ARE 4351- Teaching Art in
the Elementary Schools
Five Final Lesson Plans (Grades 3-5)
Blair Peterson
11/30/2011
Email: BlairKellyPeterson@gmail.com
Phone: 407.341.0771
Drawing/Mixed Media Lesson
Beroth’s Gabi’s World (2010); S.W. Harrison’s Untitled (ca. 2000) and SABOS (2000)
Objectives:
Students will learn and understand the following:
0 To recognize Beroth’s Gabi’s World (2010) and Sabrina Ward Harrison’s Untitled (ca.
2000) and SABOS (2000)
0 How the ideas of collage and balance work together
0 How to collage images to create balanced works
0 How to incorporate balance and collage into their drawings
0 How to relate “their world” into their art
0 How to critique and self-assess in discussions
NGSSS:
Critical Thinking and Reflection
0 Enduring Understanding 1: Cognition and reflection are required to appreciate,
interpret, and create with artistic intent.
Skills, Techniques, and processes
0 Enduring Understanding 3: Through purposeful practice, artists learn to manage,
master, and refine simple, then complex, skills and techniques.
Organizational Structure
0 Enduring Understanding 1: Understanding the organizational structure of an art
form provides a foundation for appreciation of artistic works and respect for the
creative process.
Innovation, Technology, and the Future
0 Enduring Understanding 1: Creating, interpreting, and responding in the arts
stimulate the imagination and encourage innovation and creative risk-taking.
Statement of Origin:
This lesson was created off the ideas of Giles (1999) about what authentic art is, and what
they need to have a meaningful art experience. I wanted the students to be able to “…lose oneself
in an activity” (Katz, 1989, p.35) by giving the students a way to create art through different
principles while also relating it to their “world”. Going through K-12 myself, I was never truly
given a balanced authentic art experience unless I chose to go out of my way to do so, and I do
not think that we should simply just put the principles out there and hope they do the same. The
sketchbook sections of the lessons are based off Linderman’s ideas for ‘Measuring Achievement’
(1997, p. 235) as well as my own personal experiences with using sketchbooks as aids to my
artist growth. This lesson is also based off of Beroth’s work Gabi’s World and Sabrina Ward
Harrisons Untitled (ca. 2000) and SABOS (2000).
Procedures:
Students will look at the works by Sabrina Ward Harrison (Untitled, ca.2000; SABOS,
2000) and discuss what balance and collaging means to them. Students will then be asked to
create a collage in their sketchbooks using photographs from home or images from magazines to
get a feel for collaging. Next, there will be a mini critique on their work and they will discuss
which journals feel the most balanced and why. Once this is complete, students will look at the
Beroth’s Gabi’s World (2010) and I will explain their assignment to make a “____’s World”
piece in which they will be asked to draw themselves and the things that go on in “____’s
World” (the things that go on in their head). Students will have to sketch out their ideas first
(next to their initial collaging page) to help them think about the balance and content for their
final image. After the students have completed that, they will begin to draw their final piece
using pencils, markers, and paint to illustrate what “____’s World” looks like.
Assessment:
Assessment will be based off of the assessment plan Jolynne Bartley and I created [based
from the readings by the NAEA (1994) and Huffman (1998)] in this class (SEE APPENDIX A).
Painting Lesson
Jennifer Cronin’s Untitled No. 1 and 3 (2010)
Objectives:
Students will know and understand the following:
0 To recognize Jennifer Cronin and her works’ Untitled No. 1 and 3 (2010)
0 How to critique art formally using the Feldman model (1994)
0 How to create a range of values in colors using black and white acrylic paint
0 How to create shapes and images without the use of line
0 How to relate personal experiences into their works
0 How to critique and self-assess in discussions
NGSSS:
Critical Thinking and Reflection:
0 Enduring Understanding 1: Cognition and reflection are required to appreciate, interpret,
and create with artistic intent.
Skills, Techniques, and Processes:
0 Enduring Understanding 3: Through purposeful practice, artists learn to manage, master,
and refine simple, then complex, skills and techniques.
Organizational Structure:
0 Enduring Understanding 2: The structural rules and conventions of an art form serve as
both a foundation and departure point for creativity.
Statement of Origin:
This lesson was also based off the ideas by Giles (1999) and Katz (1989) to create an
authentic art experience. I also based it off of the artist’s ideas (Cronin, Untitled No. 1 and 3) of
relating something she is experiencing or feeling in her works. I wanted the students to relate
their personal lives into the things they are creating so their art becomes something other than
paint on a page. Since I also wanted the students to break down the art formally, I brought in the
Feldman model (1994) that I learned in ARE 4356 to help aid the students in what they see. The
sketchbook sections of the lessons are based off Linderman’s ideas for ‘Measuring Achievement’
(1997, p. 235) as well as my own personal experiences with using sketchbooks as aids to my
artist growth.
Procedures:
Students will first look at the works by Jennifer Cronin (Untitled No.1 and 3, 2010) and
be asked to give their initial reactions based off of the describe and analyze stages of the
Feldman model (1994) (would have been introduced in a prior lesson. After we discuss it as a
class, I will ask the students what makes her style of painting different from the drawings or
paintings that they typically do (Answer: Lack of line and use of tones and a range of values to
create shapes and scenery). Next, there will be a demo (a color theory demo) on creating color
tones ranging from white to a primary color (of their choosing) to black in nine neat squares.
There will also be a demo on creating a sphere out of the same three colors (white, black, and
selected primary color) so that it gives the appearance of being 3-d without the use of line. When
the demo is complete, students will then be asked to recreate what they just saw in their journals.
Once I see the students are completed with their color theory portion of the lesson, I will
re-introduce the paintings Untitled No. 1 and 3 by Jennifer Cronin (2010) and ask the students to
use the last two steps of the Feldman model (1994), interpret and judge, on them. Once I explain
Cronin’s true intentions with the paintings (Untitled No.1 and 3, 2010), I will then describe their
assignment. The students will be informed that they will be creating a painting that reflects
something they are struggling with internally using the techniques they have just learned. Next,
they will then plan out their idea and sketch it in their journals before starting. After the students
complete their sketch and final piece, they will be asked to fill out their self-assessment (SEE
APPENDIX A) sheet and put it in their journals next to the original sketches. Once all students
have completed the assignment, they will be asked to share and talk about their work with the
class in a mini-critique.
Assessment:
Assessment will be based off of the assessment plan Jolynne Bartley and I created [based
from the readings by the NAEA (1994) and Huffman (1998)] in this class (SEE APPENDIX A).
I will also add the question:
0 Did relating your personal life to your art cause you to put more effort into the
piece? Why or why not?
Ceramic Lesson
Michelle Summers’ Dinner Party (2011)
Objectives:
Students will learn and understand the following:
0 To recognize Michelle Summers’ works entitled Dinner Party (2011)
0 How to create a cup or bowl (pending on grade level) with clay using either coil or pinch
pot techniques
0 How to create illustrations in their ceramics pieces through carving and underglaze
pencils during different stages of their works
0 How to incorporate their understandings and thoughts of the statement “dinner party” into
their pieces
0 How to critique and self-assess in discussions
NGSSS:
Critical Thinking and Reflection:
0 Enduring Understanding 3: The processes of critiquing works of art lead to development
of critical-thinking skills transferable to other contexts.
Skills, Techniques, and Processes:
0 Enduring Understanding 1: The arts are inherently experiential and actively engage
learners in the processes of creating, interpreting, and responding to art.
Statement of Origin:
This lesson was inspired by the works of Michelle Summers (2011). I wanted to show the
students that categories of art (such as drawing and ceramics) can be used together to help
illustrate stories/personal experiences, and overall transform their piece. Also, when I was in
elementary school our ceramics lessons were not well-balanced, authentic art lessons like Giles
(1999) asks for. I wanted to apply what I learned from her article on “School Art” Versus
Meaningful Artistically Authentic Art Education (Giles, 1999), and combine the concept from
Summers’ (2011) so the students can find meaning when creating otherwise utilitarian objects
such as cups or bowls. The sketchbook sections of the lessons are based off Linderman’s ideas
for ‘Measuring Achievement’ (1997, p. 235) as well as my own personal experiences with using
sketchbooks as aids to my artist growth.
Procedures:
Students will look at the works by Michelle Summers entitled Dinner Party (2011) and
discuss what makes each work related to the idea of a “dinner party”. Next, I will show the
students how to make a cup or a bowl (pending on the grade level) out of clay using coil or pinch
pot techniques. Students will be asked to select one method and start working on their piece of
clay. As the piece is sitting out to become leather-hard, I will then be asked to take out their
sketchbook and sketch out a design that incorporates the idea of a “dinner party”. The students
will be informed that the drawings they create here will be traced and carved onto their cup or
bowl. Once the clay pieces are ready, the students will use tracing paper to bring their images to
their ceramic piece and lightly carve into it to serve as a guide for their underglaze pencils. Next,
I will fire the piece outside of class to turn it into bisqueware so the students can finish the
process. In the next class, students will use underglaze pencils to complete the illustration on
their work. Students will then be asked to fill out their “self-assessment” page (SEE
APPENDIX A) and attach it in their journal next to their original sketches. The assignment will
be complete (after the glazing and final firing process is done) when the students talk about their
final works in class.
Assessment:
Assessment will be based off of the assessment plan Jolynne Bartley and I created [based
from the readings by the NAEA (1994) and Huffman (1998)] in this class (SEE APPENDIX A).
Sculpture Lesson
Bourgeois’ Mamen (1999) and Give or Take (1990)
Objectives:
Students will learn and understand the following:
0 To recognize Bourgeois’ Mamen (1999) and Give or Take (1990)
0 How Bourgeois uses symbolism to relate people/ events from her life into a way that is
not literal or life-like
0 How the size, scale, and materials of the sculpture can affect the overall piece
0 How to use symbolism when creating their own works of art
0 How to create sculptures from items like pipe cleaners, plaster sheets, and paint/ fabric
0 How to critique and self-assess in discussions
NGSSS:
Critical Thinking and Reflection:
0 Enduring Understanding 1: Cognition and reflection are required to appreciate, interpret,
and create with artistic intent.
Skills, Techniques, and Processes:
0 Enduring Understanding 3: Through purposeful practice, artists learn to manage, master,
and refine simple, then complex, skills and techniques.
Organizational Structure:
0 Enduring Understanding 3: Every art form uses its own unique language, verbal and nonverbal, to document and communicate with the world.
Statement of Origin:
This lesson was created based off of Bourgeois’ work (Mamen, 1999; Give or Take,
1990), and Giles (1999) and Katz (1989) explanation on what a meaningful/authentic art
experience is. After viewing Bourgeois’ work, I felt as if it would be important to show the
students the ways she uses symbolism in her work to show different experiences and people from
her life. Once again, I also based the sketchbook sections of the lesson off Linderman’s ideas for
‘Measuring Achievement’ (1997, p. 235) as well as my own personal experiences with using
sketchbooks as aids to my artist growth.
Procedure:
Students will look at Bourgeois’ Mamen (1999) and Give or Take (1990) and give their
initial reactions to the piece. Afterward, as a class, we will discuss meaning of both of
Bourgeois’ pieces (Mamen, 1999; Give or Take, 1990) using the Feldman Model (1994) (would
have been introduced in a previous class) and I will ask the students the following questions:
0 How does Bourgeois use symbolism to relate important people and events from her life
into her work?
0 How does the size and scale of the image affect the overall success of the sculpture?
0 How do the materials and technique of the piece affect the overall success of the
sculpture?
0 How else can we use symbolism when creating works of art?
After discussion is complete, I will then demonstrate how to create sculptures using pipe
cleaners and plaster sheets (no bigger than 1’x1’). Next, the students will then be asked to sketch
out their sculpture piece in their journals while I walk around and ask them about what they are
making. The content of the sculpture should be symbolic of someone important in their life or an
experience they have gone through recently. If the sculpture is meant to be monumental, then the
student needs to draw a scale (example: trees or buildings next to it) in their sketch to show how
the piece should be seen. Once the student gets the okay, they will begin creating their piece
using pipe cleaners and plaster sheets until there are no weak spots in their design. After the
students complete the structure, the students will be asked to smooth out the work and either
paint it or cover it with fabric. Students will then fill out their self-assessment worksheet (SEE
APPENDIX A) and attach it next to their sketch in their journals. The assignment is complete
after each student presents and discusses their work in a classroom critique.
Assessment:
Assessment will be based off of the assessment plan Jolynne Bartley and I created [based
from the readings by the NAEA (1994) and Huffman (1998)] in this class (SEE APPENDIX A).
I will also add the following to the assessment:
0 Explain in detail what your piece represents.
Media Criticism Lesson
Sawdon of Worth1000.com’s Beaverbrooks (ca. 2006); Fiatlvx of Worth1000.com’s Ikea
(ca.2006); Skitzart of Worth1000.com’s John Deere (ca. 2006); Walktheplank69 of
Worth1000.com’s McDonalds (ca.2006)
Vemeer’s Girl with the Pearl Earring (1665); Van Gogh’s La chambre de Van Gogh à Arles (1888); Van
Gogh’s Landscape at Saint-Rémy (1889); Hopper’s Nighthawks (1942)
Objectives:
Students will learn and understand the following:
0 To recognize creative advertisement strategies
0 To participate in discussion on why the advertisements are successful and what places
them as a category in art
0 To recognize the original artwork presented in the advertisements of their choosing
0 How to use materials (such as former advertisements, logos, pens, markers, etc.) to turn
any image into an advertisement
0 How to critique and self-assess in discussions
NGSSS:
Critical Thinking and Reflection:
0 Enduring Understanding 3: The processes of critiquing works of art lead to development
of critical-thinking skills transferable to other contexts.
Skills, Techniques, and Processes:
0 Enduring Understanding 1: The arts are inherently experiential and actively engage
learners in the processes of creating, interpreting, and responding to art.
Historical and Global Connections:
0 Enduring Understanding 2: The arts reflect and document cultural trends and historical
events, and help explain how new directions in the arts have emerged.
Innovation, Technology, and the Future:
0 Enduring Understanding 1: Creating, interpreting, and responding in the arts stimulate the
imagination and encourage innovation and creative risk-taking.
Statement of Origin:
When looking for a work to use as my media criticism lesson, I stumbled across the “artads” on 1000worth.com’s website (ca. 2006), and found them to be a humorous way to create
advertisements out of famous works of art. I wanted the students to be able learn how to turn
images into advertisements by understanding the subject of the image and product. This lesson is
also based off of Gude’s theories on ‘Deconstructing Culture’ (2007, p. 13) to generate
alternative meanings to the original images. The sketchbook sections of the lessons are based off
Linderman’s ideas for ‘Measuring Achievement’ (1997, p. 235) as well as my own personal
experiences with using sketchbooks as aids to my artist growth.
Procedures:
Students will look at the advertisements from a variety of artists (Sawdon; Fiatlvx;
Skitzart; Walktheplank69, ca. 2006) from the site Worth1000.com next to the original images by
Vemeer, Van Gogh, and Hopper. I will then ask the students to answer the following questions:
0 What companies do you see mentioned in the advertisements?
0 Do the original works of art relate in any way to what the companies are selling? Why or
why not?
0 What places these advertisements in the category of art?
0 Do you think these should be real advertisements for the companies that are mentioned?
0 Would you change any of it?
Next, I will inform the students that they will be making their own advertisements based off
famous works of art that they pick. Students will be allowed to look through different art books
to select an image to create an advertisement for, and then I will make a copy of it for the
students to work on. When creating the advertisement, students will be encouraged to use a
variety of methods to create their piece (such as drawing, painting, cutting/pasting, etc.). Before
the students start working on the piece, I will ask them to sketch out their ideas in their
sketchbook and list what company/product they want to sell. I will stress that they should try and
relate the original image to the product the advertisement is selling. Students will then work on
their assignment as I circulate through the classroom to help them achieve their vision. After they
complete the assignment, students will be asked to fill out their self-assessment page (SEE
APPENDIX A) and attach it next to their project sketches. The assignment will be complete
after the students share their works to the class in a class critique.
Assessment:
Assessment will be based off of the assessment plan Jolynne Bartley and I created [based
from the readings by the NAEA (1994) and Huffman (1998)] in this class (SEE APPENDIX A).
I will also add the following to the assessment:
0 How did you change the meaning of the original work?
References
0 Beroth, C. (ca.2010). Gabi’s World. Retrieved from http://www.bluecanvas.com/artdetail/51676
0 Bourgeois, L. (1990). Give and Take. Retrieved from
http://www.tate.org.uk/modern/exhibitions/louisebourgeois/rooms/room10.shtm
0 Bourgeois, L. (1999). Mamen. Retrieved from http://enalex.blogspot.com/2011/02/louisebourgeois.html
0 Cronin, J. (2010). Untitled No. 1. Retrieved from
http://www.jennifercronin.com/paintings.html
0 Cronin, J. (2010). Untitled No. 3. Retrieved from
http://www.jennifercronin.com/paintings.html
0 Feldman, E. (1994) Practical Art Criticism. Upper Saddle River, NJ: Prentice Hall.
0 Giles, A. (1999). “School Art” Versus Meaningful Artistically Authentic Art Education,
National Art Education Association Advisory, Reston, VA.
0 Gude, O. (2007). Principles of Possibility: Considerations for a 21st-Century Art &
Culture Curriculum, Art Education, Vol. 60 No. 1, p. 6-17
0 Harrison, S.W. (2000). SABOS. Retrieved from
http://www.sabrinawardharrison.com/see/journals.html
0 Harrison, S.W. (ca.2000). Untitled. Retrieved from
http://artistjournals.tumblr.com/post/6599056779/nikkiflint-sabrina-ward-harrison
0 Hopper, E. (1942). Nighthawks. Retrieved from http://en.wikipedia.org/wiki/Nighthawks
0 Huffman, E. (1998). Authentic Rubrics, Art Education, Vol. 51, No. 1, p. 64-68.
0 Kats, L. & Chard, S. (1989). Engaging Children’s Minds: The Project Approach.
Norwood, NJ: Ablex.
0 Linderman, M. (1997). Art in the Elementary School, New York, NY: McGraw-Hill
0 NAEA. (1994). A Look at Performance Assessment, National Art Education Association.
Norwood, NJ: Ablex.
0 Summers, M. (2011). Dinner Party. Ceramics Monthly, 59 (8), 51.
0 Summers, M. (2011). Dinner Party. Retrieved from
http://michmashceramics.blogspot.com/
0 Van Gogh, V. (1888) La chambre de Van Gogh à Arles. Retrieved from
http://www.ibiblio.org/wm/paint/auth/gogh/
0 Van Gogh, V. (1889). Landscape at Saint-Rémy.
http://www.ibiblio.org/wm/paint/auth/gogh/
0 Vermeer, J. (1665). Girl with the Pearl Earring. Retrieved from
http://en.wikipedia.org/wiki/Girl_with_a_Pearl_Earring
0 Worth1000.com- FiatLVX (ca. 2006). Retrieved from
http://www.worth1000.com/contests/10329/art-ads
0 Worth1000.com-Sawdon (ca. 2006). Retrieved from
http://www.worth1000.com/contests/10329/art-ads
0 Worth1000.com-Skitzart (ca. 2006). Retrieved from
http://www.worth1000.com/contests/10329/art-ads
0 Worth1000.com- Walktheplank69 (ca. 2006). Retrieved from
http://www.worth1000.com/contests/10329/art-ads
APPENDIX A: ASSESSMENT GUIDE
Name: __________________
Grade: __________________
Self Evaluation Key:
+ = Yes
 = Somewhat
- = No
Student Evaluation
Teacher Notes
Preparation:
1. Was your art work inspired by an
artist? Who?
2. Did you sketch out your idea
beforehand?
3. Was your work/ idea original?
Participation:
1. Is your work completed?
2. Did you complete your weekly
sketchbook entry?
3. Did you respect the classroom
and materials?
Craftsmanship:
1. Did you put your greatest effort
into the project?
2. Does your work incorporate the
design elements & principles?
3. Did you take care of your work,
and treat it with respect?
Write & Reflect:
1. Explain one lesson that you learned, or a piece of new information that you
gained from this experience.
2. Was it difficult to work with these materials? Tell how you made the materials
work for you.