Unit Plan
Unit Plan ARE 5359: Elementary and Secondary Art Lesson Plans
Stephanie Jordan
University of Central Florida
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Unit Plan
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Elementary Lesson Plan, Grades 3-5: Miscellaneous
From Left: Fred Wilson, Mining the Museum, 1992. Silver Drinkware and Slave Shackles.
Sylvie Fleury, A Journey to Fitness or How to Loose 10 Pounds in 3 Weeks, 1993. VCRs,
TV Monitors and Video Tapes.
Fred Wilson, Guarded View, 1992. Guard Uniforms.
Jonathan Seliger, Born to Shop, 2005. Mixed Media.
Objectives
After participating in this lesson, students will demonstrate knowledge and understanding
of the use of Found Objects in art and various ways artists can add meaning to everyday items.
They will use the four-step method to critique artwork: Describe, Analyze, Interpret, and
Judgment (Linderman, 1997). In addition, students will identify and examine several social
issues addressed in the artworks that are discussed.
Sunshine State Standards
Standard: 1. The student creates and communicates a range of subject matter, symbols, and ideas
using knowledge of structures and functions of visual arts.
VA. B. 1.2.1 Understands that subject matter used to create unique works of art can come from
personal experience, observation, imagination, and themes.
Standard: 1. The student assesses, evaluates, and responds to the characteristics of works of art.
VA. D. 1.2.1 Developed and justifies criteria for the evaluation of visual works of art using
appropriate vocabulary.
Procedures
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1. In a group discussion format, the students will be introduced to the use of “Found
Objects” in art. To get students to start thinking about everyday items differently, the teacher
will ask a series of questions such as: “What would you think if you saw a teapot on the side of
the road? What if you saw that same teapot in a glass case in a museum?” and “If you saw a
bicycle tire laying in a park, what would you think? What if someone told you that this was their
art?” Students will then be asked, “How do you think someone can take an everyday item and
express their ideas and thoughts with it?”
2. Students will be shown Mining the Museum by Fred Wilson (1992). Together, we will
go through the four steps of critiquing an artwork (Linderman, 1997). The instructor will explain
the process and use guided questions (Appendix E). The instructor will use guided questions to
cover some important ideas such as the belief that found objects can hold value artistically if they
are viewed in a different context, rather than just in their original function or purpose.
Additionally, the artist can use these objects to express him or herself and convey meaning about
their identity, their opinions, and their feelings on a variety of social issues. For example,
amongst other things, students will see with Mining the Museum that many consider the silver
drinkware to be art because it is beautiful, detailed and valuable, but additionally, many see the
slave shackles as art because it is an important part of history and part of many people’s cultural
identity. This will help the students not only think outside of the box of what art is and can be,
but will also help students understand how artists can put meaning and personal identity into a
work of Found art.
4. Students will be asked to choose from one of the other examples; Fleury’s A Journey
to Fitness(1993), Wilson’s Guarded View (1992), or Seliger’s Born to Shop (2005). They will
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use the four-step method to write a personal critique of that work. A list of questions for each
step will be provided for the students to facilitate the process. (Appendix E)
5. At the end of the lesson, students will be asked to bring three found objects from home
for the next class meeting. Students will be told that these objects can be anything they find
around the house from garbage such as an empty water bottle, a toothbrush, etc. The instructor
will emphasize that students need to get parental permission before bringing anything in to
school, as students will not get the items back. Additionally, all of this information will be put in
a letter for the student to take home to the parent. These items will be used in the next lesson.
Assessment
Students will be assessed on their submitted critique. Instructor will check to see the
student has covered all four steps and has supported any judgment and opinions.
Statement of Origin
Upon seeing Fred Wilson’s Mining the Museum, I thought it would be great for use in an
upper elementary art class. I spoke with a fourth grade teacher and learned that the Florida
curriculum for that grade level covers Civil Rights and the Civil War. Therefore, the content and
meaning of the piece is reasonable, accessible, and meaningful to that age group of students.
References
A Journey to Fitness, or How to Loose 10 Pounds in 3 Weeks [image] (1993). Retrieved June 4,
2009 from http://www.artstor.org
Born to Shop [image] (2005). Retrieved June 4, 2009 from http://www.artstor.org
Guarded View [image] (1992). Retrieved June 4, 2009 from http://www.artstor.org
Linderman, M. G. (1997). Art in the Elementary School. Boston: McGraw Hill.
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Elementary Lesson Plan, Grades 3-5: 3D
Left: Fred Wilson, Untitled, 1992. Plaster, pedestal and books.
Right: Sylvie Fleury, Poison, 1992. Shopping bags.
Objectives
This lesson is intended to follow and build upon the previous one. In this lesson, students
will be able to apply the ideas they learned earlier to the construction of their own Found Object
work of art. They will select objects with which they will create their artwork, and compose an
accompanying artist statement. Students will be urged to think in terms of personal meaning and
social issues, such as the examples they were shown.
Sunshine State Standards
Standard: 1. The student understands and applies media, techniques, and processes.
VA. A. 1.2.1 uses and organizes two-dimensional and three-dimensional media, techniques, tools
and processes to produce works of art that are derived from personal experiences, observation, or
imagination.
Standard: 1. The student creates and communicates a range of subject matter, symbols, and ideas
using knowledge of structures and functions of visual arts.
VA. B. 1.2.1 Uses the elements of art and principles of design with sufficient manipulative skills,
confidence, and sensitivity when communicating ideas.
Procedures
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1. The students’ found objects from home will be collected and placed on a table along
with many other Found Objects the instructor has provided. It is important that there be more
than enough objects for each student, and duplicates of many objects to discourage competition.
2. First, the class will review the main ideas of the previous lesson. The examples of
artworks of professional artists from the previous class will be brought back, as well as two new
examples of Found Object art. Students will keep these ideas in mind as they generate ideas for
their own work of Found Object art.
3. Students will write down their ideas and plan their creation in their sketchbooks along
with an artist’s statement. After instructor approval, they will collect their objects and assemble
them on to a board. The instructor will be available to assist the students in getting over the fear
of “getting started” if they are having difficulty generating ideas (Tapley, 2002, p. 2).
Assessment
See Appendix A. This rubric is to be provided to students at the start of the lesson.
Statement of Origin
After seeing Fred Wilson’s Mining the Museum, I wanted to do a lesson with Found
Objects with elementary students, but thought that the concept might be difficult for them to
grasp. I came up with the previous lesson (Elementary Misc.) so students would be better
prepared to create their own works of Found Art and perhaps even a little less hesitant to put
personal meaning in their creations after viewing and analyzing professional artists doing so.
References
Poison [image] (1992). Retrieved June 4, 2009 from http://www.artstor.org
Tapley, E. (2002). Classroom Management. NAEA Advisory, Fall.
Untitled [image] (1992). Retrieved June 18, 2009 from http://www.artstor.org
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Elementary Lesson Plan, Grades 3-5: 2D
Left: Cover (November, 2007). Cosmo Girl!
Right: Cover (March, 2009). Rolling Stone.
Objectives
After this lesson, students will be able to analyze the presence of messages in the media,
distinguish what is a negative message, and interpret those messages rather than simply
absorbing and accepting them. They will see how magazines and the media rely on insecurities
and gender stereotypes to sell magazines. As a result, they will become more knowledgeable
and discerning consumers. They will translate these ideas into visual form when they create a
positive self-portrait collage.
Sunshine State Standards
Standard: 1. The student makes connections between the visual arts, other disciplines, and the
real world.
VA. AE 1.3.1 Understands how knowledge, skills, and attitudes gained from the visual arts can
enhance and deepen understanding of life.
Procedures
1. At the beginning of the lesson, the instructor will cover some basic vocabulary such as:
Gender, Stereotype, Positive, Neutral, Negative, Message.
2. The students will view the November 2007 cover of the teen magazine, Cosmo Girl!
In a group discussion format with the instructor’s assistance, the entire class will participate in
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going through the four steps of analyzing an artwork: Describe, Analyze, Interpret, Judgment.
Guided questions for students to answer will include: “Who is the target audience for this
magazine (age group, gender)?” “What are some of the headlines on this magazine cover?”
“What seems to be a theme in the headlines?” Are these things girls tends to be sensitive about?”
“Why do you think magazines and the media do this?”
3. A neutral magazine cover, the March 2009 issue of Rolling Stone will be shown to the
class. Students will be asked, “How do the headlines on the magazines differ?” “Do you see any
negative messages?” “What do you think an example of a positive message would be?”
4. Students will be given a chance to go through several magazines the instructor has
provided. It is important to choose magazines selectively, such as art magazines and neutral
magazines, avoiding magazines like People, Cosmopolitan, etc., which have an abundance of
negative messages. Students will search for images, headlines, text, etc that they can cut out to
create a positive self portrait collage as if they are on the cover of a magazine surrounded by
positive messages, ideas, and images they feel think describes themselves. Students will be
asked not to just select things they like, favorite products, pretty pictures etc. to avoid “narrow,
limited, socially-predefined categories of identity” (Gude, 2007, p.8). Instead, their selection of
images could be their response to prompts such as “I love my ____ even though it isn’t perfect”
and to design a trophy for labels that have been assigned to them by peers encouraged them to
express themselves through indirect means (Gude, 2007).
5. Students will submit their magazine cover self-portrait along with an artist statement
saying why they chose those clippings, and what they say about them.
Assessment
See Appendix B. This rubric is to be provided to students at the start of the lesson.
Unit Plan
Statement of Origin
Sylvie Fleury’s Lush Lipz, Hot Lips, Chew on This (1993-9) provided the inspiration for
this lesson plan. I came up with the idea for doing a lesson on magazine covers, and the various
negative, superficial, gender stereotypical messages that are often contained in them. Olivia
Gude’s article, Principles of Possibility, particularly the “Forming Self” section, gave me the
idea to have this be a springboard for a self-portrait project in which students create meaningful,
not superficial, symbolic self portraits. I diverged from her a bit in that I wanted students to
focus on creating positive messages about themselves because of the constant bombardment of
self-improvement messages coming at them from the media telling them otherwise.
References
Cover Image (March 2009) Rolling Stone Magazine
Cover Image (November 2007) Cosmo Girl!
Gude, O. (2007). Principles of Possibility: Considerations for a 21st Century Art & Culture
Curriculum. Art Education, January, 6-17.
Lush Lipz, Hot Lips, Chew on This [image] (1993-9). Retrieved June 4, 2009 from
http://www.artstor.org
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Secondary Lesson Plan: 2D
Left: Shirin Neshat, Untitled, 1996. Center: Lesley Dill, Small Poem Dress,
1993. Right: Barbara Kruger, Your Gaze Hits the Side of my Face, 1981-3.
Objectives
Students will discover that images do not have to be just illustrations of text, as they so
often are used. Conversely, they will examine the ways in which image and text can be used
together equally to create an artwork of enhanced meaning and impact. Students will critique
and analyze the artworks of professional artists who use the combination of text and image to
address important issues and convey personal meaning. Students will evaluate the various social
issues the artists address, and they will use it as inspiration for creating their own works of text
and image.
Sunshine State Standards
Standard: 1. The student creates and communicates a range of subject matter, symbols and ideas
using knowledge of structures and functions of the visual arts.
VA. B. 1. 4. 2 Understands that works of art can communicate an idea and elicit a variety of
responses through the use of selected media, techniques, and processes.
Procedures
1. The class will discuss the use of image and text together in works in which each has
equal importance. Emphasis will be put on the idea that, “Visual art should not be used merely
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to ‘illustrate’” (Martin, 1993, p.5). Rather, text used in conjunction with images can greatly
heighten impact and meaning in a work.
2. Together, we will discuss the works of contemporary artists who meaningfully use text
with image, and some background information will be given. Discussion will address the various
social issues the artists confront in their works.
Shirin Neshat
Questions will include: “Who do you think created this work of art (gender, culture)?” “What do
you think she is addressing here?’ “What do you think the meaning of this artwork is?” “What if
I told you the text was feminist writing?” After discussion of the questions, some background
information will be supplied including that this image is from a series in which Neshat, an
Iranian woman who came to the US at an early age, created life sized photographs of Iranian
women dressed in traditional Islamic clothing which exposes only the body parts that Islamic law
says are allowed to be shown in public. By superimposing Farsi script of Iranian feminist writers
on the images of these women, she addresses the gender politics of her native country, and the
“social, political and psychological dimensions of women’s experiences in contemporary Islamic
societies (Jacobson, 2000, p.1).
3. After Neshat’s example is discussed with the class, students will be asked to look at
works on their own by Lesley Dill and Barbara Kruger. They will use the four steps to analyzing
an artwork to come up with a critique in their sketchbook (Appendix E). They will be reminded
that any judgments and opinions need to be supported, and that the critique needs to attempt to
discuss the social issues the artist might be addressing.
4. When they have finished this critique, they will be asked to reflect upon what they felt
was most prominent in their critique – what ideas they reacted the most strongly to. They will be
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asked, “If you were to use this as subject matter for your own work of Image + Text, what would
you create?” They will be given time to plan it out in their sketchbook and will later translate
their ideas to a finished product. Students will submit the finished product along with an artist
statement.
Assessment
See Appendix B. This rubric is to be provided to students at the start of the lesson.
Statement of Origin
I found out about Shirin Neshat from going to an exhibition, “Persian Visions” at the
Southeast Museum of Photography at Daytona State College. After learning more about Shirin
Neshat, and reading the chapter on Sketchbooks (Rice & McNeil, 1990) I thought this could be a
great lesson for secondary students. After discussing these ideas in class, with the help of peer
feedback, I was able to come up with the studio component.
References
Kruger, Barbara. (1981-3). Your Gaze Hits the Side of my Face [image]. History of Modern Art.
by H. H. Arnason. Upper Saddle River, NJ: Prentice Hall.
Jacobson, H. Z. (2000). Shirin Neshat/Matrix 187. Matrix, 2000. 1-2.
Martin, F. W. (1993). Teaching Art History: Research and Synthesis. 1-8.
Rice, R. W. & McNeil, S. E. (1990). Sketchbooks. In B. Little (Ed.), Secondary Art Education:
An Anthology of Issues (pp. 107-123). Reston: National Art Education Association.
Small Poem Dress [image] (1993). Retrieved June 18, 2009 from http://www.artnet.com
Untitled [image] (1996). Retrieved June 4, 2009 from http://www.studiointernational.co.uk/studio-images/without_boundary/untitled_b.asp
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Secondary Lesson Plan: 3D
Left: Yasumasa Morimura, An Inner Dialogue with Frida Kahlo
(Hand Shaped Earrings), 2001. Right: Frida Kahlo, Self-Portrait.
Objectives
Students will become familiar with the postmodern idea of appropriation. They will
understand that by appropriating historical works, contemporary artists can add new meaning
and personal significance. Students will appropriate a work from history and create a new selfportrait with it.
Sunshine State Standards
Standard: 1. The student assesses, evaluated, and responds to the characteristics of works of art.
VA. D. 1.4.3 Knows the difference between the intention of artists in the creation of original
works and the intentions of those who appropriate and parody those works.
Procedures
1. The instructor will introduce the students to the works of several contemporary artists
who have used appropriation. An Inner Dialogue with Frida Kahlo (Hand Shaped Earrings) by
Yasumasa Morimura (2001), The Fortune Teller by Pushpamala N (2006-8) and Christian
Martyr Tarcisius by Kehinde Wiley (2008) will be shown, along with the original those artists
are borrowing from (Appendix C for additional images). Discussion will cover the idea of
appropriation, how appropriation artists borrow ideas and imagery from historical works, and
how they can reinterpret from those works and add new meaning and personal relevance.
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2. Several discussion questions will include, “What differences and similarities exist
between the original and the contemporary version?” “Why do you think some elements were
kept the same and others were altered?” “What do you think the artist is trying to say by
recreating the existing work?” “What new meaning and personal significance is the
contemporary artist adding to the existing work by reinterpreting it?” “How have they
demonstrated ownership of the historical work?”
3. Students will be asked to choose a historical work they would like to appropriate and
make their self-portrait. They can choose from survey texts on Art History that the instructor
will provide, such as Gardner’s Art Through the Ages Volumes I and II (Kleiner & Mamiya,
2005). Students will be encouraged to add personal relevance in any way they choose;
alterations, added symbols, their own image, etc and they can deviate as much as they wish from
the original. In addition, students will be encouraged to use creativity in their choice of media –
they can use paint, collage elements, charcoal, etc.
4. The studio component also involves creating a 3D construction with both the original
and the reinterpreted work. Ultimately, the 3D construction will depict two separate images
depending on the angle it is being viewed from because of the accordion-like format.
5. Students will take a piece of mat board and score it vertically at regular intervals.
They will then divide their artwork and a reproduction of the work they are appropriating into
vertical strips, which will be alternated on the accordion-like mat board. It will be folded and
glued onto a larger piece of mat board to enable the original historical work to be viewed from
one side, and the student work to be viewed from the other. (Appendix D for diagram).
Assessment
See Appendix B. This rubric is to be provided to students at the start of the lesson.
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Statement of Origin
I came with the idea for an appropriation lesson after reading Sunshine State Standard
VA. D. 1. 4. 3. Upon seeing that appropriating is addressed in the standards, I noticed that
several of the artists I had selected had done appropriation pieces. The studio component idea
came from the works optical and kinetic works of Yaacov Agam, which present two different
images simultaneously depending on the angle it is being viewed from (in the same way
Appendix D illustrates). I thought it would be an interesting way to present a reinterpretation of
a historical work, especially for students who may not be so familiar with the originals from
which they and others are borrowing.
References
An Inner Dialogue with Frida Kahlo [image] (2001). Retrieved June 4, 2009 from
http://www.artstor.org
Caravaggio. (1595). The Fortune Teller [image]. Gardner’s Art Through the Ages.
by F. S. Kleiner & C. J. Mamiya. Belmont, CA: Wadsworth/Thomson.
Christian Martyr Tarcisius [image] (1868). Retrieved June 19, 2009 from http://www.museeorsay.fr
Christian Martyr Tarcisius [image] (2008). Retrieved June 18, 2009 from
http://www.designboom.com/weblog/cat/10/view/4538/down-by-kehinde-wiley.html
The Fortune Teller (after Caravaggio) [image] (2006-8). Retrieved June 3, 2009 from
http://www.bosepascia.com/artists/pushpamala-n/#/images/16/
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Secondary Lesson Plan: Miscellaneous
Left: Sylvie Fleury, Formula One Dress, 1998. Center: Datsun Advertisement, 1969.
Right: BMW Used Car Advertisement, May 2009.
Objectives
Students will critically analyze public advertisements to uncover indirect messages that
are being transmitted to the viewer. They will see how advertisements draw on stereotypes and
sexuality to sell products. As a result, they will become more knowledgeable, discerning
consumers who are able to interpret latent messages in the media, rather than just accepting
them. Ultimately, they will write a critique on an advertisement of their choice that relies on
similar methods to sell products.
Sunshine State Standards
Standard: 1. The student creates and communicates a range of subject matter, symbols and ideas
using knowledge of structures and functions of the visual arts.
VA. B. 1. 4. 2 Understands that works of art can communicate an idea and elicit a variety of
responses through the use of selected media, techniques, and processes.
Standard: 1. The student makes connections between the visual arts, other disciplines, and the
real world.
VA. E. 1. 3. 1 Understands how knowledge, skills, and attitudes gained from the visual arts can
enhance and deepen understanding of life.
Procedures
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1. The instructor will lead the class in a discussion about the two actual car
advertisements. The students will be asked, “What product is being advertised in each of these
advertisements?” “What similarities exist in the two ads, despite the thirty year time difference?”
“How are the products being advertised?” “To whom do you think these advertisements are
aimed? Why?”
2. Next, the group will discuss Sylvie Fleury’s Formula One Dress (1998). The students
will be told the artist designed her own life of Formula One dresses, “which turns the women
who wear them into the equivalent of a corporate sponsored racing team” (Arnason, 2003, p.
722). Questions to follow include: “What do you think the author meant by comparing the
women in these images to racecars?” “How is Fleury drawing upon the common idea of using
women to sell cars, seen in both the 1969 Datsun ad and the Used BMW ad created thirty years
later?” “What does this reveal about car ads (and other ads) designed towards men that use
attractive women to sell a product?” “How are stereotypes of both genders used in such ads?”
“What negative messages are contained within such ads?”
3. Students will then be asked to search for their own examples of an ad that uses similar
techniques to sell products. They will focus on gender stereotyping and other issues that are
most relevant to people their age.
4. Students will compose an analysis of the ad of their choice using the four steps to
critiquing an art work. (Appendix E) and will submit their written critique.
Assessment
Students will be assessed on their submitted critique. Instructor will check to see the
student has covered all four steps and has supported any judgment and opinions.
Statement of Origin
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DressAfter our class discussion of doing a Media Criticism lesson, I came up with the
idea to create a lesson based on Fleury’s Formula One Dress (1998) using real life applications
of the ideas Fleury is using in her work. Especially after reading the quote, “Using the
adolescent and sexist comparison of a woman and a sportscar, Fleury creates a graphic
illustration of a woman defined by social prejudices and commercial products… the woman who
wears Fleury’s dress is branded by the logos of global capitalism in a clear equation of fashion,
sexism, capitalism and sport.” (Arnason, 2003, p. 722). I wanted to create a lesson in which
these ideas could be presented reasonably and appropriately to students.
References
H. H. Arnason. (2003). History of Modern Art. Upper Saddle River, NJ: Prentice Hall.
Fleury, Sylvie. (1998). Formula One Dress [image]. History of Modern Art by H. H. Arnason.
Upper Saddle River, NJ: Prentice Hall.
Datsun Car Advertisement [image of advertisement] (1969). Retrieved June 12, 2009 from
http://ummyeah.com/page/Vintage_Car_Ads_feat_Attractive_Women.
BMW Used Car Advertisement [image of advertisement] (May, 2009). Retrieved June 13, 2009
from http://www.examiner.com/x-9045-LA-Transportation-Examiner~y2009m5d3-BMWsShameful-Greek-Used-Car-Ad
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Appendix A
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Appendix A
1 – Does Not Meet
2 – Needs Improvement
3 – Meets Requirements 4 – Above and Beyond
Final Score ____/50
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Appendix B
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Appendix B
1 – Does Not Meet
2 – Needs Improvement
3 – Meets Requirements 4 – Above and Beyond
Final Score ____/50
Unit Plan
Appendix C
Additional Images for Appropriation Lesson Plan
Kehinde Wiley, Christian Martyr Tarcisius,
2008.
Alexandre Falguière, Christian Martyr
Tarcisius, 1868.
Pushpamala N, The Fortune Teller, 2006-8.
Caravaggio, The Fortune Teller, 1595.
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Appendix D
Diagram for construction of Appropriated Self Portrait
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Appendix E
Four Step Method to Analyzing an Artwork (Linderman, 1997)
Description
Objective, known facts about artist, title, date, size, what is going on in the
image, materials, etc.
Guided Questions include the following:
Who is the artist? What is the image? What do you see? What is the material?
Analysis
Objective description of known facts regarding use of element and principles,
composition, historical and cultural significance, etc.
Guided Questions include:
What elements and principles do you see? How are they used here? What is the
historical significance?
Interpretation
Subjective response, including student’s understanding of the image’s
meaning, the mood of the image, what the student thinks the image is
communicating, if they think it is creative, personally relevant, or valuable in
society, and why they think it is or is not art.
Guided Questions include:
What is your understanding of the meaning of this artwork? What do you think
the artist is trying to say? How does the artwork make you feel? Do you think
it is original? What makes this art?
Judgment
What the student think of the image, if they like it, why or why not.
(Evaluation)
Guided Questions include: What do you think of this work? Do you like it?
Why or why not?
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