UNIT PLAN TITLE
Me In a Box
TEACHER(S)
ARTIST(S)
Elizabeth Griffin, Katherine McMaster
Guillermo Delgado, Jenn Morea
SCHOOL
GRADE
ART FORM(S)
Dr. Bessie Rhodes Magnet School
5th
assemblage
OVERVIEW & BIG IDEAS FOR UNIT
Students will create works of art that require self-reflection and encourage revelation. They
will incorporate poetry writing to provide further personal insight.
GUIDING QUESTIONS FOR UNIT
How can we tell our story through visual media, and how can we reflect on that story through poetry?
INTENTIONS FOR TEACHING & LEARNING
AS A RESULT OF THIS UNIT, WHAT DO YOU WANT YOUR STUDENTS
TO KNOW AND BE ABLE TO DO IN THE FOLLOWING AREAS?
ART FORM(S) AND PROCESS:
ACADEMIC CONTENT AREA(S):
SOCIAL/EMOTIONAL DEVELOPMENT:
Observational drawing
Value (cross-hatching, etc.)
Collage
Poetry
Symbolic representation
Oaxacan folk art painting
Write thoughtful autobiographical
poems
Develop observational skills
(internal and external)
Increase understanding of
symbolic representation
Reflect deeply on who they”are,”
share that discovery with others,
and learn about their peers
Increase self- and otheracceptance
Increase intellectual and artistic
endurance
PLANS FOR DOCUMENTING THIS UNIT
[ ] journals
[ ] photos
[ ] audio
[ ] video
[ ] exit slips
[x ] other: portfolio, boxes
©Columbia College Chicago, 2010
PLANS FOR ASSESSING STUDENT LEARNING/DEVELOPMENT
1. observational shoe drawing
2. looking at art, writing activity
3. Review portfolio and do a reflective writing on personal growth through the AIM experience
TEXT & IMAGE SOURCES OF
INSPIRATION / MODEL ARTWORKS
ENGAGE
Joseph Cornell
Oaxacan folk art traditions
WEEK
1
ART AND ACADEMIC CONTENT VOCABULARY
1)
assemblage
2)
masterpiece
3)
value
4)
spectrum
5)
dexterity
6)
endurance
7)
juxtapose
8)
symbolism
9)
anaphora
10)
Creative license
EQUIPMENT & MATERIALS
Sharpie markers
Drawing paper
Wooden boxes
Gesso
Paint brushes
Paint
Nails
Colored tissue paper
Mirrors
CREATE A SAFE COMMUNITY OF LEARNERS | LEARNING THE LANGUAGE OF THE ARTS
Shoe drawing
Map of journey from home to school (symbolic expression)
Looking at art, responding through guided writing
2
3
IMMERSE
4
Portrait drawing: Practice with contour drawing using peer models
Blind contour drawing of hands
Value practice: cross-hatching/hatching
Strips of increasingly dark value
Portrait drawing with value (teacher models)
WEEK
5
6
IMMERSION IN THE BIG IDEAS
Value practice, continued: paper bag drawings
Self portraits with value
Self portrait practice in the size of the box-back (smaller than previous practice)
7
Box surface preparation (gesso)
Self portrait “rehearsal”
8
Value practice using Picasso portrait and Kahlo portrait
Final self portrait on prepared box back
2
©Columbia College Chicago, 2010
REFINE
WEEK
9
10
11
REVISE & SHARE | PERFORM & EXHIBIT | REFLECT & ASSESS
Discussion of symbolism
Design of symbols (self-defining) for outside of box
Poetry workshop: I remember…
Poetry workshop: I am from…
12
Open studio: collage outside of box with self-defining symbolism
Write poems on boxes
13
Finishing touches: add detail using Oaxacan folk art traditional painting
Looking at art (peer boxes), responding through writing
DESCRIPTION OF CULMINIATING EVENT
Students responded to one another’s boxes through a guided looking/writing activity. They were allowed
the opportunity to ask the artist one question about their box.
ILLINOIS STATE FINE ARTS STANDARDS
State Standard/Goal #
25.A.2d. Identify and
describe the elements of
figure, ground, value and
form; and the expressive
qualities of symbol and
story.
State Standard/Goal #
25.B.2. Understand how
elements and principles
combine within art forms
to express ideas.
State Standard/Goal #
26.B.2d. Demonstrate
knowledge and skills to
create works of visual art
using problem solving,
observing, designing,
sketching and
constructing.
State Standard/Goal #
ILLINOIS STATE CORE CURRICULUM STANDARDS
State Standard/Goal #
3.B.2a. Generate and
organize ideas using a
variety of planning
strategies (mapping,
outlining, drafting).
State Standard/Goal #
3.B.2.b. Establish central
ideas, organization,
elaboration and unity in
relation to purpose and
audience.
State Standard/Goal #
3.C.2b. Produce and
format compositions for
specified audiences
using available
technology.
State Standard/Goal #
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©Columbia College Chicago, 2010
TEACHER’S REFLECTIONS
The intention of this unit was to help this group become more self- and other-aware, and as a
consequence, more cohesive as a group. A secondary goal was for the students to learn to delve deeply
into their work, to build intellectual endurance and increase motivation to excel. In the beginning, I
witnessed a lot of discomfort with the tasks required of them. They were not comfortable putting marks on
paper that could not be erased. They demonstrated very little endurance for focusing and very little
confidence in their ability to be artistically successful. Most of the students were unsure of themselves as
writers, so often put little effort into written expression. By the end, each and every student grew in
endurance, confidence and motivation. They became able to look carefully, to see and record details, to
work with extreme concentration, to want more time to work (rather than hurry through). Their boxes are
beautiful reflections of their creative, social and academic growth. Their portfolios document this journey.
The only thing I could ask for is more of this incredible experience! Wow!!!
ARTIST’S REFLECTIONS
This unit was one of the highlights of my teaching artist career. Ms Griffin was wonderful to collaborate
and teach with. Our work has reaffirmed for me the importance of putting in the effort into building
relationships with the classroom teachers. It’s this type of collaboration that helps me to be a more
effective teaching artist. I was very pleased with the students’ artwork; it inspired to take more creative
risks.
STUDENTS’ REFLECTIONS
What did you learn about yourself during the Project AIM experience?
I learned to enjoy art.
I learned that I am a better drawer than I thought I was.
I learned that I could do more than I ever thought I could in art.
I learned to observe art better and to take my time looking at artwork.
I learned that I am a very talented girl.
How have you changed as an artist?
I learned a lot of new stuff about lights and darks and how to just let your pencil flow.
I have changed as an artist because when I first drew a shoe it didn’t look like one, but now it does.
Since the beginning of the project, my artwork looks a lot better and I am proud of myself.
I stopped drawing stick people and started drawing people with a body.
I am not afraid to draw my mind.
I have changed as an artist by learning and trying to draw what I see.
I think and draw differently. Seeing other people’s work helped me with ideas, which changed my way
of thinking and drawing.
How has your work changed?
It has changed because at first I couldn’t draw anything without it looking like something else.
My work has gotten more detailed so it looks a lot better.
I am better at making poems and better at drawing.
I have been able to write stories with more feeling to them.
My work has changed a lot since the beginning because I learned how to draw new things and I was a
lot more focused so my artwork came out better.
My art looks a lot better. Also, I noticed that when I draw I think deeper about it.
I take my work more serious now.
My work has changed because before I didn’t really put any effort in my art and now I do.
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©Columbia College Chicago, 2010
Project AIM introduces public school teachers and students to the authentic arts practice of artists by
partnering teaching artists from Columbia College Chicago and community-based art organizations with
public school teachers. The talented Project AIM Teaching Artist Cadre brings professional expertise in:
creative writing, spoken-word performance, theatre, music, visual arts, book and paper arts,
photography, dance and film to the classroom.
Artists and teachers work together to infuse the classroom with creativity and experiential learning that
connect arts processes and personal experiences to the core curriculum. Using inquiry-based teaching
methods, these teams guide their students through each step of the creative process from
brainstorming, writing first drafts, revision and rehearsal, to exemplary performances, exhibitions, and
documentation of their work.
INTEGRATION
Focusing on the integration of word and image, Project AIM explores the parallels between arts and
literacy learning. Artists and teachers jointly create arts-integrated curriculum that promotes reading
and writing through the arts. Classrooms are transformed into studios and performance spaces where
students are engaged in a powerful learning cycle in and through the arts. As a result, students learn
higher-order thinking skills by translating their ideas across mediums.
MENTORSHIP
Project AIM provides many opportunities for mentorship between teachers, artists, students and
college faculty. It establishes reciprocal learning communities that provide professional development
through hands-on workshops, cooperative classroom learning laboratories and summer institutes.
Monthly artist meetings are a key feature and an invaluable opportunity for teaching artists to share,
and learn from, their peers. Project AIM works with principals, school-based steering committees, and
local school councils to develop arts programming that supports positive, whole school change. Project
AIM also enriches the arts-integration practice of participating faculty at Columbia College Chicago.
For more information, please visit www.colum.edu/ccap or contact (insert applicable
person)
The Arts Integration Mentorship Project (Project AIM) is supported in part by the U.S. Department of
Education Arts in Education Model Development and Dissemination program, National Endowment for the
Arts, Chicago Public Schools, the Searle Funds at the Chicago Community Trust, Lloyd A. Fry Foundation,
Leo S. Guthman Fund, JCCC Foundation, JPMorgan Chase Foundation, Kraft Foods, Polk Bros.
Foundation, Terra Foundation for American Art, and an anonymous foundation.
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©Columbia College Chicago, 2010
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©Columbia College Chicago, 2010