Art Education Sequence: Art 211
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211 STUDIO ASSIGNMENT
1A: understands the elements of design: color, form, line, shape, space, texture, and value.
1B: understands the principles of design: balance, contrast, harmony, movement, pattern, repetition, rhythm, and unity.
1C: understands the expressive qualities and communication of ideas.
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Description: This is a drawing I created with ink, graphite, and charcoal on paper.
Rationale: In this drawing I was considering my impact and accountability to my community. I was imagining quiet impacts, like using a Brita water filter instead of buying disposable plastic water bottles, as well as quiet things that I am accountable for, like running my grandma's dog while she gardens. ​These are small actions that I take to make my grandma, her dog, Oliver, and the earth healthier and happier. I use the different mediums to provide a combination of interesting textures and to create a complex rhythm throughout the piece. The lines of the hand, leash, tail, watering can and central plant help move the eye along ​to each component of the drawing. Since this is an achromatic piece, the large range in value is very important for clarity of the content.
Evidence: The Creation of Oliver, April Lewis, 2017, ink, graphite, and charcoal on paper (click to enlarge)
211 STUDIO ASSIGNMENT SELF-ASSESSMENT
3A: understands media and tools and how to use them in a safe and responsible manner.
1G: analyzes and evaluates (critiques) artworks for how aesthetic qualities are used to convey intent, expressive ideas, and/or meaning.
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Description: These are two self portraits on cardboard with ink, charcoal, white charcoal, and acrylic.
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Rational: Drawing on found cardboard means that I need to use box cutters regularly. I am always careful to cut away from myself and with a ruler on a surface that isn't going to be ruined. These are both self portraits of myself- one is representational and one is highly abstract. The facial expression in the representational portrait is the expression that people say I make most often. I don't make this face consciously, so I think drawing myself in this way shows authenticity. The abstract self portrait shows the rigid yet adventurous nature of my life experience. The aesthetics of cardboard are unexpected and I'm acknowledging the temporary aspects of our lives by using this material that may not last another ten years. I use all of the mediums that I can to suggest the variety of experiences that I'm after in the short amount of time that I have.
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Evidence: Representational and Abstract Self Portrait, April Lewis, charcoal, white charcoal, ink, and acrylic on cardboard
*Click to zoom*
ARTISTS HANDOUTS
2A: understands how to compare and contrast elements, principles, and tools in two or more visual artworks.
2B: understands how to compare and contrast artworks in two or more fine arts that share processes.
2E: expressive ideas, similar themes, historical periods, or societal contexts.
5G: analyzes and evaluates similar and distinctive characteristics in and among the arts. Analyzes the function of the visual arts in various eras and cultures.
5A: understands how the visual arts function in a cultural and societal context.
1G: analyzes and evaluates (critiques) artworks for how aesthetic qualities are used to convey intent, expressive ideas, and/or meaning.
Description: Handouts from both artists of this unit plan, Virgil Ortiz and Roberto Lugo, provide research, information, and background. The handouts on these artists are for a three week (or so) long unit plan structured around ceramic animal slab cups. The handouts contain historical and critical information, websites, questions, vocabulary, and suggestions for further study and art making. The handouts ask thought provoking questions using the Frames: Subjective, Structural, Cultural, and Postmodern. These handouts use not only the Frames but the Conceptual Framework as well.
Rationale: The questions given in these handouts interrogate the Conceptual Framework and use the Frames for deeper understanding of the artist's content and their artwork's cultural and societal context. The Frame based questions ask the students to evaluate the deeper meaning behind the artist's work, analyze the content and compare and contrast the ideas of the artists. The questions focus on the work of the Native American ceramic artist, Virgil Ortiz, and the Puerto Rican ceramic artist, Roberto Lugo.
Evidence: Virgil Ortiz handout Roberto Lugo Handout Ceramic Slab Cup Unit Plan
BERGER "WAYS OF SEEING" REFLECTION PAPER
5F: analyzes how the visual arts do and have been used to inform and persuade.
Description: John Berger’s (1972) classic cultural critique, Ways of Seeing, draws parallels between images from art history and contemporary advertisements.
Rationale: In my critique of a contemporary advertisement from Victoria's Secret I uncover the mechanisms that work together to persuade me into buying from their company. I discuss the importance of the trendy text, the models' demographics, the significance of the photographs in trying to sell the products, and my personal experience when viewing these ads.
Evidence: Ways of Seeing Reflection and Victoria's Secret Ad Analysis
PROFESSIONALISM, ADVOCACY & LEADERSHIP: PAL 1 (2 submissions)
7G: understands the need for continuing study, self evaluation, and professional growth.
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Description: The Rembrandt Society holds a high school art conference every spring. Eight schools come together to hold an art show, win scholarships, participate in art workshops and games, and compete in art related competitions. This year I went to observe the conference.
Rationale: Seeing high school art clubs create an art show and get excited about art making during workshops was so fun to see. The passion that these students and art teachers had was very inspiring. I would love to start an art club and bring my students to art making events like Rembrandt Society conventions.
Evidence: Rembrandt Society Convention Reflection
Description: At University Galleries in Normal, Illinois we have visiting artists hold lectures for the community. These lectures include background information about the artists life, work, and concepts that they deal with in their art. ​
Rationale: Deb Sokolow's artwork and gallery talk were amazing to see at University Galleries. Her work is at the intersections of drawing, writing, and reading, which I really enjoyed viewing. The next month I wrote a lesson about and her influences and taught it to the AP Art students at University High School. After teaching my first lesson, the class and I took a field trip to University Galleries to analyze her work in person.
Evidence: Deb Sokolow Gallery Lecture Reflection In the above image I am teaching at University Galleries about Deb Sokolow.
PROFESSIONALISM, ADVOCACY & LEADERSHIP: PAL 2 (2 submissions)
7N: advances his or her knowledge of current developments in the field by participating in professional development activities (e.g., coursework, professional organizations, and workshops).
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Description: A fabric collage that I created was accepted into the Annual McLean County Art Show in Bloomington, IL.
Rationale: I entered this fabric collage into a show juried by Stephanie Roberts and it was accepted. The importance of continuing my own art practice is essential and getting to show my hard work in a gallery setting keeps up my confidence as a developing professional.
Evidence: McLean County Art Show Reflection
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Description: I presented my art history research at a symposium at University Galleries in Normal, IL.
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Rationale: After researching a painting that is part of the University Gallery's permanent collection for an entire semester, I was able to share my findings with other faculty members, gallery employees, and members of the Normal community in the form of a symposium. I shared my research and then answered any questions from the audience.
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Evidence: Art History Symposium Outline of Presentation