);
ANV.01 - use the stages of critical analysis to examine and discuss the aesthetic and compositional components of current and historical media artworks;
ANV.02 - identify the impact of media artworks and productions on themselves and their community.
Specific Expectations
TH1.01 - identify and describe the use of elements and principles of media arts in selected works and productions;
TH1.02 - identify and describe elements and principles borrowed from traditional art disciplines as found in media art;
TH1.03 - recognize and use vocabulary specific to media art;
TH2.01 - identify and describe the foundations of media art by viewing/experiencing selected media artworks and/or productions;
CR1.01 - use elements and principles specific to media art in their own work;
CR1.03 - transform an existing artwork by modifying an element or principle (e.g., point of view, movement) through a media art technique;
CR2.05 - communicate an idea through the integrated use of digital techniques and materials;
AN1.01 - use the stages of critical analysis (e.g., initial reaction, identification, analysis, interpretation, evaluation) to study their own media artworks or productions;
AN1.03 - use correctly an appropriate vocabulary (e.g., framing, digital photography, imaging) to discuss media art in group settings;
AN3.02 - identify and explain, orally and in writing, how media artworks affect perceptions of identity (e.g., ethnic group, regional/provincial/national identity, religious affiliation, philosophical identity);
Teachers collect a variety of images for this activity which will set up a discussion regarding fact and fiction as represented in images (see Teaching/Learning Strategies for suggestions). Teachers also make available to students access to a computer imaging program and be familiar with the tools of the program. Some software programs are suggested in resources.
Knowledge of painting and drawing software would be beneficial but is not necessary.
1. The teacher introduces this activity by guiding students through viewing activities and discussion surrounding the ‘truth’ or ‘reality’ found in the images they see. Some suggested images are:
· supermarket tabloid covers vs. National Geographic magazine covers;
· fashion magazine covers vs. instant camera shots of students;
· clip from a science fiction show or movie vs. clip from a home movie or video;
· a Surrealist painting vs. a traditional landscape painting.
The images on the left may be considered ‘altered’ whereas the images on the right may be considered more ‘realistic’. After viewing these images, the teacher asks students to point out differences between the images presented and to suggest ways in which the images may have been changed from what we might normally see in real life.
2. Focussing on the fashion magazine cover, students are asked to reflect on their morning routines:
· Students are asked: What do you do in the morning to change your appearance? Students may have responses such as: getting dressed, washing, fixing hair, applying make-up, applying jewellery, etc.
· Students are then asked what the purpose of these actions is. These questions serve as a starting point for a discussion regarding self-identity and body image. What are the moral implications associated with the altering of images? How does this affect the way we see ourselves and others? How do our Gospel values affect our judgement of these images?
3. Instruction is given regarding the use of the basic tools of the digital imaging program.
4. Students are given the opportunity to participate in the digital processes used to alter and enhance images found on the covers of fashion magazines. Each student is given an image of a face. Possibilities for acquiring these images:
· taking digital photos of class members;
· scanning personal photos into the computer;
· using copyright-free photo image disks.
5. Students then use the tools of the imaging program to alter the face they are working with. They can begin with distorting the image and then move on to retouching the image in a similar way employed by the fashion industry to remove blemishes, change hair colour, etc. Prints should be made of the original and completed altered images.
6. An alternate time-saver is to demonstrate these techniques using a virtual makeover program. Inexpensive sampler programs are available which demonstrate the basic tools of the full version using images of faces provided within the programs themselves. This alternative will only focus on the enhancing of images and will not allow students to distort the images (e.g., twist faces, etc.).
7. As a follow-up activity, with reference to the elements and principles of media arts, the teacher can introduce students to contemporary media artists whose artworks deal with issues of body image and self-identity. An example would be the performance artist Orlan who, since 1990, has undergone a series of plastic surgeries to physically transform her face. This artist considers the operating room her ‘canvas’ or ‘theatre’ and her work comments on the role of the body in society. Her artwork is featured in Art on the Edge and Over listed in Resources. The work of artist Cindy Shermann could also be explored.
8. Student thoughts and reflections may be recorded in the media arts journal.
· Participation in viewing activities and discussions
· Production of altered image for ability to use digital imaging tools
· Appendix D – Altered Image Reflection Sheet for understanding of issues related to this process
· Media arts journal entries
· Use of virtual makeover program in place of more complicated digital imaging programs
· Use of more complicated digital imaging programs to produce work of professional quality
· Additional time for completion of activity
· Direct instruction
Books
Ang, Tom. The Art of Digital Photography: A Step-by-Step Guide to Creating and Manipulating Great Images. New York: Amphoto Books, 1999. ISBN 0817437940
Clark, Michael T. Teach
Yourself Paint Shop Pro 6 in 24 Hours. Indiana: Sams Publishing, 2000.
ISBN 0672317206
Honnef, Klaus. Contemporary Art. Germany: Benedikt Taschen, 1990. ISBN 3822800759
Lucie-Smith, Edward. ArToday. London: Phaidon Press Ltd., 1995. ISBN 0714838888
Riemschneider, Burkhard and Uta Grosenick, eds. Art at the Turn of the Millennium. Koln: Taschen Publishers, 1999. ISBN 3822873934
Sheppard, Rob. Computer
Photography Handbook. New York: Amherst Media, Inc., 1998.
ISBN 0936262648
Weintraub, Linda. Art on the Edge and Over: Searching for Art’s Meaning in Contemporary Society, 1970’s-1990’s. Connecticut: Art Insights, Inc., 1996. ISBN 0965198812
Computer Software
Cosmopolitan Virtual Makeover.
JASC Paint Shop Pro
Adobe Photoshop
Copyright-free photo disks
Appendix D – Altered Image Reflection Sheet
Time: 330 minutes
This activity focusses on the creation of a photocollage, the combining of multiple pictures into a single image. The activity offers ways to complete the image both mechanically and digitally. The main theme for the artwork created is ‘memory’. Students use personal memories or historical events as the content for their work. Although the photocollage is a two-dimensional work, the activity also offers ways in which the photocollage can be incorporated into an installation and/or performance piece.
Ontario Catholic School Graduate Expectations
CGE3e - adopts a holistic approach to life by integrating learning from various subject areas and experience;
CGE4b - demonstrates flexibility and adaptability;
CGE5g - achieves excellence, originality, and integrity in one’s own work and supports these qualities in the work of others;
CGE6c - values and honours the important role of the family in society.
Strand(s): Theory, Creation, Analysis
Overall Expectations
CRV.02 - demonstrate skills in manipulating traditional art tools related to media art (e.g., camera, video camera, photocopier, tape recorder);
CRV.03 - demonstrate skills in manipulating new and emergent digital technologies used in creating media art (e.g., digital camera, scanner, digital recorder, computer);
CRV.04 - use the stages of the creative process to communicate their ideas individually and in groups (e.g., exploration, experimentation, production, evaluation);
CRV.05 - use concepts and procedures from other art forms in creating media artworks.
Specific Expectations
TH1.02 - identify and describe elements and principles borrowed from traditional art disciplines as found in media art;
TH1.03 - recognize and use vocabulary specific to media art;
TH2.01 - identify and describe the foundations of media art by viewing/experiencing selected media artworks and/or productions;
TH3.04 - demonstrate an awareness of legal implications in the production and distribution of media artworks (e.g., acknowledge the sources of all non-original material, implications of personal privacy, and freedom-of-information laws);
CR2.01 - use a variety of the techniques and materials of traditional art forms related to media art;
CR2.05 - communicate an idea through the integrated use of digital techniques and materials;
CR3.01 - research existing media artworks and productions to inspire new works (e.g., create a journal of existing works and productions);
CR4.01 - use similarities between the arts to explore and experiment in the creation of media artworks;
CR4.02 - identify and apply a specific idea, concept, or theme common to other art forms (e.g., narration, colour) to a media artwork;
AN1.01 - use the stages of critical analysis (e.g., initial reaction, identification, analysis, interpretation, evaluation) to study their own media artworks or productions;
AN1.03 - use correctly an appropriate vocabulary (e.g., framing, digital photography, imaging) to discuss media art in group settings.
Access to a computer lab with digital imaging programs (e.g., JASC Paint Shop Pro, Adobe PhotoShop, etc.), a digital camera and/or a scanner is preferred but the artwork could also be created mechanically. If completed mechanically, students need airbrushing and hand-colouring equipment and tools and also cropping tools. The book Photomontage, listed in Resources, is an excellent resource for producing both digital and mechanical photocollages.
Some knowledge of the elements and principles of media arts would be beneficial.
1. The teacher begins this activity by introducing the concept of the photocollage. Students should be provided with a variety of photocollages found in books, magazines and web sites (see Resources for suggestions). Students are also provided with Appendix E – Photocollage Vocabulary to familiarize themselves with new and relevant terms. The teacher should describe how a photocollage is created, both digitally and mechanically (Appendix F – Building a Photocollage: Basic Concepts and Appendix G – Recreating Memories: Creating a Photocollage), focussing on the concepts of layering and compositing.
2. Students explore the theme of ‘memory’ as the content of their own photocollage. Students are asked to reflect on personal memories related to family, friends, or school or they may wish to pursue memory as it relates to an historical event which they are interested in researching.
3. The teacher leads the class in a discussion which focusses on ways in which we traditionally record/document memories or historical events (e.g., photos, photo albums, journals/diaries, videos/film, conversations/tape recordings, articles, books, scrapbooks, yearbooks, etc.). Students gather information pertaining to their own selected memory or event, looking to a variety of sources as suggested by the previous discussion. They can also incorporate drawings and copyright-free images connected to their theme. The teacher should make photography equipment (digital, 35mm, instant), a photocopier, and/or scanner available to students.
4. Students create their photocollage either digitally or mechanically, focussing on recording/documenting a particular memory or event by combining the information they have gathered to produce one unified image. Appendix G – Recreating Memories: Creating a Photocollage briefly outlines both the digital and mechanical processes involved. In addition to the documentation aspect of this activity, students should be encouraged to associate an emotion or a statement to the images they are creating. This emotion/statement can be incorporated through the use of colour, text and/or composition considerations.
5. Students completing the activity mechanically can choose from a variety of supports for their image (e.g., paper, wood, wall, furniture, door, etc.). Students completing the activity digitally may wish to output their photocollage onto a variety of papers (e.g., watercolour paper, photographic paper, transfer paper, transparency projected onto a wall or screen, etc.). If completed digitally, images could also be projected onto walls, screens, etc. through the use of LCD projectors. A class critique of the images created follows the completion of the photocollage. Students could participate in this critique with the class as a whole or they may be divided into smaller groups and given a handout to guide their small group discussions.
6. As an extension, the teacher may also wish to pursue a discussion regarding advantages of digital imaging and photography over manual/mechanical/traditional photography with regards to environmental concerns (i.e., use of chemicals).
7. The work of artist Christian Boltanski could be shared with the students. Although this artist does not create photocollages, he incorporates photos in installation pieces which focus on the Holocaust during WWII. A class discussion could follow which focusses on artists using their work to make a statement about particular social issues and historical events. Students are encouraged to reflect on how we as artists and as Christians can use our artwork to share our views and values with others.
8. If time permits, as an extension students could incorporate their photocollage into an installation piece involving the collection and placement of objects related to the memory/event. This installation piece could incorporate the work of a group of students whose photocollages are somehow connected and could also involve a variety of media (e.g., projected images, taped recordings/sound, performance pieces).
· Participation in class discussions for understanding of basic concepts relating to photocollage
· Information gathering for recognition of the importance of the creative process in the creation of an artwork
· Photocollage for ability to use the appropriate tools (digital or mechanical), creativity, and ability to connect an emotion or statement with the image created
· Critique for ability to use appropriate vocabulary and to apply the process of critical analysis to the student’s own work and the work of others
· Digital or mechanical alternative as deemed appropriate for the student(s) involved
· Student partners to encourage participation in class discussion and critiques
· Additional assistance with the collection of information and images in preparation for the creation of the photocollage
· Added steps to the process (e.g., require the taking of photos mechanically, require the completion of the installation extension, etc.)
· Direct instruction
· Additional time
· Ongoing conferencing/discussion with students to keep them on task
Ang, Tom. The Art of Digital Photography: A Step-by-Step Guide to Creating and Manipulating Great Images. New York: Amphoto Books, 1999. ISBN 0817437940
Cotton, Bob and Richard Oliver. The Cyberspace Lexicon: An Illustrated Dictionary of Terms. London: Phaidon Press Ltd., 1994. ISBN 0714832677
Creative Backgrounds 2: Clip and Scan Art. Ohio: F & W Publications, Inc., 1996. ISBN 0891347011
Golding, Stephen. Photo Montage: A Step-by-Step Guide to Building Pictures. Massachusetts: Rockport Publishers, Inc., 1997. ISBN 156496289X
Harter, Jim. Landscapes and Cityscapes for Artists and Craftspeople. New York: Dover Publications, Inc., 1999. ISBN 0486404633
Harvey, Liz. Shoot! Everything You Ever Wanted to Know About 35mm Photography. New York: Amphoto Books, 1993. ISBN 0817458697
Klanten, Robert, Hendrik Hellige,
and Michael Mischler, eds. Trigger. Berlin: Die Gestalten Verlag,
1999. ISBN 3931126218
Langford, Michael. Story of Photography, 2nd Edition. Oxford: Focal Press, 1997. ISBN 0240514831
Leland, Nita and Virginia Lee
Williams. Creative Collage Techniques. Ohio: North Light Books, 1994.
ISBN 0891345639
Lucie-Smith, Edward. ArToday. London: Phaidon Press Ltd., 1995. ISBN 0714838888
Meheut, M. Animal Studies: 550 Illustrations of Mammals, Birds, Fish and Insects. New York: Dover Publications, Inc., 1999. ISBN 0486402665
Riemschneider, Burkhard and Uta Grosenick, eds. Art at the Turn of the Millennium. Koln: Taschen Publishers, 1999. ISBN 3822873934
Sheppard, Rob. Computer
Photography Handbook. New York: Amherst Media, Inc., 1998.
ISBN 0936262648
Weintraub, Linda. Art on the Edge and Over: Searching for Art’s Meaning in Contemporary Society, 1970’s-1990’s. Connecticut: Art Insights, Inc., 1996. ISBN 0965198812
Web Sites
Artlaudator - Computer Illustrations – www.laudator.com
Photomontage – www.photomontage.com
CD-ROMs/Software
JASC Paint Shop Pro
Adobe PhotoShop
Copyright-free photo disks
Appendix E – Photomontage Vocabulary
Appendix F – Building a Photomontage – Basic Concepts
Appendix G – Recreating Memories: Creating a Photomontage (Basic Steps)
Time: 330 minutes
In this activity, students are given the opportunity to incorporate the manipulation of images with performance art to create a multimedia artwork. Concepts related to performance art are introduced and the work of performance artists is shared with the students. Students further connect form with content as they communicate specific messages through their artwork. In this case, a statement will be made about the environment. The challenge of creative problem solving engages students in an exploration of a variety of traditional art tools integrated with new and emergent technologies.
Ontario Catholic School Graduate Expectations
CGE2a - listens actively and critically to understand and learn in light of gospel values;
CGE2e - uses and integrates the Catholic faith tradition, in the critical analysis of the arts, media, technology, and information systems to enhance the quality of life;
CGE3e - adopts a holistic approach to life by integrating learning from various subject areas and experience;
CGE4b - demonstrates flexibility and adaptability;
CGE5g - achieves excellence, originality, and integrity in one’s own work and supports these qualities in the work of others.
Strand(s): Theory,
Creation, Analysis
Overall Expectations
THV.01 - explain the elements and principles of media arts as they apply to their own work and the work of others;
THV.02 - explain the historical foundations of media arts;
CRV.02 - demonstrate skills in manipulating traditional art tools related to media art (e.g., camera, video camera, photocopier, tape recorder);
CRV.03 - demonstrate skills in manipulating new and emergent digital technologies used in creating media art (e.g., digital camera, scanner, digital recorder, computer);
CRV.04 - use the stages of the creative process to communicate their ideas individually and in groups (e.g., exploration, experimentation, production, evaluation);
CRV.05 - use concepts and procedures from other art forms in creating media artworks;
ANV.02 - identify the impact of media artworks and productions on themselves and their community.
Specific Expectations
TH1.01 - identify and describe the use of elements and principles of media arts in selected works and productions;
TH1.02 - identify and describe elements and principles borrowed from traditional art disciplines as found in media art;
TH2.01 - identify and describe the foundations of media art by viewing/experiencing selected media artworks and/or productions;
CR1.01 - use elements and principles specific to media art in their own work;
CR2.01 - use a variety of the techniques and materials of traditional art forms related to media art;
CR2.02 - communicate an idea through a traditional art form related to media art;
CR2.05 - communicate an idea through the integrated use of digital techniques and materials;
CR4.01 - use similarities between the arts to explore and experiment in the creation of media artworks;
CR4.02 - identify and apply a specific idea, concept, or theme common to other art forms (e.g., narration, colour) to a media artwork;
AN1.01 - use the stages of critical analysis (e.g., initial reaction, identification, analysis, interpretation, evaluation) to study their own media artworks or productions;
AN1.03 - use correctly an appropriate vocabulary (e.g., framing, digital photography, imaging) to discuss media art in group settings;
AN2.03 - exhibit or perform effectively media artworks or productions in individual and group settings for a variety of audiences (e.g., peers, community, teacher).
Students need access to a variety of images which can be incorporated into their work.
· Knowledge of elements and principles of media arts
1. The concept of performance art is introduced to students through discussions centred around various performance artists or artists who have incorporated performance art in their work. The work of Joseph Beuys and of Gilbert and George would be suitable for this activity. The artworks discussed should be deconstructed so that students are made aware of the many components involved in the multimedia art created by these artists. Reference to the elements and principles of media arts should be made. Discussion should also focus on the relationship between form, content, and context. What is the ‘content’ of the pieces studied? Is the artist trying to make a statement? If so, what is this statement? How does the artist get this message across? When and where is the artwork displayed/presented? Reference can be made to Activity 1 during which students were required to suggest ways in which particular messages could be conveyed through a variety of media. Students can record main points made in the class discussion in their media arts journal.
2. In pairs, students create a multimedia artwork which includes the following elements (minimum requirements):
· the making of a statement related to the environment (some research required – other issues can be substituted);
· the performance of a short script involving words and/or actions related to the statement that is being made. This script must involve both students in active roles for the artwork;
· the projection of images (e.g., photos, photomontages, photo disks, video recordings, film, transparencies, slides, etc.), still or moving, onto chosen supports (e.g., bodies, fabric, furniture, floors, etc.);
· the use of text (e.g., on clothing, on walls, on images, on ceilings, on ‘viewers’, through verbal communication, through tape recordings, through song lyrics, etc.).
Students need to carefully consider the arrangement of the above elements. It should be emphasized that the elements should be layered and integrated into the work to make one cohesive artwork.
3. Students exhibit their work by presenting their creations to the class. Careful thought should be given to the setting for these pieces to avoid the semblance of ‘the class presentation’ or ‘drama class presentation’.
4. Students reflect on and critically analyse the work they and their peers have created (Appendix H – Media Artwork – Self-Evaluation).
· Participation in class discussions and media arts journal entries for understanding of basic concepts related to performance art and of elements and principles of media arts
· Creation of multimedia artwork for creative problem solving
· Appendix H – Media Artwork – Self-Evaluation
· Allow for more than two people per group.
· Work can be completed independently.
· Provide additional assistance by peer mentors.
Ang, Tom. The Art of Digital Photography: A Step-by-Step Guide to Creating and Manipulating Great Images. New York: Amphoto Books, 1999. ISBN 0817437940
Gilbert and George. The Fundamental Gilbert and George. (Video Resource)
Golding, Stephen. Photo Montage: A Step-by-Step Guide to Building Pictures. Massachusetts: Rockport Publishers, Inc., 1997. ISBN 156496289X
Harter, Jim. Landscapes and Cityscapes for Artists and Craftspeople. New York: Dover Publications, Inc., 1999. ISBN 0486404633
Honnef, Klaus. Contemporary Art. Germany: Benedikt Taschen, 1990. ISBN 3822800759
Lucie-Smith, Edward. ArToday. London: Phaidon Press Ltd., 1995. ISBN 0714838888
Meheut, M. Animal Studies: 550 Illustrations of Mammals, Birds, Fish and Insects. New York: Dover Publications, Inc., 1999. ISBN 0486402665
Riemschneider, Burkhard and Uta Grosenick, eds. Art at the Turn of the Millennium. Koln: Taschen Publishers, 1999. ISBN 3822873934
Sheppard, Rob. Computer Photography
Handbook. New York: Amherst Media, Inc., 1998.
ISBN 0936262648
Weintraub, Linda. Art on the Edge and Over: Searching for Art’s Meaning in Contemporary Society, 1970’s-1990’s. Connecticut: Art Insights, Inc., 1996. ISBN 0965198812
Appendix H – Media Artwork – Self-Evaluation
Time: 165 minutes
This activity builds on the concepts learned in Activity 4 as students are asked to think creatively and conceptually. The goal is for students to work in groups to create a proposal for an artwork involving an interactive environment. Students are encouraged to incorporate a variety of art forms in this work and to address the elements and principles of media arts. As a starting point, students explore installation art and then work towards incorporating the idea of transforming a space through the artwork they are proposing.
Ontario Catholic School Graduate Expectations
CGE3e - adopts a holistic approach to life by integrating learning from various subject areas and experience;
CGE4b - demonstrates flexibility and adaptability;
CGE5g - achieves excellence, originality, and integrity in one’s own work and supports these qualities in the work of others.
Strand(s): Theory,
Analysis
Overall Expectations
THV.02 - explain the historical foundations of media arts;
ANV.01 - use the stages of critical analysis to examine and discuss the aesthetic and compositional components of current and historical media artworks;
ANV.02 - identify the impact of media artworks and productions on themselves and their community.
Specific Expectations
TH1.01 - identify and describe the use of elements and principles of media arts in selected works and productions;
TH1.02 - identify and describe elements and principles borrowed from traditional art disciplines as found in media art;
TH1.03 - recognize and use vocabulary specific to media art;
TH2.01 - identify and describe the foundations of media art by viewing/experiencing selected media artworks and/or productions;
TH3.03 - demonstrate an understanding of ecological and environmental considerations in the development and production of media art;
AN1.01 - use the stages of critical analysis (e.g., initial reaction, identification, analysis, interpretation, evaluation) to study their own media artworks or productions;
AN1.03 - use correctly an appropriate vocabulary (e.g., framing, digital photography, imaging) to discuss media art in group settings;
AN3.01 - identify, decode, and explain, orally and in writing, the codes and conventions (e.g., stereotypes, icons, structures) in various examples of media art.
Teachers make available to students as many examples of installation art as possible. Teachers provide extensive explanations for this work as it will probably be difficult for students to grasp the connection between the artwork and the experience of the artwork so important to this medium. Although installation art is used as a starting point, students should be encouraged to incorporate a variety of art forms in their proposals.
· The elements and principles of media arts and skills and concepts learned in Activities 1-4
1. The teacher introduces the concept of installation art by having students view the work of installation artists. The work of artists Christian Boltanski, Jenny Holzer, Mel Chin, Tomi Arai and Felix Gonzales-Torres could be explored here. The concept of transforming or creating a space is discussed.
2. The teacher addresses problems with the term ‘viewer’ when referring to contemporary artwork and discusses with students alternatives to this term (e.g., ‘encounterer’, etc.), pointing out what makes the term ‘viewer’ insufficient.
3. Students comment on the artwork viewed and discussed both orally and in their media arts journal.
4. In groups, students work to create a proposal for an artwork which involves an interactive environment using the following guidelines:
· The space can be indoor or outdoor.
· The space can pre-exist or be created by the student artists.
· The space may or may not have physical boundaries.
· The artwork can combine any artforms (visual, performance, digital, aural, etc.).
· The artwork should appeal to as many senses as possible.
· Student artists can assume that they have access to any materials or resources needed.
· The ‘viewer’ has to be able to interact with the environment created through physical action.
· In terms of content, the space created must be associated with a particular emotion.
Students use their media arts journals to record ideas during this process.
5. A formal proposal, which clearly outlines how student artists have considered the above guidelines in the piece, is written and presented.
· Participation in class discussion and media arts journal entries for understanding of concept of installation art and application of elements and principles of media arts
· Group work for ability to work with others
· Written proposal for creative problem solving
· Oral presentation for ability to share and communicate ideas with others
· Activity could be extended to the creation of a model of the proposed artwork if this is appropriate for the content of the piece.
· Activity could be extended to the creation of the piece itself if appropriate and possible depending on the resources available.
· PowerPoint presentation could be used for the proposal.
Davies, Hugh M., Ronald J. Onorato, and Anne Farrell. Blurring the Boundaries: Installation Art 1970-1996. ISBN 0934418446
Honnef, Klaus. Contemporary Art. Germany: Benedikt Taschen, 1990. ISBN 3822800759
Lucie-Smith, Edward. ArToday. London: Phaidon Press Ltd., 1995. ISBN 0714838888
Riemschneider, Burkhard and Uta Grosenick, eds. Art at the Turn of the Millennium. Koln: Taschen Publishers, 1999. ISBN 3822873934
Weintraub, Linda. Art on the Edge and Over: Searching for Art’s Meaning in Contemporary Society, 1970’s-1990’s. Connecticut: Art Insights, Inc., 1996. ISBN 0965198812