Course Profile Visual Arts, Grade 10, Open, Public

Unit 2: Place, Time, and Spaces

Time: 25 hours

Activity 1 | Activity 2 | Activity 3 | Activity 4 | Activity 5

Unit Developers: Susan Jones, Rhonda Johnson, Susan Pidlubny, Teresa Reeves, Cyrel Troster, Alan Wilkinson

Development Date: October 1999 and March 2000

Unit Description

In this Grade 10 unit, students discover how place, time and spaces influence art that is produced by a culture or society. Students explore how the artist’s cultural context, their time and place, influences art. They study how artists perceive the spaces within which they live and work and how this understanding of space is reflected in their work. Students will be given the opportunity to compare and contrast two different artistic approaches in order to discover commonalities and differences based on place, time and spaces. Activities in this unit include a landscape watercolour painting, a written and visual interpretation of architecture, and a mixed media composition based on a literary source.

The following chart illustrates how this unit develops the strands outlined in The Ontario Curriculum, The Arts, Grades 9 and 10, 1999. Students utilize the resource journal throughout the unit by addressing the three essential questions that relate to the course strands.

Essential Questions

How does art reflect the place, time and spaces from which it was created?	Theory
How do tools and materials influence the artistic product?	Creation
How does the past influence what the artist does in the present?	Analysis

Strand(s) and Expectations

Strand(s): Theory, Creation, Analysis

Overall Expectations

THV.01 - demonstrate an understanding of the design process;

THV.02 - differentiate historical artworks by content, theme, style, techniques, and materials;

THV.03 - explain the social and historical context and the chronology of distinctive artistic styles;

CRV.01 - produce a work designed around specific objectives and challenges (e.g., composition issues, subject matter, use of visual language);

CRV.02 - demonstrate the ability to take varied and creative approaches to using materials, tools, processes, and technologies in studio activities;

CRV.03 - explain the importance of process in relation to the final product;

CRV.04 - use concepts of visual literacy in describing their art activities;

ANV.01 - apply critical analysis processes to their art work and works studied;

ANV.02 - identify sensory, formal, expressive, and technical qualities in their own works and works studied;

ANV.03 - describe interrelationships among art, the consumer, and their community.

Specific Expectations

TH2.01 - describe the characteristics of a historical stylistic movement in Canadian art (e.g., the art of New France, Canadian Impressionists, Painters Eleven);

TH2.02 - demonstrate an understanding of a mid-section of the Western art history timeline (e.g., the Middle Ages, etc.);

TH3.01 - explain how they have incorporated into their studio assignments characteristic materials and expressive qualities of artworks studied;

TH3.02 - explain how their personal artworks have been influenced by works they have viewed in galleries and museums;

TH3.03 - research the history of an art form, craft, or area of design (e.g., stone sculpture, textile, design, pottery);

TH3.04 - describe similarities and differences between careers in design and fine art;

CR1.02 - use tools, materials, processes and technologies safely and appropriately;

CR1.03 - use research from various sources (e.g., books, databases, conversation with local artists) as part of the creative process;

CR2.01 - demonstrate the ability to solve artistic problems and make creative choices when completing artworks that reflect their concerns;

CR2.02 - demonstrate the ability to use an increasing range of tools, materials, processes, and technologies in producing works of fine art and applied design;

CR2.03 - execute sketches and drawings in an increasing variety of media;

CR3.01 - use appropriate visual arts vocabulary in describing materials and processes;

CR3.02 - develop sketchbooks, a portfolio, and/or planners that document their personal art process;

CR3.03 - demonstrate the ability to review and evaluate the creative processes they use, as well as the resulting artworks;

AN1.01 - describe the stages of the design process in a particular assignment;

AN1.02 - analyse the formal composition of an example of artwork from personal and/or historical works studied;

AN1.03 - explain the significant expressive qualities of a work of art with reference to a list of possible categories (e.g., sensory, formal, expressive, technical);

AN2.01 - explain 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;

AN2.02 - demonstrate an understanding of the use of symbols in creative expression;

AN2.03 - describe how a culture shapes its art with reference to historical and contemporary examples (e.g., Byzantine icons, Chinese landscape, painting in fifteenth-century Europe, pre-Columbian pottery, Warhol’s soup cans).

Activity Titles (Time + Sequence)

Activity 1	Defining Place, Time, and Spaces	60 minutes
Activity 2	Isolation	180 minutes
Activity 3	Painting Through the Eyes of the Artist	600 minutes
Activity 4	The Artist in the Community: Feeling Our Way Into Architecture	300 minutes
Activity 5	Imaginary Place	360 minutes

Unit Planning Notes

· Find a prominent place in the classroom to post the three essential questions so students can easily address these questions throughout the unit.

· The resource journal should be used as a useful visual, thinking, and planning instrument.

· Teachers should have available a variety of quality materials for the students’ use.

Prior Knowledge Required

· Students are not required to complete Grade 9 Visual Arts as a prerequisite for Grade 10 Visual Arts. Students should have a prior learning of knowledge from the expectations listed in The Ontario Curriculum, Grades 1-8, The Arts, 1998 (from The Ontario Curriculum, Grades 1-8, The Arts, 1998).

Activity 1: Defining Place, Time, and Spaces

Time: 60 minutes

Description

In this activity students explore the significance of the place, time, and space from which an artwork was created. Students examine Medieval artworks and learn about this period. This approach allows students to identify with the Medieval sense of flat perspective, feudalism, the role of the artisan, and the centrality of religion in life.

Strand(s) and Expectations

Strand(s): Theory, Analysis

Overall Expectations

THV.02 - differentiate historical artworks by content, theme, style, techniques, and materials;

THV.03 - explain the social and historical context and the chronology of distinctive artistic styles;

ANV.01 - apply critical analysis processes to their artwork and works studied;

ANV.02 - identify sensory, formal, expressive, and technical qualities in their own works and works studied;

ANV.03 - describe interrelationships among art, the consumer, and their community.

Specific Expectations

TH2.01 - describe the characteristics of a historical stylistic movement in Canadian art (e.g., the art of New France, Canadian Impressionists, Painters Eleven);

TH2.02 - demonstrate an understanding of a mid-section of the western art history timeline (e.g., the Middle Ages etc.);

TH3.03 - research the history of an art form, craft, or area of design (e.g., stone sculpture, textile design, pottery);

CR3.01 - use appropriate visual arts vocabulary in describing materials and processes;

AN1.02 - analyse the formal composition of an example of artwork from personal and/or historical works studied;

Planning Notes

· Teachers may want to include readings from an art history textbook to complement this lesson.

· The teacher prepares visual images in advance.

Prior Knowledge Required

· See Unit Overview.

Teaching/Learning Strategies

1. Students compare a Medieval painting to a contemporary Canadian painting. For example, students could compare the Limbourg Brothers’ October from the Tres Riches Heures, 1413-1416 and Jack Chamber’s Towards London No.1, 1969. Discuss the differences between these works with students. For example, there are differences in architecture, clothing, tools, and domestic objects. To the modern Canadian viewer, the Medieval painting may seem interesting, but it may be difficult to identify with as it was created many years ago. Ask students the following rhetorical question: “Does this mean we can not learn to bridge these differences and uncover the meaning of the painting?” Guide students to discover the importance of understanding place, time, and spaces in which the artwork was created. Understanding place, time, and spaces will allow students to uncover the meaning of the painting.

2. Show students slides/images of Medieval art that can be used to illustrate important historical facts about this time period. This will allow students to understand the place, time, and spaces from which Medieval art was created. The following is a list of artworks and the corresponding features of the Medieval period that these artworks illustrate.

Slides	Historical Facts
Chalice of Abot Suger, c.1140	Discuss the distinction between upper and lower classes during the Medieval period. Draw attention to the structure of feudal system and Abott Suger’s position of importance which allowed him to be influential in the arts.
Notre Dame Le-Grande, Poitiers, France, c.1162-1271	Discuss the role of the artist as craftsperson during the Medieval period in connection with this work. Discuss how this is a large building for the time, indicating the importance of the Church.
October, Tres Riches Heures, 1413-1416 Limbourg Brothers,	Discuss the distinct difference in the way of life between nobility and the common peasant. This work was created for the Duc of Berry and as such it was detailed with expensive gold leaf. Lapis lazuli, a costly mineral, was ground up to create the brilliant ultramarine blue colour in this painting.
Battle of Hastings, detail of Bayeux Tapestry, c.1073-1083	Point out that the conventions of depicting space were largely confined to the overlapping of figures. Linear perspective as we know it was not articulated for almost another four hundred years.

Have students record information about these artworks in their notes. Additional readings from an art history textbook or other source could complement this activity.

3. Students again view October from the Tres Riches Heures, 1413-1416, and complete a resource journal entry in which they respond to the following: You are now more familiar with the place, time, and spaces of the Medieval period. Describe what you see in this painting. Describe what your life would be like if you were one of the people in the picture.

4. Students then go out into the community to look for and identify local architectural forms and styles in their environment. Students may, for an example, discover Romanesque Revival or Gothic Revival style architecture in their community. This activity reveals how artists are often influenced by the past. This reinforces the importance of considering place, time and spaces when an artwork is being created. Have students answer the following question:

· How does “function” influence the style and form to be used in designing this building?

Accommodations

· Provide a note-taker or alternatives to written assignments for those students requiring written accommodation.

· Provide oral and written notes or instructions.

Assessment/Evaluation Techniques

· The resource journal should be regularly submitted to the teacher for assessment.

Health and Safety

· No anticipated issues

Resources

Brommer, Gerald F. Discovering Art History 3rd edition. Worcester, MA: Davis Publications Inc., 1997. ISBN 87192-299-1

Burnnett, David, and Mary Schiff. Contemporary Canadian Art. Edmonton AB: Hurtig Publishers 1990 ISBN 0-88830-344-0

Janson, H.W. and Anthony F. Janson. A Basic History of Art. New York: Harry N. Abrams, 1992.
ISBN 0-13-062878-6

Reid, Dennis. Concise History of Canadian Painting. Toronto: Oxford University Press, 1988.
ISBN 0-19-540664-8

History Through Art – The Middle Ages. CD-ROM.

Notre Dame, Cathedral of Amiens. Crystal Productions CD-ROM.

Activity 2: Isolation

Time: 180 minutes

Description

Students discover the results of an artist working in isolation versus working in an environment where an artist can study with others. Students examine two French Canadian portraits to discover this distinction. The studio project for this activity provides students with the opportunity to compare the effects of working on a task in isolation and working collaboratively with their peers. Portraits from other cultures should used if possible.

Strand(s) and Expectations

Strand(s): Theory, Creation, Analysis

Overall Expectations

THV.02 - differentiate historical artworks by content, theme, style, techniques, and materials;

CRV.01 - produce a work designed around specific objectives and challenges (e.g., composition issues, subject matter, use of visual language);

CRV.02 - demonstrate the ability to take varied and creative approaches to using materials, tools, processes, and technologies in studio activities;

CRV.03 - explain the importance of processes in relation to the final product;

ANV.01 - apply critical analysis processes to their artwork and works studied.

Specific Expectations

TH2.01 - describe the characteristics of a historical stylistic movement in Canadian art (e.g., the art of New France, Canadian Impressionists, Painters Eleven);

CR1.02 - use tools, materials, processes and technologies safely and appropriately;

CR2.01 - demonstrate the ability to solve artistic problems and make creative choices when completing artworks that reflect their concerns;

CR3.03 - demonstrate the ability to review and evaluate the creative processes they use, as well as the resulting artworks.

Planning Notes

· The teacher assembles two pairs of identical images (preferably Medieval). A grid should be drawn on all images and the squares should be numbered on the back.

· The painting by Pierre Le Ber may not be available in slide format. The teacher could display a reproduction from a book in class or choose an appropriate substitution.

· The teacher provides different coloured markers and black fine-tip markers for the second activity.

· White and coloured bond paper is required.

Prior Knowledge

· See Unit Overview.

Teaching/Learning Strategies

1. Students view a reproduction of The Symbol of Saint Mark, from The Echternach Gospels, 690 A.D. Have students speculate on what animal is depicted (lion). Note which features suggest that the artist was self-taught and that the artist had never really seen a lion. Assist the students in deciphering the Latin caption on the image “imago leonis” (image of the lion). Guide the students to an understanding that this is a self-conscious labelling of the image to ensure its correct indentification.

2 Next, have students view Saint Mark, from the Gospel Book of Archbishop Ebbo of Reims. Students are invited to imagine the sense of isolation and loneliness experienced by artist/monks at this time in history. Often Monastic life permitted little, if any, interaction with the outside world and required these literate monks to spend most of their time engaged in the transcription and illustration of the Bible.

3. The two Medieval works viewed above, displayed the effects of working untrained and isolated. In this activity students compare two French Canadian portraits; one that was painted in relative isolation by an untrained artist and the other painted by a popular trained artist living in Quebec City. The following are two possibilities: Pierre Le Ber, Marguerite Bourgeoys, 1700, and Antoine Plammondon, Sister Saint-Alphonse, 1841. Students note the differences between the two artworks. Through a teacher-guided examination of these works students are encouraged to observe/discover the following differences:

*Antoine Plammondon, Sister SaintAlphonse, 1841*		*Pierre Le Ber, Marguerite Bourgeioys, 1700*
1.	Displays influence of European painting style (Neoclassicism).	1.	Displays much of the naïve style/folk art style.
2.	The characteristics of the face and hands reflect extensive formal training in anatomy	2.	The anatomy of the figure and the proportion of the face reveal a limited understanding of the human figure.
3.	All areas of the composition are integrated and there are a full range of values.	3.	There are isolated areas of flat colour.
4.	Subject is carefully lit from behind establishing a clear sense of space between the figure and the background.	4.	Little depth – subject is not differentiated from the background.
5.	The composition is pyramidal with both the sitter and the chair arranged at a variety of angles.	5.	The composition is frontal and symmetrical.

4. Isolation: This exercise and the one that follows it will provide students with the opportunity to compare the experiences of working in isolation and in co-operation with others. The teacher draws a grid over two identical images, preferably Medieval. The grid should consist of approximately 20-30 squares. On the back of each square is a number which corresponds to a master copy of the same picture that is also gridded and numbered identically. Each student is given one of the squares and a piece of paper that is proportional to the grid square. Students are asked to reproduce their square. The teacher gives students a time limit of twenty minutes. Students could draw the squares in different coloured markers and/or students could be given different coloured paper. This may cause students to think that they are working on different projects, but this type of confusion is in keeping with the experience of working in isolation. No other instructions are given. Upon completion of their individual square the teacher reveals that it is a part of a larger picture and shows the whole image. Students assemble the drawing according to the number on the backs of the squares. They discuss difficulties they had with this activity. Students are invited to inventory the causes of the difficulties that they encountered. Their observations could include: lack of instructions, different colours of markers, detracting from unity, and lines that do not match up between squares. Students can also propose solutions to these problems.

5. Together: This activity will provide students with the opportunity to work collaboratively with others and experience the benefits of communication and co-operation. To achieve this, students repeat the same activity with a different image. All students will be given the following:

· The opportunity to co-ordinate paper colour and marker colour;

· The opportunity to grid their squares in a similar fashion to facilitate alignment of compositional elements when the image is reassembled

· The opportunity to communicate with peers as they work.

They now have a better understanding the whole process. This version could be completed on larger paper in fine tip black marker.

6. Teachers may need to clarify for students that this activity is not focussed on the copying process, but on the issues of collaboration, co-operation, and communication.

Accommodations

· Buddy up a stronger student with one who could use encouragement and support.

Assessment/Evaluation Techniques

· The teacher completes a checklist to verify individual student completion and co-operation for this activity. Students submit both artworks to be assembled and displayed in the classroom. After the display is taken down students should file their drawing in their resource journal.

Health and Safety

· Only water-based markers should be used.

Resources

Brommer, Gerald F. Discovering Art History 3rd Edition. Worcester, MA: Davis Publications Inc., 1997. ISBN 87192-299-1

Janson, H.W. and Anthony F. Janson. A Basic History of Art. New York: Harry N. Abrams, 1992.
ISBN 0-13-062878-6

Janson, H. W. History of Art, New York: Harry N. Abrams Inc., 1986, ISBN 0-13-389388-x

Reid, Dennis. Concise History of Canadian Painting. Toronto: Oxford University Press, 1988.
ISBN 0-19-540664-8

One Hundred Treasures from the British Library. CD-ROM.

World of Folk Art: A Multicultural Approach, From the collection of the Museum of International Folk Art VHS Videos (2)

Activity 3: Painting Through the Eyes of the Artist

Time: 600 minutes

Description

This activity begins with instruction on a two-point perspective architectural drawing. Emphasis is placed on the role that the artist’s vantage point plays in determining the nature of the drawing. Students study watercolour technique with emphasis on monochromatic washes and apply this knowledge in the creation of an ink and monochrome watercolour painting of a building in their community.

Strand(s) and Expectations

Strand(s): Theory, Creation, Analysis

Overall Expectations

THV.02 - differentiate historical artworks by content, theme, style, techniques, and materials;

CRV.01 - produce a work designed around specific objectives and challenges (e.g., composition issues, subject matter, use of visual language);

CRV.03 - explain the importance of process in relation to the final product;

CRV.04 - use concepts of visual literacy in describing their art activities;

ANV.01 - apply critical analysis processes to their artwork and works studied;

ANV.02 - identify sensory, formal, expressive, and technical qualities in their own works and works studied.

Specific Expectations

TH2.02 - explain how they have incorporated into their studio assignment characteristics, materials and expressive qualities of artworks studied;

TH3.02 - explain how their personal artworks have been influenced by works they have viewed in galleries and museums;

CR1.02 - use tools, materials, processes and technologies safely and appropriately;

CR2.01 - demonstrate the ability to use an increasing range of tools, materials, processes, and technologies in producing works of fine art and applied design;

CR2.03 - execute sketches and drawings in an increasing variety of media;

CR3.01 - use appropriate visual arts vocabulary in describing materials and processes;

CR3.02 - develop sketchbooks, a portfolio, and/or planners that document their personal art process;

CR3.03 - demonstrate the ability to review and evaluate the creative processes they use, as well as the resulting artworks;

AN1.01 - describe the stages of the design process in a particular assignment.

Planning Notes

· Teachers consult books, videos, and CD-ROMs for additional information on watercolour techniques.

· For the discussion on artists and their use of two-point perspective, teachers add local artists work if available.

· Teachers may want to photograph local buildings of interest for the watercolour assignment.

· Watercolour materials (brushes, paper, permanent fine line black markers, and paint) should be available to ensure student success.

· Teacher may provide landscape photos with appropriate architectural interest.

Prior Knowledge

· See Unit Overview.

· An understanding of linear and aerial perspective

Teaching/Learning Strategies

1. The teacher guides the students through a review lesson on the development of a two-point perspective drawing step by step starting with simple objects such as a box and progress to more complex images such as a house. Vanishing points should be placed at the extreme ends of the horizon line or extended beyond the image area to minimize distortion. The following is suggested sequence for developing this drawing:

· Establish a horizon line (eye level).

· Place two vanishing points on the horizon line or extend it beyond the image area to minimize distortion.

· Establish the closest perpendicular line that crosses or intersects the horizon line. Typically this will be the corner of the box closest to you.

· After placing two vanishing points on the horizon line, one at each end of the paper, draw the converging lines to the right and left from the perpendicular line to the to the vanishing point. All lines that proceed from the right of side of the perpendicular line will converge towards the right vanishing point. All lines from the left of the perpendicular line will converge towards the left vanishing point.

· This process should be repeated in teaching the drawing of a building. All architectural features must follow the rules of perspective.

2. Students view images that illustrate the use of two-point perspective. These images should represent a wide variety of cultural contexts. The following are some suggestions which offer a starting point.

· Cornelieus Krieghoff, Merrymaking, 1860 (Merrymakers spill out of a local Quebec country Inn into a snowy winter landscape)

· F. Lemoine Fitzgerald, Doc Snyder’s House, 1931 (a view out of his window into a snowy Winnipeg back yard)

· Richard Estes, Drug Store, 1970 (an urban setting presented with the stark clarity of photo realism)

· David Milne, The Empty House, c.1932 (an abandoned farm home in winter)

· Antonio Canaletto, The Basin of San Marco, c.1740 (mathematical precision and photo-like clarity used to show famous urban setting)

· Emily Carr, Blunden Harbour, 1928-30 (a dramatic view of a Skeena River village in northern BC)

· Nishikawa Sukenobu, Young Woman Printing Ink, 17th -18th century Edo, Ukiyoe school (a quiet interior of a Japanese home with a woman working – uses isometric perspective)

· Cheik Ledy, Taxi de la Cite, 1991 (a humourous scene of a contemporary African taxi in a village setting)

Discuss the similarities and differences of the artist’s interpretation of their place, time, and spaces that were familiar to them. Students complete a resource journal response: “How does your personal place, time, and spaces influence your art?”

3. Students apply their knowledge of perspective to the creation of a monochromatic watercolour landscape exercise. The teacher introduces basic watercolour techniques. Students should complete a page where they practice essential watercolour techniques.

Watercolour Techniques:

· Washes –wet on wet, wet on dry, dry brush (flat and graded)

· Variety of brushstrokes

· Masking (use masking tape)

· Wax Resist (crayons, candles)

Materials:

· Paper (heavy weight paper needed)

· Brushes –rounds, soft bristles, flats, large brushes for backgrounds

· Paint –watercolour paint or equivalent (a paint which is transparent)

· White palette (can use old white china or plastic plates, ceramic tiles)

Suggested monochromatic value exercise.

This lesson is designed to help students develop skills and understanding in the use of intensities and values. This will help students enhance the illusion of depth in their paintings.

· Divide a small sheet of watercolour paper in half to obtain a piece approximately 20 cm by 12.5 cm. Attach this piece of watercolour paper horizontally, using masking tape, to a drawing board. Create a column on the right side of the page using masking tape, approximately 3 cm wide. Divide the column horizontally with masking tape to create four cells for a value scale.

· Have students create a value scale using one colour in the space provided and label the value scale one to four, one for the lightest and four for the darkest.

· Students create a number one value wash on their palette using the value scale as a guide.

· Wet on Wet Wash: With clear water, students wet the paper surface and with their #1 value wash apply the wash solution to the wet paper as evenly as possible. Students should apply the wash in horizontal strokes working from top to bottom and let it dry completely.

· Prepare a #2 value solution on the palette and create a horizon line one third of the way down the page. Cover the page from the horizon line to the bottom of the page with the rest of the solution following the above procedure.

· Repeat this process with washes for #3 and #4 value to create middle- and foreground layers respectively.

4. Students complete a landscape painting with an architectural element in two-point perspective. The source of this image may be drawn from a local building of interest done on location or from a photograph. Students complete a preliminary pencil drawing to establish accuracy, perspective, and compositional balance. Students transfer their drawing to the watercolour paper using pencil and add achitectural detail to this drawing. They should go over their line drawing with a permanent fine tip black marker. They mask out objects in middleground and foreground and apply a wax resist to white areas (e.g., clouds). Using a large brush they apply an initial light wash to the background (e.g., sky). Remove masking media, the student will develop middleground and foreground values using darker tones and textural brushstrokes.

5. Students complete a resource journal entry where they reflect on what they have learned about the way that they create. The following essential questions could guide them in this process:

· How does this painting reflect the place, spaces, and time in which it was created?

· How did the tools and media influence your artistic product?

· How did other artists’ works influence your painting?

Accommodations

· Show examples of what is expected in the assignment.

· Regularly review and repeat creation instructions.

· Simplify assignments when necessary.

Assessment/Evaluation Techniques

· Use similar Rubric format as in Appendix GG.

Health and Safety

· Ensure a clean environment by establishing a consistent clean-up routine.

Resources

Barron’s Art Handbook. Perspective and Composition. New York: Barron’s Educational Series, Inc., 1999. ISBN 078415104-5

Brommer, Gerald. Discovering Art History, 3rd ed.,. Worcester MA: Davis Publications, 1997.
ISBN 0-87192-299-1

Cole, Alison. Perspective. Toronto: Stoddart, 1992. ISBN 0-77372623-3.

Naested, Irene Russell. Art in the Classroom. Toronto: Harcourt Bruce, 1998. ISBN 0774733578.

Reid, Dennis. A Concise History of Canadian Painting, 2nd ed. Toronto: Oxford University Press, 1988. ISBN 019540663

Striegel, Oliver. Drawing in Perspective. New York: Sterling Publisher, 1998. ISBN 0-8069-42894.

Architecture & Art: Cultural Heritage Sites, set of photographic poster prints, The Getty Educational Institute for the Arts and the J. Paul Getty Museum, Crystal Productions

History Through Art – The Middle Ages. CD-ROM.

Notre Dame, Cathedral of Amiens. Crystal Productions CD-ROM.

Activity 4: The Artist in the Community: Feeling Our Way Into Architecture

Time: 300 minutes

Description

Students analyse architecture from the past and present from a variety of cultural contexts, write a report on an architectural example, and create an architectural design based on one of the buildings studied. This design will become a low relief sculpture or collograph.

Strand(s) and Expectations

Strand(s): Theory, Creation, Analysis

Overall Expectations

THV.01 - demonstrate an understanding of the design process;

THV.02 - differentiate historical artworks by content, theme, style, techniques, and materials;

THV.03 - explain the social and historical context and the chronology of distinctive artistic styles;

CRV.01 - produce a work designed around specific objectives and challenges (e.g., composition issues, subject matter, use of visual language);

CRV.02 - demonstrate the ability to take varied and creative approaches to using materials, tools, processes, and technologies in studio activities;

CRV.04 - use concepts of visual literacy in describing their activities;

ANV.01 - apply critical analysis processes to their art work and works studied;

ANV.03 - describe interrelationships among art, the consumer, and their community.

Specific Expectations

TH2.02 - demonstrate an understanding of a mid-segment of the Western art history timeline (e.g., the Middle Ages etc.);