Contemporary Art Elementary Lesson Plans
ARE 4351 Teaching Art in Elementary School – Thomas Brewer
Crystina Castiglione
Lesson One: Drawing – Wayne Thiebaud
Part I: Wayne Thiebaud
(From left to right, top then bottom) “Hot Dog Row,” 2000. Oil on Canvas;
“Bakery in Case,” 2009. Oil on Canvas;“Cafe Flowers, Caged Condiments, Cream Pie, Java and
Sinkers, and Other Food,” 1995. Ink on Paper; “Cupcakes and Donuts,” 2006. Color Direct
Gravure.
Grade Levels: 3-5
Objectives
Student’s will learn about artist Wayne Thiebaud and explore the way he used iconic
mass produced foods that represent American consumerism in non-traditional still life’s and the
way in which these works of art are symbolic of popular culture. Student’s will understand the
way Thiebaud used the elements and principles of light, color, space, repetition, line, shape and
composition to create their own drawn still life of confectionary foods. Students will learn how
advertising is used to market mass produced consumer products, such as the iconic American
foods Thiebaud depicted in his artwork and turn their drawing into an advertisement based on
something they’ve seen in the media.
Sunshine State Standards
(See Appendix A for full description)
Students will meet:
VA.A.1.2.1, VA.A.1.2.3, VA.A.1.2.4, VA.B.1.2.1, VA.B.1.2.2, VA.C.1.2.1, VA.D.1.2.3 , and
VA.E.1.2.1
Procedure
Materials: student sketchbook (8”x11 ½”, hard covered, spiral bound), pencils, erasers, 11”x14”
white drawing paper, colored pencils, oil pastels, crayons, markers, overhead projector, power
point, still life set up consisting of various confectionary foods (donuts, cookies, cake slices,
cupcakes, brownies, candy, etc.), various magazines
Content Vocabulary: still life, popular culture, consumerism, mass production, elements of art:
color, line, and shape, principles of design: repetition, space, balance, pattern, composition
Sequence:
1. Student’s will sit in group tables and watch a power point presentation on the projector to
be introduced to artist Wayne Thiebaud and view images, “Hot Dog Row,” “Bakery in
Case,” “Cafe Flowers, Caged Condiments, Cream Pie, Java and Sinkers, and Other
Food,” and “Cupcakes and Donuts.”
2. Ask students, “What do you think these images represent or symbolize?” “Why did the
artist choose food as his subject matter?”
3. Discuss how some scholars called Thiebaud a Pop artist because he painted popular
consumer goods, and how Thiebaud chose these types of food because they are iconic of
American popular culture and how we advertise things that are mass produced, such as
food, so that people will buy them.
4. Pass out student sketchbooks and pencils and review content vocabulary for students to
record throughout discussion. Explain that popular culture means the things in our
society that represent American’s today; marketing means the way businesses advertise
something they want to sell, and how we are consumers because we buy the things being
advertised, or consume them. Ask students, “What does it mean to mass produce
something?” “How do you think food is mass produced?” “What makes us “consume” or
buy things that are mass produced?”
5. Review the elements of design and principles of art on the bulletin board at the front of
the classroom that depicts each, (See Appendix B: Part II for example of display). Point
out the dominant elements and principles used in Thiebaud’s images; focus on line, color,
shape, light, contrast, repetition, space and balance.
6. Introduce definition of a still life on the overhead; “a drawing or painting of a grouping of
inanimate objects. Before the actual drawing, the objects to be shown must be selected
and arranged,” (Linderman, p.124, 1997); as students record it in sketchbooks.
Demonstrate with a follow along sketch on overhead how to draw a still life based on the
confectionary still life’s set up in the center of each group table.
7. Ask students to contemplate the following: “Do you plan to include all of the objects in
your grouping or just one?” “What point of view are you drawing it from; top, side, front,
angled?” “Are all the objects on the same level or is there a foreground, middle ground
and background?” “Do the shapes overlap or connect in some way?” “Does your
arrangement show contrasting lines, colors, textures, patterns, variety, or balance?”
(Linderman, p. 124, 1997).
8. Pass out 11” x 14” piece of white paper and for students to begin drawing their still life
using pencil and keeping in mind the questions addressed during the discussion.
9. Once completed, they will view various food advertisement imagery found independently
in various magazines and discuss how to create an advertisement for American
consumers out of their still life. Explain how to use color, lines, shapes, patterns,
repetition, and catchy slogans to create an advertisement for the food they have drawn.
Ask students, “How can you use your art knowledge to make an advertisement that
catches your attention?” “What would make you want to buy this food?” Have students
use markers, crayons, oil pastels, colored pencils, etc. to turn their still life into an
advertisement.
Assessment
Student’s will complete a reflective worksheet individually, (See Appendix B:
Part I), as well as complete a rubric to score them, and have a peer score them as well,
(See Appendix B: Part III). Rubrics will be provided prior to the studio art component to
serve as guidelines for the activity.
Statement of Origin
The idea for this lesson plan was inspired by the article “Principles of Possibility:
Considerations for a 21st Century Art Culture and Curriculum,” by Olivia Gude and the chapter 8
article on “Art Production: Ideas and Techniques,” by Linderman. In the first article Gude
stresses the importance of “empowered making” in art education and how “artists and educators
who are responsive to the needs of their current students must consider contemporary as well as
traditional artistic and critical practice and ask what students need to know to successfully make
and understand art and culture today, (Gude, pp. 12, 2007). In the second article, Linderman
addresses how to create a still life and the questions involved that students should address when
creating one, (Linderman, pp. 124-125, 1997). The images chosen were inspired by an exhibition
I have seen in the past at the National Art Gallery.
Lesson Two: Sculpture – Lisa Kokin and the Sketch Book Project 2011
[Lisa Kokin] (From left to right, top to bottom),“Memoria Technica,” 2002. Mixed Media Book;
“Equal Rights,” 2006. Mixed Media Book Collage;“Jewish Science,” 1998.Mixed media
collaged altered pamphlets, clothing hanger; “Our American Way of Life,” 2006.
Mixed media book collage.
Von-TRTL’s Sketch Book Project, 2010.
Jo Cheung’s Sketch Book Project, 2010.
Rachel Anilyse’s Sketch Book Project, 2010; Roberta Baird’s Sketchbook Project 2010.
Grades Level: 5
Objectives
Students will learn that bookmaking is an artistic way for artists to express ideas,
symbols, and subject matter by exploring the work of artist Lisa Kokin as well as be introduced
to “The Sketch Book Project.” Students will answer the question “Who Am I?” and use their
moleskin journals from The Sketch Book Project that incorporates the question and answer into a
3 dimensional work of art. Bookmaking teaches students to express and extend their art making
in a new way. Books can be meaningful way of incorporating personal family history and written
records or prose in a work of art. Students will also learn how their sketchbooks can become
visual diaries that through bookmaking techniques can convey their “art voice.” They will
become involved with the art community by sharing with the public in a collaborative exhibition,
their sketchbooks.
Sunshine State Standards
(See Appendix A for full descriptors)
Students will meet:
VA.A.1.2.1, VA.A.1.2.3, VA.A.1.2.4, VA.B.1.2.1, VA.B.1.2.2, VA.B.1.2.4, VA.C.1.2.2 , and
VA.E.1.2.1
Procedure
Materials: 5.5” x 8.5” moleskin journal purchased for entire grade from
http://arthousecoop.com/projects/sketchbookproject/, pencils, pens, markers, watercolor, glue
sticks, Elmer’s glue, masking tape, scotch tape, paintbrushes, containers for water, scissors,
assorted textured paper, magazine pages, newspaper, ribbon, string, old book pages, assorted
textured materials, mixed media 2D or moderately relief objects able to be glued to paper,
overhead projector, student sketchbooks
Content Vocabulary: collage, altered books, sculpture, overlapping, visual diary, bookmaking,
art voice, cultural and social identity
Sequence:
1. Students will sit at group tables to view a power point presentation to view the images of
artist Lisa Kokin, “Memoria Technica,” “Equal Rights,” “Jewish Science,’ and “Our
American Way of Life.”
2. Discuss with students the artistic technique or bookmaking and it how its used to create
works of art. Pass out sketchbooks and pencils and address content vocabulary for
students to record that describes bookmaking techniques such as reassembling pages of
an old book, constructing an altered book out of mixed media materials to create an
artwork expresses ideas, symbols and subject matter using a collaboration of sketches,
collage, texts, pictures, drawings, and mixed media materials.
3. Examine each of Kokin’s images, ask students, “What does each of her altered book
pages say about her life?” “What story is she trying to tell?” “How do these art works
express an idea, and what idea is being expressed?” “What do these artworks symbolize;
can you figure out what the theme is?” “What techniques can you see that she used in her
artworks?” Discuss with student’s how Kokin’s altered and collaged books are about
memory and history, both personal and collective, and how she uses her books to
represent her cultural and social identity, (the cultural roots and physical traits that define
a person in society), and ideas about gender, war, equal rights, and religion.
4. Introduce students to “The Sketch Book Project.” Explain how each student will fill in an
entire moleskin journal using book making techniques to visually display their “art
voice,” which is how they communicate their ideas as an artist. Each page will use
bookmaking techniques to answer a question that relates to the theme “Who Am I?” and
each sketchbook when done will be sent to New York’s Art House Co-Op as part of a
traveling exhibition of sketchbooks done by people all across the country and also be part
of a permanent collection in the Brooklyn Art Library.
5. View power point of image to show examples of various sketchbooks done by people
across the country. Explain how different artists used different techniques to show how
they view themselves and the world around them; how they communicated their art voice
to the public; Von_TRTL’s sketchbook uses drawings and paintings with text to show
some of her favorite things; Jo Cheung’s sketchbook uses collage, paper and text to
depict her favorite places; Rachel Anilyse and Roberta Baird used their sketchbook to
create a visual representation of what their nightmares might be like or a story of
nightmares.
6. Pass out moleskin journals. Before beginning, have students create a brainstorming map
on the first page of the journal with the center being, “Who Am I,” and address questions
such as: “What are your likes/dislikes?” “Where are you from?” “What is your
nationality, ethnicity or culture?” “Are you a student, teacher, artist, athlete, girl, boy,
dancer, singer, musician…etc.?” Make a list of characteristics that define who you are.
Demonstrate brainstorm map on whiteboard.
7. Pass out mixed media materials. Students will begin by decorating their cover and
coming up with a title; it can simply be “Who I Am” or something else that relates to the
theme. Students will use collage, painting, drawing, sketching, text, pictures, and mixed
media materials for each page. Two pages a week will be completed over the course of 56 weeks or until completed. Students will develop their own journals based on and
inspired by the power point images of the sketchbook project artists and Lisa Kokin’s
work.
Page 1/2– Create an entry that uses various altered book techniques to create a self
portrait in a visual response to “Who I am,” BE CREATIVE!
Page 3/4 – Create an entry on your cultural heritage, nationality or ethnicity to express
the traditions that are important to you and represent your family history.
Page 5/6 – Create an entry on your likes/dislikes (favorite or least favorite movies,
stories, clothes, people, place, foods, etc.)
Page 7/8 – Create an entry on a place that is important to you (somewhere you hang out,
the state you grew up in, your house, your town), use symbolic imagery to represent that
place.
Page 9/10 – Create an ending to “your story,” with a reflective journal entry that answers
how this project helped communicate your “art voice,” as well as what this book says
about you!. Decorate the back cover of the book.
8. Finished works will be collected, scanned for copies and then mailed to the Art House
Co-Op in Brooklyn, New York to be part of a traveling exhibition and permanent
collection in the Brooklyn Art Library for The Sketch Book Project.
Assessment
Students will complete a reflection worksheet, (See Appendix C), to assess the
knowledge gained through this activity, and then a peer/self evaluation rubric, (See
(Appendix B: Part III), that will be provided prior to the lesson as guidelines.
Statement of Origin
This lesson was inspired by the article, “The School Art Style: A Functional
Analysis,” by Efland and the NAEA Advisory, “School Art Versus Meaningful
Artistically Authentic Art Education,” by Amy Giles. Both articles emphasize the
important of students have an artistically authentic experience by closely following the
practices of authentic artists to make quality products that draw from life experiences. I
was also inspired by The Sketch Book Project and wanted to incorporate it into the lesson
to teach students about the value of visual diaries as a way to record their artistic process
and communicate their “art voice” and their relation to the artistic process of
bookmaking.
Lesson 3: Painting – Juane “Quick-to-See” Smith
(From left to right) “Flathead Vest: Father and Child,” 1996. Acrylic, paper and canvas; “Winds
of Change, 1992, lithograph; “House,” 1995. Mixed Media on Canvas; “Cheyenne #16,” 1983.
Mixed Media on Canvas.
Grade Level: 5
Objectives
Students will examine the work of artist Juane “Quick-to-See” Smith to
understand how artists use their work to represent their cultural and ethnic background
and address stereotypes about them. Students will explore the importance of diversity and
how art can help us to learn about cultures other than our own, expand our ideas about the
world and develop respect and sensitivity to people that are different from ourselves.
Students will learn how to mix paint on a palette to create new colors and various
paintbrush techniques to create a painting that portrays their personal cultural background
and the symbolism associated with it.
Sunshine State Standards
(See Appendix A for full descriptor)
Students will meet:
VA.A.1.2.1, VA.A.1.2.3, VA.A.1.2.4, VA.B.1.2.1, VA.B.1.2.3, VA.B.1.2.4, VA.C.1.2.2, and
VA.E.1.2.1
Procedure
Materials: student sketchbook, pencil, eraser, 11”x14” canvas or larger, charcoal pencil,
acrylic//tempura paints; red, blue, yellow, white, black, paintbrushes, water containers, paper
towels, paint smocks, mixing palettes, plastic palette knife, color wheel, overhead projector
Content Vocabulary: Color wheel, palette, palette knife, primary colors, secondary colors,
tertiary colors, culture, diversity, stereotype
Sequence:
1. Student’s will sit in group tables and be introduced to artist Juane Quick-to-See Smith
with a power point presentation of her artwork images and view, “Flathead Vest: Father
and Child,” “Winds of Change,” “Cheyenne #16,” and “House.”
2. Ask students, “What do you think these paintings are about, what is the subject matter?”
“Without knowing anything about the artist, can you tell me what her cultural
background might be?” “Why do you think she chose to make paintings about her
ethnicity and culture?”
3. Explain to student’s that Smith is a “Flathead” contemporary artist, meaning she is a
Native American artist and uses her knowledge of her cultural history and ethnicity as the
subject matter for her paintings. Discuss Smith’s use of stereotypes associated with
Native American’s and how the imagery she chooses in her paintings is symbolic of some
of those stereotypes. Discuss some of the symbols Smith uses in her paintings that show a
connection between Native American history and contemporary stereotypes. Ask
students, “Does anyone know what a stereotype is?” “Have you or someone you know
ever been stereotyped?” “Why is it important for us to learn about stereotypes?” “How
can we learn about other cultures, ethnicities, nationalities, and their traditions and
histories through art?” “Why is it important for us to know about other people’s cultural
backgrounds?” Discuss the importance of developing respect and sensitivity towards
cultures different from our own and how we can learn about diversity through our
artwork by choosing subject matter that represents the unique characteristics of each
culture. Using sketchbooks, students follow along as you write on the overhead
definitions to the content vocabulary from the discussion.
4. Have students make a web of their nationalities or ethnicities and draw connecting lines
to the center of traditions, historical conflicts, stereotypes, imagery, and general
characteristics associated with their cultural background, (ex. Foods, clothing, flag,
countries, colors, physical traits, music, etc.) (See Appendix D). Have students choose
one of their ethnicities and the one major characteristic associated with it, and then one
stereotyping issue related to it and sketch an image that portrays it. Sketch will be used
for a painting activity.
5. Review the elements and principles of art and discuss ones used in each of Smith’s
images. Discuss the symbolic colors, lines and shapes that are used to depict her culture.
6. On the overhead, demonstrate as students follow along, how to draw a color wheel and
label it. Review the definition of a primary, secondary and tertiary color and record them
in the sketchbooks. Review the different color combinations, (ex. Red + Blue = Purple).
7. Pass out paint palette mixing trays with red, blue, yellow, white and black tempura or
acrylic paint, plastic palette knives, paintbrushes, water containers, paper towels, paint
smocks, canvas and charcoal pencils. Demonstrate at the front of the classroom how to
use the palette knife to pick up two different primary colors and mix them together to
make a secondary color. Have student practice making the secondary colors and then
tertiary colors. Review how to use the paintbrush properly and how to dip in the water
and wipe it on the paper towel before putting it in another color. Demonstrate on a piece
of paper how to make thick or thin lines and shapes depending on how you hold the paint
brush. Have students follow along in their sketchbooks.
8. Demonstrate how they will enlarge their sketch onto canvas by drawing it. With charcoal
pencils, have students lightly sketch their design onto their canvases, being sure to fill the
whole thing.
9. With paint, students will fill in their canvas drawing using colors that are symbolic of
their cultural background. Students will use the elements of art and principles of design to
create a successful composition.
10. When finished, allow to dry and put a medium gloss or glaze over the painting to
preserve it.
Assessment
Students will present their finished painting to the class accompanied by
individually written artist statement that addresses specific questions, (See Appendix D).
Students will assess each other using a peer rubric in pairs, (See Appendix B: Part
III), that will be provided prior to the activity.
Statement of Origin
This lesson was Inspired by the article, “Principles of Possibility: Considerations
for a 21st Century Art and Culture Curriculum,” by Olivia Gude in which she emphasizes
the importance of encountering difference in art by saying, “Good multicultural
curriculum introduces us to the generative themes of others – helping us to see the world
through the eyes of others-understanding the meaning of artworks in terms of the
complex aesthetic, social, and historical contexts out of which they emerge, (Gude, p. 9,
2007).
Lesson 4: Ceramics – Kiel Johnson
(From left to right) “Twin Lens Reflex Camera.” 2009. Cardboard and mixed mediums;“Two
Sides to Every Story, AKA Boom Boom,” 2009;“Publish or Perish,” 2009. Plywood steel and
mixed mediums.
Grade Levels: 4-5
Objectives
Student’s will examine Kiel Johnson’s sculptures in explore how he uses antique
machinery and dying technological machines as his subject matter to communicate the
role of technology in contemporary society. Students will discuss the advancing age of
technology, its importance as a tool for communication and the differences between the
various forms of technology throughout history, and those that we have now. Students
will make a ceramic piece that contrasts one of Johnson’s sculptures; i.e. if they choose a
sculpture of his antique cameras, their piece should be of a digital camera or something
contemporary.
Sunshine State Standards
(See Appendix A for full descriptors)
Students will meet:
VA.A.1.2.1, VA.1.2.2, VA.A.1.2.4, VA.B.1.2.1, VA.B.1.2.3, VA.C.1.2.2, and VA.E.1.2.1
Procedure
Materials: sketchbooks, images of contemporary technology (i.e., Ipods, game systems, laptops,
flat screen t.v.’s, cell phones, cameras, etc.), pencils, erasers, gray clay, sculpting tools (rubber
and wooden ribs, trimming tools, cutting wire), kiln, ceramic glaze in neutral colors, overhead
projector, small found or recyclable mixed media materials
Content Vocabulary: Ceramics, kiln, firing, sculpting
Sequence:
1. Students will sit in group tables and have a class discussion on the role of technology in
contemporary society and in contemporary art. Ask students, “What kind of technology
do you use, what electronics do you own?” “How are these tools used for
communication?” “Why is technology important in today’s society?” “What are some
types of technology you know of that doesn’t exist or isn’t used anymore?” “What
different types of technology are used by artists today?” Make sure each student’s
participates; brainstorm these ideas by writing them on the white board at the front of the
classroom and accompany each with a sketch. Pass out student sketchbooks and pencils,
have them record these ideas.
2. Introduce students to artist Kiel Johnson and have them view power point presentation of
his images, “Twin Lens Reflex Camera,” “Two Sides to Every Story,” and “Publish or
Perish.” View assemblage video: http://boingboing.net/2009/10/12/kiel-johnsoncardboa.html. Look at “Twin Lens Reflex Camera”, ask students, “How is this camera
different from the camera you or someone you know owns?” “Why do you think these
cameras aren’t used anymore?” “How are camera’s used in art, how are they used in
society?” Look at “Two Sides to Every Story,” and ask students, “How is this stereo
different from the electronic devices we use to listen to music now?” “What generation in
3.
4.
5.
6.
history do you think this stereo was considered new in?” “How are radios or stereo’s used
as communication tools?” “What is the significance of stereo’s and radio’s in today’s
society, their role and their importance?” Look at “Publish or Perish,” ask students, “Do
you know what this is?” Explain that this is a sculpture of a printing press, the very first
machine created as a way to print newspapers and generate the first form of public media.
Discuss what newspapers are used for, and how they are slowly being replaced by
computers and the internet. Ask students, “What other ways do we hear about the news?”
“Do you read magazines and newspapers, or do you get your news off of the internet?”
“Do you think newspapers and printing presses will be replaced by computer technology
in the future?”
Explain to student’s that they will choose one of the machine sculptures of Johnson’s and
create a three dimensional ceramic piece of what it has evolved to, (ex. If they choose the
stereo, their ceramic piece should be of an Ipod, MP3 Player, or similarly current music
listening device; if they choose the printing press their ceramic piece should be of a
laptop, computer, or T.V. and if they choose the camera their ceramic piece should be of
a digital camera). Students will use the internet to find images of the technological device
they wish to create. Based on the images they find, they will draw sketches of the object
from various angles.
Students will be introduced to using clay. Explain the safety procedures for using clay
and how it is fired in the kiln to create a ceramic piece. Give each student a ball of clay at
least 6-7” in diameter. Demonstrate as students follow allow and practice using the wire
cutter to cut the clay in half or to cut sections, using their hands to break off pieces and
rolling it on the table to thin it out, coiling pieces of the clay, constructing various shapes
out of the clay, making rivets in the clay to attach it to another piece and then smoothing
it down so it stays using the ribs.
Once students are comfortable handling the clay, they will begin constructing their
chosen technology piece by exploring how to bring their two dimensional sketch to a
three dimensional form. Once these are completed, the teacher will fire them in the kiln.
Students will receive their completed ceramic pieces and paint them using a neutral
colored glaze and then add details using found or recyclable mixed media materials, (i.e.
nuts and bolts for knobs, plastic caps for buttons, cardboard for shapes).
Assessment
Students will display their completed ceramic pieces alongside a printed image of the
sculptural piece of Johnson’s they chose to base it off of. Students will complete a reflective
Venn diagram worksheet in their sketchbooks, (See Appendix E), to compare and contrast
the differences between Johnson’s work and their own and complete a peer/self evaluation
rubric, (See Appendix B: Part III).
Statement of Origin
The idea for this lesson plan came from class discussions related to the role of the media
and technology in art and in contemporary society. Developing it into a ceramics lesson was
inspired by the article, “Representational Concepts in Clay: The Development of Sculpture,”
by Claire Golomb. The article emphasizes the need to focus on evolving student’s three
dimensional representations of objects accurately using clay.
Lesson 5: Media and Art Criticism – Przemek Matecki
“Sketches: Pages from Glossy Magazines,” 2007.
Image for Article: Evan Rachel Wood, Nylon Magazine, November 2010. Photographer Michael
Wood, Image for Image for Article: “Beauty Transformation,” Elle Magazine, November 2010.
Grade Levels: 4-5
Objectives
Students will examine the role of images in the media and how Przemek Matecki
uses and reassembles magazine imagery with collage techniques and paint to create abstract
works of art based on formal composition. Students will learn about art criticism and answer
the question, “what makes something a work of art,” and explore the differences between
mass produced imagery and authentic artwork in a media analysis and critique. Student’s will
study the role of Matecki’s art as a way to look at the images of contemporary culture from
different perspectives and form a new perception.
Sunshine State Standards
(See Appendix A for full descriptors)
Students will meet:
VA.A.1.2.3, VA.B.1.2.1, VA.B.1.2.3, VA.B.1.2.2, VA.C.1.2.1, VA.C.1.2.2, VA.D.1.2.1,
VA.D.1.2.2, and VA.E.1.2.1
Procedure
Materials: overhead projector, sketchbooks, pencils, pre selected magazine imagery
Content Vocabulary: Art Criticism, Feldman Model, Describing, Analyzing, Interpreting,
Judging, elements of art and principles of design
Sequence:
1. Students will participate in a class discussion surrounding the question, “What is art?”
Ask students, “What do you think ‘art’ is?” “What makes something a work of art?”
“What makes someone an artist?” “Where do we see art?” “What are the roles of
images in today’s society, where do we see them?” “Can images in the media, such as
in fashion magazines, be considered art?”
2. Have students watch power point presentation to view Przemek Matecki’s artwork as
well as selected magazine and media imagery. Discuss how Matecki uses magazine
ad’s or fashion imagery and collages or paints over them to reassemble it into a
completely new image. Ask students, “Does reassembling the image into something
new make it art?” “Does it change what the image means or the idea it is trying to
communicate?” “Are the magazine and media images art? Why or why not?” “Is the
person who photographed them? Why or why not?” “What are the major differences
between Matecki’s reassembled magazine images and the fashion magazine images
you viewed?”
3. Give a handout to be glued in sketchbooks on the Linderman’s Model for Analyzing
Artworks (See Appendix F: Part I); introduce on the overhead the four steps of
analyzing; How to describe, analyze, interpret and judge a work of art and how to
defend your opinion using appropriate visual vocabulary terms from prior knowledge
of the elements and principles.
4. Give each group table one of Matecki’s images and one of the fashion magazine
images to look at. As a group, with one assigned student being the recorder, have
students collaborate to follow the 4 steps of analyzing for each image, (using the
handout as a guide).
Assessment
Students will be assessed based on a reflective art criticism worksheet, (See
Appendix F: Part II) done individually and make a Venn diagram to compare and
contrast the two works of art in sketchbooks.
Statement of Origin
This lesson plan originated by class discussions on the role of imagery in the
media and “Chapter 11: Art Analysis: Looking at and Responding to Art,” from the
book Art in the Elementary School by Linderman. I wanted to incorporate a media
criticism into a lesson by using Linderman’s model of analyzing artworks to teach
students how to describe, analyze, interpret and judge a work of art. Linderman
defends the importance of art analysis by saying, “To have a dialogue with an artwork
means to enter into and interact with the work…to experience it by looking at it,
responding to it, and comprehending it…perception of just what is art,” (Linderman,
p. 215, 1997).
Appendix A
Sunshine State Standards
VA.A.1.2.1 Use and organize two-dimensional and three-dimensional media, techniques, tools,
and processes to produce works of art that are derived from personal experience, observation, or
imagination.
VA.1.2.2 Use control in handling tools and materials in a safe and responsible manner.
VA.A.1.2.3 Know the effects and functions of using various organizational elements and
principles of design when creating works of art.
VA.A.1.2.4 Use good craftsmanship in a variety of two dimensional and three dimensional
media.
VA.B.1.2.1 Understand that subject matter used to create unique works of art can come from
personal experience, observation, imagination, and themes.
VA.B.1.2.2 Understand what makes different art media, techniques and processes effective or
ineffective in communicating various ideas.
VA.B.1.2.3 Know how to identify the intentions of those creating works of art.
VA.B.1.2.4 Use the elements of art and the principles of design with sufficient manipulative
skills, confidence and sensitivity when communication ideas.
VA.C.1.2.1 Understand the similarities and differences in works of art from a variety of sources.
VA.C.1.2.2 Understand how artists have used visual languages and symbols systems through
time and across cultures.
VA.D.1.2.1 Develop and justify criteria for the evaluation of visual works of art using
appropriate vocabulary.
VA.D.1.2.2 Use different approaches to respond to and to judge various works of art.
VA.D.1.2.3 Understand perceived similarities and differences among different genres of art.
VA.E.1.2.1 Understand the influence of artists on the quality of everyday life
Appendix B
Part I: Wayne Thiebaud: Still Life Drawing Reflection
Instructions: Answer the following questions to the best of your ability in complete
sentences; each one is worth 5 points for a total of 25.
1. What was the point of Thiebaud’s artwork?
2. What did you learn about popular culture?
3. What does it mean to market something, and what is a consumer?
4. What elements and principles did you use in your still life, list them, and be specific.
5. Do you think your artwork is still a work of art after you turned it into an advertisement?
Teacher Feedback:
Appendix B
Part II: Elements of Art and Principles of Design Display Board (Example)
[Make out of construction paper]
[Make out of 3D objects; cans, jars, cardboard]
[Paint a value scale onto cardstock] [Make out of different textured materials]
[Make out of yarn, ribbon, string, etc.]
[Display example of
artwork with corresponding design
principle]
Appendix B
Part III: Elementary Assessment Rubric
Instructions: After completing your artwork, grade yourself according to the criteria and goals on a scale
of 1-10, 1 being the lowest and 10 being the highest. Trade rubrics with a partner and examine their
artwork in order to grade them according to each criteria and goals. Complete a short reflection discussing
what you learned from this activity, what you liked about your artwork and what you would change about
it if you did it again, (worth 5 points).
Artwork Title______________________________________________________________________________________
Student Name_______________________________ Peer Grader Name _______________________________
Criteria
Goal
Self Score
Critical Thinking
and Reflection
Participates in class discussions and demonstrates critical
thinking, and problem solving skills throughout lesson.
Reflects knowledgably on processes with ability to relate
to personal experiences and community.
1-10
Skill Development
and Innovation
Comprehension and
Application of
Historical and
Cultural Concepts
Use of Materials,
Techniques and
Processes
Behavior
Expectations
Produces quality artwork by applying the elements of art
and principles of design and by demonstrating creativity,
originality, exploration of new ideas and risk taking to
discover new skills.
Produces quality artwork that reflects understanding of
cultural and historical themes and concepts learned.
Understands the value and meaning of these concepts in
relation to themselves and the contemporary world.
Uses materials appropriately to understand authentic
artistic processes and techniques. Understands how to use
the elements and principles to create a successful
composition.
Maintains respect for classroom, teacher and peers, has a
positive attitude, uses time efficiently and gives best effort.
Total (Out of 45):
Student Reflection (5 Points):
Teacher Comments:
1-10
1-10
1-10
1-5
Peer Score
Overall Grade (out of 50):
Appendix C
Lisa Kokin and The Sketch Book Project Reflective Activity
Instructions: Complete each answer to the best of your ability in complete sentences.
Each question is worth 5 points for at total of 25 points.
1. What did you learn that artists can express through bookmaking?
2. What bookmaking techniques did you use in your sketchbook project?
3. What ideas, symbols, or messages did you use in your sketchbook project to
represent yourself?
4. How has this activity helped you find your “art voice” and help you to explore “who
you are”?
5. Do you think your completed sketchbook is a work of art? Why or why not?
Teacher Feedback:
Appendix D
Juane “Quick-to-See” Smith: Artist Statement Guideline Questions
Instructions: Answer each question, keeping in mind that you are forming a synthesized
paragraph to be orally presented with your completed painting. Each question is worth 5
points for a total of 25.
1. What is your painting about, describe it.
2. What does this painting symbolize about your cultural background?
3. What stereotypes are associated with your culture and how did you show them?
4. What colors, lines, shapes, or other elements or principles are symbolic of your
culture?
5. “How did you use your knowledge of the color wheel and paint brush techniques to
create your painting?
Teacher Feedback:
Appendix E
Kiel Johnson: Ceramic Technology – Compare and Contrast
Student’s will follow this format of a Venn Diagram to compare and contrast the aesthetic
and conceptual qualities of their own artwork and one of Kiel Johnson’s along with a
sketch of each. These may be used as a reference sheet to demonstrate how to draw one in
student’s sketchbooks.
Your Artwork (Title)
Similarities
Kiel Johnson’s Artwork (Title)
Appendix F
Part I: Linderman’s Four Steps to Analyzing a Work of Art
(Adapted from “Chapter 11: Art Analysis” in Art in the Elementary School, 1997 by
Linderman)
1. DESCRIBE
a. What do you see?
b. Who is the artist?
c. What is the title?
d. How was it made; what materials or processes were used?
e. What is happening in the image?
2. ANALYZE
a. What art elements and design principles can be seen?
i. Describe specific types of:
1. Lines; Horizontal, Diagonal, Vertical, Quick, Slow, Thick, Thin,
Curvilinear, Geometric
2. Shapes; Geometric, Abstract, Realistic, Organic
3. Color
4. Patterns and Repetition
5. Texture
6. Proportion and Scale
7. Light; Natural, Artificial, Bright, Shadowy, Dark, Blurry, Harsh
8. Space and Balance; Asymmetrical or Symmetrical
9. Movement and Rhythm
10. Contrast
b. How are they unified?
c. What is the artistic style and what does it tell you about what period of art it is
from?
3. INTERPRET
a. What is the historical, cultural or social symbolism of the artwork?
b. Does it tell you something about our culture?
c. What about the image relates to you personally?
d. What is beautiful or valuable about the image and why?
e. Is it original or unique? Why or why not?
f. Is it creative?
g. Is it valuable to our society?
4. JUDGE (EVALUATE)
a. What do you think is the overall meaning of the image?
b. Who is the intended audience for the image?
c. What message was the artist trying to send?
d. Do you like it? Why or why not?
e. Why is it art? Or isn’t it art? Choose one.
Appendix F
Part II: Media Criticism Reflection
Instructions: Reflect on each of the questions and create a response in 2-3 paragraphs. This
will be worth 25 points.
Are these images art? Why or why not? Use your knowledge of the elements of art vocabulary
and principles of design vocabulary to defend your opinion, as well as reflecting on what
message is meant to be sent by the different sets of images. Use conclusions drawn from the
Venn diagram activity.
Teacher Comments:
Overall Grade:
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