Course Profile Visual Arts, Grade 10,
Open, Catholic
Unit 1: But Is It Art?
Time: 8 hours
Activity 1 | Activity 2 | Activity 3
In this introductory unit students will explore and reflect upon the meaning of art in various aspects of their lives. Questions will be posed such as: What is art? Who decides this? What determines the value of art? Students will consider the aesthetic value and the relationship between art and society. Students will address social and religious issues through the visual arts such as social justice, spirituality, and ethics. Student artists will explore the various materials and tools used to create art and will consider the impact on the value of the artwork. The drawing journal and related activities will provide the basis for further understanding and exploration.
Ontario Catholic School Graduate Expectations: CGE1g,i, 3a,c, 4f, 5b, 7j.
Strand(s): Theory, Creation, Analysis
Overall Expectations: THV.02, 03; CRV.01, 02, 04; ANV.01, 02, 03.
Specific Expectations: TH2.02; TH3.02; CR1.02, 03; CR2.02, 03; CR3.01, 02, 03; AN1.03, 04; AN2.01, 02, 03.
|
Activity 1 |
What Is Art? |
120 minutes |
|
Activity 2 |
How Does the Artist Think? |
180 minutes |
|
Activity 3 |
How Does the Artist Work? |
180 minutes |
· Students will be able to explain how an artist has used the elements (the expressive qualities) and principles of design to affect the viewer. They will support analyses with evidence from the work. Refer to The Ontario Curriculum, Grades 1-8, The Arts, (page 44) for Grade 8 Visual Arts expectations.
· Students will be able to explain, through critical analysis, the function (e.g., political, religious, social) of their own artworks and those of other cultures and will demonstrate an understanding of connections between art and cultural identity or context. Refer to The Ontario Curriculum, Grade 9, Open, Visual Arts, (page 51).
The teacher will:
· provide student artists with a broad range of drawing materials;
· acquire various resources such as art cards, slides, videos, CD-ROMs, etc.;
· assess prior knowledge to ensure that students are prepared to meet the expectations for this unit;
· review guidelines for constructive criticism prior to the use of peer evaluation rubric;
· facilitate the use of a drawing journal (sketchbook) and a portfolio (a folder in which to file all two-dimensional studio work).
The teacher will:
· conduct demonstration lessons and brainstorming sessions;
· conference with students on an individual basis and oversee research and group work.
The student
will:
· conduct independent research, group work, exploration of materials, and critical analysis exercises of self/peers.
· The teacher supports student progress through the drawing journal, self-/peer assessments, student/teacher conferences, ongoing verbal feedback, critiques, and assessment of classroom portfolio.
· Assessment tools include checklists, marking schemes, rubrics, anecdotal comments with suggestions for improvement.
· Students are evaluated through self/peer rubric; portfolio presentations; formal, oral presentation, and continuing teacher observation.
Frayling, Christopher and Helen. The
Art Pack. Toronto: Random House Inc., 1992.
ISBN 0-679-41419-3
Hume, Helen. A Survival Kit for the Secondary School Art Teacher. West Nyack, NY: The Center for Applied Research in Education, 1990. ISBN 0-87628-798-4
Karsh, Yousuf. Karsh. Toronto: Little, Brown and Company, 1992. ISBN 0-8212-1906-5
Kropper, Jean G. Hand Made
Books and Cards. Worcester, Mass: Davis Publications, 1997.
ISBN 0-871923343
Maisel, Eric. Artists Speak – A Sketchbook. New York: Harper Collins Publishers. ISBN 0-060250880-6
Mittler, Gene. Art in Focus. Mission Hills, California: Glencoe Publishing, 1969. ISBN 0026622718
Mittler, Gene. Understanding
Art. Mission Hills, California: Glencoe Publishing, 1992.
ISBN 0-02-662286-6
Ragans, Rosalind. ARTALK. Westerville, Ohio: Glencoe Publishing, 1995. ISBN 0-02-640295-5
Stewart, Marilyn G. Thinking
Through Aesthetics. Worcester, Mass: Davis Publications, 1997.
ISBN 0 87 1923637
Time Life Library of Art. New York: Time Life Books, 1966. ISBN 66-16540
Canadian Art Magazine
Arts in the Classroom, A Teacher’s CD-ROM Resource. Toronto: TCDSB/CCC, 1998.
Stinespring, John A.
Interacting With Art. Mission Hills, California: 1988.
ISBN 0-02-677065-2
Sister Wendy's Story of Painting. BBC Production Video Series.
www.artednet.getty.edu
Time: 120 minutes
Student artists will explore and reflect upon the meaning of art, its aesthetic and monetary value in our society and how this is determined. Through the exercise of a classroom “charity auction” or debate students will begin to understand that the reasons for collecting art may be as many and varied as the works themselves. Students will be given opportunities to study a work of art in greater depth and to learn how the value placed on a work of art is determined. Visual information and reflections will be kept in a classroom portfolio.
Ontario Catholic School Graduate Expectations
CGE3a - recognizes there is more grace in our world than sin and that hope is essential in facing all challenges;
CGE4f - applies effective communication, decision-making, problem-solving, time and resource management skills;
CGE5b - thinks critically about the meaning and purpose of work.
Strand(s): Theory, Creation, Analysis
Overall Expectations
THV.02 - differentiates historical artworks by content, theme, style, techniques, and materials;
CRV.04 - uses concepts of visual literacy in describing their art activities;
ANV.01 - applies critical analysis processes to their artwork and works studied;
ANV.03 - describes interrelationships among art, the consumer, and the community.
Specific Expectations
CR3.01 - uses appropriate visual arts vocabulary in describing materials and processes;
AN1.04 - identifies possible meanings of a work by referring to background information and specific visual indicators;
AN2.01 - explains how the formal organization of visual content (formalism) as well as the imitation of life (imitationalism) can be used to create and think about works of art.
The teacher will:
· read Thinking Through Aesthetics prior to the philosophical discussions on works of art establishing criteria on how works are perceived and valued (see Resources);
· review various art-viewing strategies with the students in order to ensure that students do have the prior knowledge required for this activity;
· provide students with a variety of art reproductions. Small art cards are recommended but larger posters and original works of art could be used. Small, three-dimensional works, or photographs of them, can also be provided;
· provide the art auction with some form of point system/credit. Students could be provided with a point system in order to purchase one or more works of art. If desired, an arrangement could be made with the students to raise money for an approved charity;
· provide each student with a class portfolio (large folder, envelope, etc.) in which their work can be kept, organized, and recorded;
· ensure that each student has a drawing journal (sketchbook) in which to record sketches, drawings, and personal reflections.
· apply an understanding of the elements and principles of design to historical and contemporary artworks (Visual Arts, Grade 9, Open);
· apply a framework of critical analysis to works of art through participation in a variety of art-viewing strategies (Visual Arts, Grade 9, Open);
· analyse the function (e.g., political, religious, social) of works of art (Visual Arts, Grade 9, Open).
1. The teacher will:
· select a number of works of art (art cards, posters, etc.) to represent a variety of historical and cultural backgrounds and disciplines;
· place the works on exhibit in the classroom and discusses perceived aesthetic and/or monetary value;
· issue currency to the student artists (e.g., point system);
· develop a list of collection strategies with the students - Will they purchase one work at a high price or several at a lower price? Will they combine their funds in order to make group purchases? How will this be determined?;
· act as auctioneer.
2. The student artists will:
· “buy” at least one work of art;
· record a personal, written reflection on why they “purchased” a particular work (see Appendix I, 1a – Art Criticism).
3. The teacher will:
· record number of points which each student bids;
· or, donate all pennies to a classroom fund for charity (see Planning Notes);
· divide the class into small groups (of three to four students) and ask them to select one of the works just “purchased” to become a source of further investigation;
· provide the students with a written guide to facilitate their study of the work (see Appendix I, 1a – Art Criticism).
4. The students, in their groups of three or four will:
· assess the aesthetic qualities in their selected work using criteria from Thinking Through Aesthetics;
· learn more about their work of art and the artist (research);
· learn from their work of art (interpret);
· consider various definitions for art;
· speculate on the kinds of issues that selected artwork might address such as the political, social, religious, cultural and ethical (see Appendix I, 1a – Art Criticism);
· present a brief report on their findings to a large group.
5. The teacher will:
· conclude this part of the activity with a class discussion on why certain works of art might command high prices in our society or why they might be considered so valuable (see key resource - Thinking Through Aesthetics).
6. The students will:
· individually record in their Drawing Journals, responses to questions about What is Art? (see Appendix I, 1b – What Is Art?).
· written reflections
· ongoing verbal feedback
· performance assessment of group activity, (teacher, self, and peer)
· teacher assessment and evaluation of group presentation
· Students with special needs can be grouped with other students for the art auction and subsequent critique activity.
· Students seeking enrichment could organize and conduct the art auction and provide additional information or format to create enthusiasm for the auction.
· Make visual records/drawings of the works presented along with reflections.
Books
Mittler, Gene. Art in Focus.
Mission Hills, California: Glencoe Publishing, 1969.
ISBN 0026622718
Mittler, Gene. Understanding
Art. Mission Hills, California: Glencoe Publishing, 1992.
ISBN 0-02-662286-6
Ragans, Rosalind. ARTALK. Westerville, Ohio: Glencoe Publishing, 1995. ISBN 0-02-640295-5
Stewart, Marilyn G. Thinking Through
Aesthetics. Worcester, Mass: Davis Publications, 1997.
ISBN 0 87 1923637
CD-ROMs
Arts in the Classroom, A Teacher’s CD-ROM Resource. Toronto: TCDSB/CCC, 1998.
Videos
Stinespring, John A. Interacting With Art. Mission Hills, California: 1988. ISBN 0-02-677065-2
Web Sites
www.artednet.getty.edu
Appendix I, 1a – Art Criticism
Appendix I, 1b – What Is Art?
Time: 180 minutes
Having observed some of the issues surrounding the value of art in today’s society, student artists will now consider works of art from the viewpoint of certain recognized artists of today and of times past. Students will note how artists, through their words and works, have been able to address political, social, religious, and ethical issues in the world around them. Student artists will create a visual response to one of these artists as a first exercise for their drawing journals.
Ontario Catholic School Graduate Expectations
CGE3a - recognizes there is more grace in our world than sin and that hope is essential in facing all challenges;
CGE3c - thinks reflectively and creatively to evaluate situations and solve problems;
CGE4f - applies effective communication, decision-making, problem-solving, time and resource management skills;
CGE5b - thinks critically about the meaning and purpose of work.
Strand(s): Theory, Creation, Analysis
Overall Expectations
THV.03 - explains the social and historical context and the chronology of distinctive artistic styles;
CRV.01 - produces a work designed around specific objectives and challenges;
CRV.02 - demonstrates the ability to take varied and creative approaches to using materials, tools, processes and technologies in studio activities;
CRV.04 - uses concepts of visual literacy in describing their art activities;
ANV.01 - identifies possible meanings of a work by referring to background information and specific visual indicators;
ANV.04 - describes interrelationships among art, the consumer and the community.
Specific Expectations
CR1.02 - uses tools, materials, processes and technologies safely and appropriately;
CR1.03 - uses research from various sources;
AN1.04 - identifies possible meanings of a work by referring to background information and specific visual indicators.
· It will be necessary for the teacher to provide a number of resources for the students. A collection of quotations by well-known artists will serve as a starting point (Thinking Through Aesthetics and Artists Speak are two sources – see Resources).
· The students will need samples of works by the artists (as listed, above). This can be provided through a classroom file, school library, or access to the Internet.
· There should be a wide selection of drawing tools available to the students. They will need various types of pencils, pens, markers, pencil crayons, etc.
· use materials and processes to create art objects that express their intent (Grade 9, Visual Arts, Open);
· know and apply the elements and principles of design (Grade 9, Visual Arts, Open);
· apply the creative process (e.g., perception, exploration, experimentation, production, and evaluation) in their own work (Grade 9, Visual Art, Open).
1. The teacher will:
· divide students into small groups of three or four;
· place a number of quotations by well-known (and some not so well known) artists from various races and cultures as well as contemporary and historically relevant artists;
· have the students select one quotation at random;
· assist students by clarifying the language of the quotations where necessary.
Sample quotations might include:
· “Braque always said that the only thing that counts in painting is the intention, and that's true. What counts is what one wants to do, and not what one does.” (Pablo Picasso, painter);
· “I do not want to go until I have faithfully made the most of my talent and cultivated the seed that was placed in me.” (Kathe Kollwitz, visual artist);
· “You paint the way you have to in order to give, that's life itself, and someone will look and say it is the product of knowing, but it has nothing to do with knowing, it has to do with giving.” (Franz Kline, painter);
· “When uncomfortable questions are raised by art, or when it speaks with the voice of the disenfranchised, the larger audience is disturbed.” (Martha Rosler, painter);
· “In the end we shall have had enough of cynicism and skepticism and humbug and we shall want to live more musically.” (Vincent van Gogh, painter);
· “A woman who has lived many things and who sees lines and colours as an expression of living might say something that a man can't. I feel there is something unexplored about women that only a woman can explore.” (Georgia O’Keeffe, painter);
· “There is no “must” in art, which is ever free.” (Wassily Kandinsky, painter);
· “Greatness breaks laws.” (Louise Nevelson, sculptor);
· “I use naive imitation. This is not because I have no imagination or wish to say something about the everyday world. I imitate because I want people accustomed to recognizing the power of objects.” (Claus Oldenburg, visual artist);
· “Painting is a way to knowledge. So are all the arts.” (Moris Graves, painter);
· “I chronicle, I do not judge.” (John Singer Sargent, painter);
· “I've never bothered painting ugly things in life. People struggling, having difficulty. You meet that when you go out, and then you have to come back and see the same thing hanging on the wall.” (Alma Thomas, painter);
· “I believe in everlastingness. I never finish a painting - I just stop working on it for a while.” (Arshile Gorky, painter);
· “The aim and the art of the portraitist who works with a camera are not merely to produce a likeness but to reveal the mind and the soul behind the human face.” (Yousuf Karsh, photographer);
· “Composition is the art of arranging in a decorative manner the various elements at the painter's disposal for the expression of his feelings.” (Henri Matisse, painter);
· “You ought to be able to say that a painting is as it is, with its capacity to move us, because it is as though it were touched by God. But people would think it a sham. And yet that is what’s nearest the truth.” (Pablo Picasso, painter);
· “In the past, the caribou would talk up where we used to live. Some caribou are like that today.” (Irene Avaalaaqiaq, Inuit textile artist);
· “A work of imagination is at once symbolic and realistic.” (Alex Colville, painter).
2. Each group of students will:
· respond to a number of questions about their quotation (see Appendix 1, 2a – How Does the Artist Think?)
· write a brief explanation of the meaning of the quotation
· give a title, date, and example of the artist’s work (borrowed from the classroom information file)
· provide an explanation, using art vocabulary, as to how the “philosophy” of the artist (expressed in the quotation) might be reflected in this work (See Appendix I, 2a – How Does the Artist Think?);
· produce a short, oral report to the class on their findings, sharing their particular artist's words with the larger group (quotations could be printed on a large chart for classroom display);
· involve the larger group (student audience) in a discussion about the work on display and how it reflects a religious, social, political, or ethical issue.
3. The teacher will:
· provide the students with a wide variety of drawing tools such as graphite pencils, markers, Conte, oil pastels, pencil crayons, crayons, India ink, etc.;
· instruct each student to select one of the quotations, now posted in the classroom, that most closely reflects something that they feel is true about art and that represents an issue that is important to them. They may select their group’s quotation or any other that is listed.
4. The student will:
· identify the main issue that is raised by their selected quotation, be it religious, political, social, ethical, or technical;
· complete an informative sketch in their drawing journals that somehow reflects the ideas most prevalent in the quotation they selected (e.g., If a student selects Martha Rosler’s “When uncomfortable questions are raised by art...” then they might complete a charcoal drawing that deals with social issues surrounding the plight of the homeless in our society. If a student selects Van Gogh’s, “In the end we shall have had enough of cynicism...” then they might reject certain issues for aesthetics only and opt to re-create the beauty of the natural world in a sketch of wildflowers in pencil crayon. If a student selects “I do not want to go until I have faithfully made the most of my talent....” then they are identifying the responsibility to develop one’s talents and they might do so by demonstrating how they can best employ their own abilities);
· select drawing tools that best suit the idea that they wish to demonstrate.
5. The teacher will instruct the students to:
· complete a second reflection on art, noting how their ideas have developed since the reflection completed in Activity 1 (see Appendix I, 1b – What Is Art?).
· teacher observation of small-group activity to provide ongoing assessment
· performance assessment of group activity
· drawing journal entry
· Students with special needs may work with a partner or advance directly to a drawing or painting of art.
· Enrichment level students could begin the activity by providing their own quotations that they have already researched.
· Rather than link one quotation to one work of art, enrichment level students might link the words of one artist to compositions by other artists.
Books
Mittler, Gene. Art in Focus. Mission Hills, California: Glencoe Publishing, 1969. ISBN 0026622718
Mittler, Gene. Understanding
Art. Mission Hills, California: Glencoe Publishing, 1992.
ISBN 0-02-662286-6
Ragans, Rosalind. ARTALK. Westerville, Ohio: Glencoe Publishing, 1995. ISBN 0-02-640295-5
Karsh, Yousuf. Karsh. Toronto: Little, Brown and Company, 1992. ISBN 0-8212-1906-5
Maisel, Eric. Artists Speak – A Sketchbook. New York: Harper Collins Publishers. ISBN 0-06-250880-6
Stewart, Marilyn G. Thinking Through
Aesthetics. Worcester, Mass: Davis Publications, 1997.
ISBN 0 87 1923637
Magazines
Canadian Art Magazine
CD-ROMs
Arts in the Classroom, A Teacher’s CD-ROM Resource. Toronto: TCDSB/CCC, 1998.
Web Sites
www.artednet.getty.edu
Appendix I, 2a – How Does The Artist Think?
Appendix I, 1b – What Is Art?
Time: 180 minutes
Having observed some of the ideas behind well-known and established works of art, students will now begin to explore how artworks are influenced by the circumstances in which the artist lived. They will see that art is often a result of the cultural, social, economic, and theological world in which the artist lives and works. Students will create an “art chain”, in the form of an accordion booklet, that will illustrate selected artists from a mid-segment of the Western art history timeline. These booklets will help form part of a classroom resource that will be used in the study of possible art related careers in Unit 6.
Ontario Catholic School Graduate Expectations:
CGE1g - understands that one's purpose or call in life comes from God and strives to discern and live out this call throughout life’s journey;
CGE1i - integrates faith with life;
CGE3c - thinks reflectively and creatively to evaluate situations and solve problems;
CGE4f - applies effective communication, decision-making, problem-solving, time and resource management skills;
CGE5b - thinks critically about the meaning and purpose of work.
Strand(s): Theory, Creation, Analysis
Overall Expectations
THV.03 - explains the social and historical context and the chronology of distinctive artistic styles;
CRV.01 - produces a work designed around specific objectives and challenges;
CRV.02 - demonstrates the ability to take varied and creative approaches to using materials, tools, processes, and technologies in studio activities;
ANV.03 - describes the interrelationships among art, the consumer and the community.
Specific Expectations
TH2.02 - demonstrates an understanding of a mid-segment of the Western art history timeline;
CR1.02 - uses tools, materials, processes and technologies safely and appropriately;
CR1.03 - uses research from various sources;
CR2.02 - demonstrates the ability to use an increasing range of tools, materials, processes and technologies in producing work;
CR2.03 - executes sketches and drawings in an increasing variety of media;
CR3.03 - demonstrates the ability to review and evaluate the creative processes they use, as well as the resulting artworks.
The student will:
· need to be provided with a wide range of drawing materials and various media for their accordion booklets;
· have access to various resources for their research (e.g., art cards, posters, texts, Internet, etc.).
· apply an understanding of the elements and principles of design to personal, historical, and contemporary artworks;
· use materials and processes to create art objects that express their intent (Visual Arts, Grade 9, Open).
1. The teacher will:
· divide the class into smaller groups of four to five students and provide each group with a number of art resources (e.g., various texts, library books on different artists, biographical information on artists, etc.);
· instruct the students to select one student to act as scribe while the others explore these references in order to generate a list of the times and places in which artists lived and worked;
· instruct the scribe in each group to record the information on the forms provided (one per group) (see Appendix I, 3a – How Does the Artist Work?).
2. The students will:
· work in their groups until the information is completed (e.g., historical periods in which artists lived and the kinds of artists or artisans who lived and worked at that time).
3. The teacher will:
· compile a classroom chart as each group is asked to present their findings, listing the art periods and types of artists in chronological order. This chart might list, for example, that in the ninth century AD in France, manuscript illuminators were quite busy or that in sixteenth-century Italy, painters, sculptors and architects were in demand, or that in the late twentieth century in North America there is a demand for filmmakers and animators;
· instruct the students that they are to select one time period and one type of artist for the next part of this exploration.
4. Each student will:
· create a fictitious artist for their selected time period;
· give this artist a name and brief biography – they are encouraged to be as imaginative as possible with this;
· research and develop the following for their artist of choice: the kind of training for their job that their artist receives, the place where they would work, and the tools that they would use and the cultural, social, economic, and theological community in which they live.
5. The teacher will:
· demonstrate how to make a concertina style booklet (see Hand Made Books and Cards, Resources);
· provide each student with the materials for assembling their own booklets;
· provide students with a number of different materials for their illustrations (drawing materials, paints, materials for collage, etc.).
6. The student will:
· create their booklets by selecting colours and materials to suit their particular artist;
· illustrate one aspect of their artist’s “biography” on each page of their booklet. For example: The cover might have a design that reflects the artist’s life and times (not necessarily a portrait). Page one may illustrate the artist’s early years, page two the artist’s training, page three would have the current place of work, page four would illustrate the various tools that the artist would use, and pages five and six might show a small sampling of the artist’s work.
7. The teacher will:
· arrange to have these booklets placed on display where they will become a resource for traditional and/or related careers in art (concertina booklets have sculptural possibilities, classroom space permitting).
· group performance assessment of research
· teacher assessment of group performance and presentations
· final assigned artwork (concertina booklet)
· Special needs students may need assistance with the assembling of the booklets.
· The last page might show the artist’s most outstanding contribution to the society in which they live and work.
Books
Frayling, Christopher and Helen. The Art Pack. Toronto: Random House Inc., 1992. ISBN 0-679-41419-3
Hume, Helen. A Survival Kit for the Secondary School Art Teacher. West Nyack, NY: The Center for Applied Research in Education, 1990. ISBN 0-87628-798-4
Karsh, Yousuf. Karsh. Toronto: Little, Brown and Company, 1992. ISBN 0-8212-1906-5
Kropper, Jean G. Hand Made
Books and Cards. Worcester, Mass.: Davis Publications, 1997.
ISBN 0871923343
Mittler, Gene. Art in Focus. Mission Hills, California: Glencoe Publishing, 1969. ISBN 0026622718
Mittler, Gene. Understanding
Art. Mission Hills, California: Glencoe Publishing, 1992.
ISBN 0-02-662286-6
Ragans, Rosalind. ARTALK. Westerville, Ohio: Glencoe Publishing, 1995. ISBN 0-02-640295-5
Stewart, Marilyn G. Thinking
Through Aesthetics. Worcester, Mass: Davis Publications, 1997.
ISBN 0 87 1923637
Time Life Library of Art. New York: Time Life Books, 1966. ISBN 66-16540
CD-ROMs
Arts in the Classroom, A Teacher’s CD-ROM Resource. Toronto: TCDSB/CCC, 1998.
Web Sites
www.artednet.getty.edu
Appendix I, 3a – How Does The Artist Work?
Name:
Grade:
Name of Artwork (if known):
I To be completed individually.
Give your immediate response to the artwork and why you “selected” it.
II To be completed by each group.
Now talk about one work in a formal manner by answering the following questions:
Step One: (The Facts) – Describe what you see in the artwork. Mention the main elements of design.
Step Two: (The Design) – Look at the way in which the facts are arranged. What principles of design are being used and how is the work balanced?
Step Three: (The Meaning) – What is the purpose or meaning of the artwork? Read what was written in steps one and two. Then decide the following:
· Is the artist primarily concerned with imitating nature (literal qualities)?
· Is the artist primarily concerned with the formal aspects of the work (design qualities)?
· Is the artist primarily concerned with the emotional impact of the work (expressive qualities)?
III To be completed as a group, on a separate sheet of paper.
Let’s talk about what makes the above-mentioned work “art” by responding to the following questions:
· How or why might this work be considered “special” as a work of art?
· What purpose does it serve (if any)?
· If it does not appear to serve any particular purpose then how might one measure its “value”?
· If art is a form of communication then what is this work communicating?
· What makes this work of art valuable to you?
· What issues from the past or present might be raised by this work? For example, how does the work point to social issues in the society in which the work was made? Or how might it address political, religious, or ethical issues? How might it relate to that which is considered beautiful or to that which is perceived as ugly in society?
1. Today I considered the following ideas and questions about the Visual Arts:
2. `The characteristics of the Visual Arts that I consider to be most important are:
3. My definition of the Visual Arts, thus far, is:
4. Artistic questions I would like to think about:
(adapted from Thinking through Aesthetics, p.71.)
1. To
be completed by the scribe in each group.
Having selected one quotation by an artist, rewrite the quotation in your own words, explaining what you think the artist means by his or her words.
2. To
be completed by the group.
Select one work of art by this artist and record the following information:
· Name of Artist:
· Vital Statistics of Artist: (date of birth, death if applicable, where the artist lived and worked, etc.)
· Title of Work:
· Date of Work:
· Medium:
· Tools Used to Create the Work:
· Techniques:
· Colour Scheme:
3. To
be completed by the group.
Using the “language of art” explain how the words of the artist might “match” his or her artwork
(Consider certain issues that the artist seems to feel are important. For example, ask yourselves what social, political, cultural, theological, ethical, or aesthetic issues arise from the artist’s words and work.)
The scribe in each group will
record the following information:
1. The name of your artist:
2. A brief, fictional biography for the above named artist (including time, place, and historical period):
3. The type of education, training, or mentorship received:
4. The place where the artist works (e.g., craft workshop, attic, graphic arts department, etc.):
5. The kinds of tools that the artist uses to create their artworks:
6. Identify the kind of contribution that this artist might make to the society in which he or she lives, e.g., What possible influence might this artist have on the cultural, social, economic, and theological community in which he or she lives and works?