Running head: The Authenticity Potential of Contemporary Art: Lesson Proposals
The Authenticity Potential of Contemporary Art: Lesson Proposals
Allisanndria Canfield
University of Central Florida
1
The Authenticity Potential of Contemporary Art: Lesson Proposals
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Elementary: Two-dimensional, the art of Paul Noble
Left: Paul Noble, Nobson Newtown, 1997-1998. Right: Paul Noble, Nobspital, 1997-1998.
Objectives
Students will understand (1) that architecture is a form of art that nearly always surrounds
and/or houses us, (2) the influence history has on architecture and (3) the connection between art,
history, and architecture.
Next Generation Sunshine State Standards

Critical thinking and reflection:
1. Cognition and reflection are required to appreciate, interpret, and create with artistic
intent

Historical and global connections: Experiences in the arts foster understanding,
acceptance, and enrichment among individuals, groups, and cultures from around the
world and across time.

Innovation, technology, and the future: Curiosity, creativity, and the challenges of artistic
problems drive innovation and adaptation of new and emerging
technologies.
Procedures
The Authenticity Potential of Contemporary Art: Lesson Proposals
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1. Introduction: The idea of architecture will be discussed, clarifying that although most
people think of art in terms of painting, drawing, or sculpture, architecture is another kind
of art that always surrounds us (the art of constructing buildings).
2. Discussion: Students will be presented with prints of Paul Noble’s oversized
architectural drawings Nobson Newtown and Nobspital. After a couple minutes of
viewing, the imaginative and/or futuristic nature of his artistic style will be explained,
discussing the idea that his work encourages the mind to develop a world which would
accompany his towns and buildings or to look at the current world in a different way.
3. Assignment:
a. Students will discuss what the different areas, buildings, and/or rooms in his drawings
may be for.
b. The class will be asked “What types of changes in our everyday lives (whether local
or global) could effect the types of buildings we need?” After a brief brainstorming
session to produce student responses like “the world is too cold” or “our town is
permanently flooded,” students will create designs for homes and towns to
accommodate such a world. Designs may stretch current architectural possibilities or
invent futuristic possibilities.
c. Students will sketch and write about two or three different ideas/versions
d. Choosing one idea/version, students will use pencil on an 11”x17” drawing paper to
develop their work, outlining final decisions with ballpoint pens, and colored pencils
for detail work.
Assessment
The Authenticity Potential of Contemporary Art: Lesson Proposals
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Students will be assessed on their submitted art and explanatory statements presented to
the class (graded according to the rubric provided in Appendix A).
Statement of Origin
Writings from Gude (2007) and Robertson and McDaniel (2005) inspired this lesson
plan. Gude discusses the important role that “attentive living” plays within art education,
stressing the idea that “students will learn to notice and shape the world around them” (p. 10-11),
while Robertson and McDaniel discuss the influence that construction and deconstruction of
artificial places has within art and the world (p. 84).
References
Gude, Olivia (2007). Principles and possibilities: Considerations for a 21st century art and culture
curriculum. Art Education, 60(1), 6-17.
Paul Noble (Artist). (1963-). Nobson newtown, 1997-1998, [pencil on paper]. Accessed through
http://artstor.org.
Paul Noble (Artist). (1963-). Nobspital, 1997-1998, [pencil on paper], 8 feet 2 ½ inches x 59
inches. Accessed through http://artstor.org.
Robertson, Jean and McDaniel, Craig (2005). Themes of contemporary art: Visual art after
1980. Oxford, New York: Oxford University Press.
The Authenticity Potential of Contemporary Art: Lesson Proposals
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Elementary: Three-dimensional, the art of Mary Proctor
Left: Grandma’s Button Story, 2010. Middle: Swim in Peace. Right: Bounce.
Objectives
Students will (1) understand art’s ability to communicate and express emotion and (2)
integrate found objects through assembly art to successfully transform a painting into a threedimensional piece.
Next Generation Sunshine State Standards

Critical thinking and reflection: Critical and creative thinking, self-expression, and
communication with others are central to the arts.

Skills, techniques, and processes:
1. The arts are inherently experiential and actively engage learners in the processes of
creating, interpreting, and responding to art.
2. Development of skills, techniques, and processes in the arts strengthens our ability to
remember, focus on, process, and sequence information.
Procedures
1. Introduction: The differences between two-dimensional and three-dimensional art will
be presented, highlighting that three-dimensional art doesn’t have to be a statue, but
merely needs to protrude from a flat surface. Students will also be introduced to the idea
The Authenticity Potential of Contemporary Art: Lesson Proposals
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that art can be used a means to communicate an emotion or tell a story (be narrative),
especially with the use of text.
2. Discussion: The class will discuss the art they have seen (determining whether it was
two- or three-dimensional), the types of emotions or stories the art communicated and/or
could communicate, and everyday objects that could be associated with the emotion
and/or story of the art. Students will be presented with two of Mary Proctor’s assemblage
pieces and briefly address the ideas presented and the objects used.
3. Assignment:
a. Students will brainstorm multiple ideas for emotional and/or narrative works of art,
selecting one or two ideas for development. After development, students will
brainstorm what objects could successfully illustrate their desired emotion or intended
narrative (i.e. Brian loves going out to get ice cream with his older sister, so he could
include an ice cream sampler spoon) and what text (poem or short story) would
accompany their piece.
b. Students will paint the visual aspects of their ideas onto 8”x8” or 10”x10” squares of
mat board, attach any applicable objects (depending on the object, students will either
use small amounts of liquid glue, glue sticks, or bring their piece to the instructor to
be adhered using a hot glue gun), then write in their selective text using small brushes
and paint or permanent markers.
Assessment
Students will be assessed on their submitted art (graded according to the rubric provided
in Appendix A).
Statement of Origin
The Authenticity Potential of Contemporary Art: Lesson Proposals
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Writings from the NAEA (1999), Giles (1999), Rice and McNeil (1990), and Michael
(1991) inspired this lesson plan. Giles (p. 2) and Michael (p. 22) discuss the importance of
drawing from and connecting to students’ life experiences for authenticity and genuine
engagement. Rice and McNeil discuss the vital link between image and text (p. 107-123). The
NAEA article discusses the important role of exemplary art, which encouraged this selection of
content rich folk art.
References
Giles, Amy R. (1999). School art versus meaningful artistically authentic art
education. NAEA Advisory, C. Davis (Ed.). National Art Education Association.
Mary Proctor (Artist). (1960-). Bounce, [mixed media], 12”x8”. Available at
http://www.galleryc.net/artist-image/proct1000001.html.
Mary Proctor (Artist). (1960-). Grandma’s button story, 2010, [canvas, acrylic, buttons], 16” x
20”. Available at http://www.possumcounty.com/products.php?design_id=1097.
Mary Proctor (Artist). (1960-). Available at http://www.missionarymary.com/gallery.htm.
Michael, John A. (1991). Art education: Nurture or nature. Art Education 44(4), 16-23.
Rice, R. W. and McNeil, S. E. (1990). Secondary Art Education: An Anthology of Issues,
B. E. Little, (Ed.). Reston, Virginia: National Art Education Association, R. A.
Rushlow, B. B., Degge R. M., Fogler, D., Goldstein, H. B., Seim, S. (Eds.). (1999). Purposes,
Principles, and standard for school art programs. Reston, VA: National Art Education
Association.
The Authenticity Potential of Contemporary Art: Lesson Proposals
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Elementary: Miscellaneous, PETA ads
PETA public service announcements
Objectives
Students will (1) understand the influence that media has over the decisions that society
makes regarding actions, behaviors, and lifestyle choices and (2) apply this knowledge to the
development of art which communicates and/or advocates a behavior or action that they support.
Aspects ranging from subject matter, color usage, composition, representation, and scale will be
explored and decoded.
Next Generation Sunshine State Standards

Historical and global connections: Experiences in the arts foster understanding,
acceptance, and enrichment among individuals, groups, and cultures from around the
world and across time.

Critical thinking and reflection:
1. Cognition and reflection are required to appreciate, interpret, and create with artistic
intent

Skills, techniques, and processes:
1. The arts are inherently experiential and actively engage learners in the processes of
creating, interpreting, and responding to art.
The Authenticity Potential of Contemporary Art: Lesson Proposals
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Procedures
1. Introduction: Students will be presented with the fact that companies and/or
organizations use media to influence the decisions of viewers. The fact that media
influence ranges from consumerism to lifestyle decisions will be explored along with the
fact that media targets a broad range of ages, from young children to elderly adults.
2. Discussion: The class will briefly discuss the types of advertisements, commercials, and
public service announcements they have been exposed to, addressing the vast range of
products and beliefs presented. Students will be presented with PSAs from PETA. The
intended audience and messages (pet adoption and vegetarianism) will be discussed,
focusing on the elements that appeal and relate to young students (decoding imagery).
Students will then be lead through a discussion to help them realize which helpful actions
or stances they support (donating canned food to the hungry, mentoring younger students
or siblings, not wearing real fur, etc.).
3. Assignment:
a. Students will list what actions or stances they support and develop multiple project
ideas.
b. After selecting their strongest idea(s), students will develop appropriate design ideas.
c. Using old and/or donated magazines and newspapers, colored or construction paper,
glue sticks, and markers students will combine drawing and collage techniques to
develop PSAs of their own.
Assessment
Students will be assessed on their submitted art and motivational reasons and/or stories
presented to the class (graded according to the rubric in Appendix A).
The Authenticity Potential of Contemporary Art: Lesson Proposals
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Statement of Origin
Writings from Giles (1999), Michael (1991), and Duncum (2008) inspired this lesson
plan. Both Giles (p. 2) and Michael (p. 22) discuss the importance of drawing from and
connecting to students’ lives for authenticity and genuine engagement, while Duncum discusses
the ways in which design effects society.
References
Duncum, Paul. (2008). Holding Aesthetics and Ideology in Tension. Studies in Art Education A
Journal of Issues and Research, 24(2), 122-135.
Giles, Amy R. (1999). School art versus meaningful artistically authentic art
education. NAEA Advisory, C. Davis (Ed.). National Art Education Association.
Rice, R. W. and McNeil, S. E. (1990). Secondary Art Education: An Anthology of Issues,
B. E. Little, (Ed.). Reston, Virginia: National Art Education Association, R. A.
PETA. Available at http://www.mediapeta.com/peta/images/main/sections/mediacenter/
justin_bieber_72.jpg.
PETA. Available at http://www.mediapeta.com/peta/Images/Main/Sections/MediaCenter/
PrintAds/LiamAdPKIDS_72.jpg.
PETA. Available at http://www.mediapeta.com/peta/Images/Main/Sections/MediaCenter/
PrintAds/PKidsalexandra_cutestveg.jpg.
The Authenticity Potential of Contemporary Art: Lesson Proposals
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Secondary: Two-dimensional, the art of Raymond Pettibon
Left: Untitled, 1993. Middle: Untitled, 1993. Right: No titled (The critique is), 1999.
Objectives
Students will (1) understand and document the various elements of the art making
process, (2) understand the influence drawing techniques have on imagery, and (3) understand
and apply the link between text and image.
Next Generation Sunshine State Standards

Critical thinking and reflection: Critical and creative thinking, self-expression, and
communication with others are central to the arts.

Skills, techniques, and processes: Through dance, music, theatre, and visual art, students
learn that beginners, amateurs, and professionals benefit from working to improve over
time.

Structural organization: Works in dance, music, theatre, and visual art are organized by
elements and principles that guide creators, interpreters, and responders.
Procedures
1. Introduction: Students will be introduced to the steps of the art making process,
addressing the importance that it plays within the creation of art for all levels of artist
(beginner, intermediate, or advanced).
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2. Discussion: Students will be presented with examples of Pettibon’s sketchbook/artist
book works, demonstrating various elements of his creative process. After viewing these
works, students will be lead in a discussion about the effects of various drawing
techniques as well as the connections between image and text.
3. Assignment: Students will develop an artist book to document the creative process,
thoroughly recording the steps, challenges, and solutions necessary for the development
of an expressionistic topic (i.e. “Create a drawing that communicates the thoughts and
feelings present within your worst nightmare or favorite memory”).
Assessment
Students will be assessed on their submitted artist book and final art piece (graded
according to the rubric provided in Appendix B).
Statement of Origin
Writings from Giles (1999, Linderman (1996), Rice and McNeil (1990) inspired this
lesson plan. Giles discusses the importance of actively participating in the art making process (p.
1), Linderman discusses various drawing techniques which can be applied to sketchbook
practices (p. 128-129), and Rice and McNeil discuss the benefits of sketchbook practices,
emphasizing the important link between image and text (p. 107-123).
References
Giles, Amy R. (1999). School art versus meaningful artistically authentic art
education. NAEA Advisory, C. Davis (Ed.). National Art Education Association.
Linderman, Marlene Gharbo. (1996). Chapter 8: Art production: Ideas and
Techniques. Art in the Elementary School, McGraw Hill.
Raymond Pettibon (Artist). (1957-). No titled (The critique is), 1999, [pen and ink on paper],
The Authenticity Potential of Contemporary Art: Lesson Proposals
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20”x25 ½”. Accessed through http://artstor.org.
Raymond Pettibon (Artist). (1957-). Untitled, 1993, [ink], 20”x22”. Accessed through
http://artstor.org.
Raymond Pettibon (Artist). (1957-). Untitled, 1993, [ink], 26”x20”. Accessed through
http://artstor.org.
Rice, R. W. and McNeil, S. E. (1990). Secondary Art Education: An Anthology of Issues,
B. E. Little, (Ed.). Reston, Virginia: National Art Education Association, R. A.
Secondary: Three-dimensional, the art of Alison Saar and Shirin Neshat
Alison Saar, Right: Nappy Head #3, Middle: Nappy “Red” Head. Shirin Neshat: Rebellious
Silence, 1994.
Objectives
Students will understand (1) the usage of representational objects and/or writing as a
means for conceptual communication, particularly cultural heritage (2) the roles and expectations
society places on female artists, (3) ways to challenge misconceptions associated with various
cultures and/or ethnicities.
Next Generation Sunshine State Standards

Critical thinking and reflection: Critical and creative thinking, self-expression, and
communication with others are central to the arts.

Skills, techniques, and processes:
The Authenticity Potential of Contemporary Art: Lesson Proposals
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1. The arts are inherently experiential and actively engage learners in the processes of
creating, interpreting, and responding to art.

Structural organization: Works in dance, music, theatre, and visual art are organized by
elements and principles that guide creators, interpreters, and responders.

Historical and global connections: Experiences in the arts foster understanding,
acceptance, and enrichment among individuals, groups, and cultures from around the
world and across time.
Procedures
1. Introduction: The understated presence or disproportionate representation of female
artists will be addressed, questioning students as to how many “famous” or historical
female artists they are familiar with. Students will be presented with Alison Saar’s Nappy
Head #3 and Nappy “Red” Head and Shirin’s Neshat’s Rebellious Silence.
2. Discussion: After brief observation time, students will be asked what type of person they
believe created these works. After explaining if or how the artist’s gender, ethnicity,
and/or culture can be determined by the work, students will discuss what knowledge they
feel can be gained by the supplied imagery and what message the artist is trying to
communicate. Saar’s usage of ethnically, culturally, and historically relevant imagery to
connect with the diverse heritage of herself and other will be discussed. Neshat’s usage of
prop objects and feminist writings to challenge the misconceptions that societies often
have regarding Middle Eastern women will be discussed.
3. Assignment: Using the creative process to develop and record the progress of their
pieces, students will brainstorm ideas for three-dimensional clay bust portraits. Portraits
will (1) integrate representational objects as a way to connect to heritage or (2) use
The Authenticity Potential of Contemporary Art: Lesson Proposals
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objects and texts to challenge common misconceptions about heritage, culture, or
religion.
Assessment
Students will be assessed on their submitted artist book and final art piece (graded
according to the rubric provided in Appendix B).
Statement of Origin
Writings from Anderson (1992) and Golomb (1996) inspired this lesson plan. Anderson
discusses the fact that art by women is often perceived and described as pretty, sentimental,
passive, or emotional (p. 15), but can in fact be just as powerful and content rich as art by men.
Golomb discusses the necessary integration of three-dimensional studies as an essential
component of art education (p. 133).
References
Allison Saar (Artist). (1956-). Nappy head #3, [mixed media drawing], 30”x22”. Accessed
through http://artstor.org.
Allison Saar (Artist). (1956-). Nappy “red” head, [wood, paint, tar, and objects], 26”x16”x14”.
Accessed through http://artstor.org.
Anderson, Heather. (1992). Making women artists visible. Art Education 42(2), 14-22.
Golomb, Claire. (1996). Representational concepts in clay: The development of sculpture. Child
Development in Art, NAEA, 131-141.
Shirin Neshat (Artist). (1957-). Rebellious silence, 1994, [B&W RC prink & ink], photo by
Cynthia Preston. Available at http://maryamduale.wordpress.com/2009/03/21/shirinneshat/071022_neshat01_p323/.
The Authenticity Potential of Contemporary Art: Lesson Proposals
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Secondary: Miscellaneous, abuse public service announcements
Abuse public service announcements
Objectives
Students will (1) understand the ability media possesses to inform society about
important issues, often with the intention of supporting or developing advocates and (2) apply
this knowledge to the development of art which communicates and/or advocates an issue present
within the lives of secondary students, like bullying and abuse. Aspects ranging from subject
matter, color usage, composition, representation, and scale will be explored and decoded.
Procedures
1. Introduction: The growing presence of domestic and verbal abuse (as present through
the incident between formal celebrity couple Rihanna and Chris Brown, the growing
trend of student bullying via social media, and the rise of abuse in teen relationships) will
be addressed.
2. Discussion: Students will discuss the types of abuse present within society and/or
portrayed within the news or pop culture media (TV, movies, etc.). Exploring the variety
of abuse and the repercussions, students will discuss which types are prevalent within
their age groups and the important role that addressing and combating abuse can play
regarding prevention and resolution.
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3. Assignment: Using the creative process to develop and record the progress of their
pieces, students will brainstorm ideas for PSAs addressing societal issues. PSAs will (1)
integrate imagery and text to address the issue and (2) provide their intended audience
with assistance resources (organizations, hotlines, etc.).
Assessment
Students will be assessed on their submitted artist book and final art piece (graded
according to the rubric provided in Appendix B).
Statement of Origin
Writings from Michael (1991), Duncum (2008), and Tapley (2002) inspired this lesson
plan. Michael (p. 22) discusses the importance forming a significant connection between
students’ lives art to develop authentic and genuine engagement, Duncum discusses the ways in
which design effects society, and Tapley discusses the topic of developing empowering projects,
specifically projects with community significance.
References
Bossy Boot PSA. Available at http://www.creativeadawards.com/original/bossy-boot/4330.
Domestic abuse PSA. Available at http://madhuriesingh.sulekha.com/albums/allphotos/
slideshow/162676.htm.
Duncum, Paul. (2008). Holding Aesthetics and Ideology in Tension. Studies in Art Education A
Journal of Issues and Research, 24(2), 122-135.
Homeless youth PSA. Available at http://www.tutorart.com/index.php/domestic-violence/.
Tapley, Erin. (2002). Classroom management. Davis, Christine (Ed.). NAEA Advisory. National
Art Education Association.
The Authenticity Potential of Contemporary Art: Lesson Proposals
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Appendix A
Elementary Visual Art Rubric
Evaluation Scale: 1 – Absent 2 – Struggling 3 – Average 4 – Good 5 – Excellent
Multiply point total by 4 to determine overall grade, example: 5+4+4+5+3 = 21x4 = 84/100
Category
1
2
3
4
5
Content
Ignores objectives
Inappropriate idea
Fails to communicate
meaning
Falls short of objectives
Struggles with appropriate
idea
Poorly communicates
meaning
Falls short of objectives
Appropriate idea
Somewhat communicates
meaning
Meets project objectives
Appropriate idea
Fairly communicates
meaning
Meets project objectives
Appropriate idea
Clearly communicates meaning
Development
Brainstormed one idea
Failed to follow steps
Brainstormed two or more
ideas
Followed less than half of
steps
Brainstormed three or
less ideas
Followed over half of
steps
Brainstormed three ideas
Followed most steps
Brainstormed four or more ideas
Followed all steps
Skills &
Techniques
Inappropriate use of media
Unsuccessful application of
technique(s)
Little to no craftsmanship
Struggled with appropriate
use of media
Poor application of
technique(s)
Poor level of craftsmanship
Appropriate use of media
Fairly successful
application of
technique(s)
Fair level of
craftsmanship
Appropriate use of media
Successful application of
technique(s)
Good level of craftsmanship
Appropriate use of media
Highly successful application of
technique(s)
High level of craftsmanship
Participation
Did not follow instructions
Did not clean up materials
Project was not organized
Followed few instructions
Did not clean up most
materials
Project was poorly organized
Followed many
instructions
Cleaned up some
materials
Project was somewhat
organized
Followed most instructions Followed all instructions
Cleaned up most materials Cleaned up all materials
Project was fairly organized Project was well organized
WOW Factor
Lacks creative effort
Low level of creative effort
Moderate level of
creative effort
Project stands out
Recreates another idea
Student Rating
Teacher Rating
Project stands out
Created original idea
Student Comments: (Write about your project's strengths, weaknesses, problems, solutions, motivations, etc.)
_____________________________________________________________________________________________________________________________________________________________________________
_____________________________________________________________________________________________________________________________________________________________________________
Teacher Comments:
_____________________________________________________________________________________________________________________________________________________________________________
_____________________________________________________________________________________________________________________________________________________________________________
The Authenticity Potential of Contemporary Art: Lesson Proposals
Evaluation Scale:
Category
1 – Absent
2 – Struggling
1
3 – Average
4 – Good
2
19
Secondary Visual Art Rubric
5 – Excellent
Multiply point total by 5 to determine overall grade, example: 5+4+4+5+ = 18x5 = 90/100
3
4
5
Content
Ignores objectives
Irrelevant idea
Fails to communicate
meaning
Falls short of objectives
Struggled with relevance
Poorly communicates
meaning
Falls short of objectives
Fairly relevant idea
Somewhat communicates
meaning
Meets project objectives
Relevant idea
Clearly communicates
literal meaning OR
Fairly communicates
conceptual meaning
Meets project objectives
Relevant idea
Clearly communicates
conceptual meaning (symbolic,
emotional, or metaphorical)
Creative
Process
Did not brainstorm idea
Failed to follow & record
steps
Brainstormed one or more
Followed & recorded less
than half of steps
Brainstormed two or more
ideas
Followed & recoded over
half of steps
Researched relevance of
assignment
Brainstormed three or more
ideas
Followed & recorded most
steps of project evolution
Researched and incorporated
relevance of assignment
(cultural, social, etc.)
Brainstormed three or more ideas
Followed & recorded all steps of
project evolution
Skills &
Techniques
Inappropriate use of media
Unsuccessful application
of technique(s)
Little to no craftsmanship
Struggled with appropriate
use of media
Poor application of
technique(s)
Poor level of craftsmanship
Appropriate use of media
Moderately successful
application of technique(s)
Good level of craftsmanship
Appropriate use of media
Highly successful
application of technique(s)
High level of craftsmanship
Appropriate use of media
Exceptional application of
technique(s)
Exceptional level of
craftsmanship
Followed most instructions
Cleaned up most materials
Project was somewhat
organized
Followed majority of
instructions
Cleaned up majority of
materials
Project was well organized
Followed all instructions
Cleaned up all materials
Project was well organized
Contributed to class discussions
Participation Did not follow instructions Followed few instructions
Did not clean up materials Did not clean up most
Project was not organized materials
Project was poorly
organized
Student
Rating
Teacher
Rating
Student Comments: (Write about your project's strengths, weaknesses, problems, solutions, motivations, etc.)
_________________________________________________________________________________________________________________________________________________________
_________________________________________________________________________________________________________________________________________________________
_________________________________________________________________________________________________________________________________________________________
Teacher Comments:
_________________________________________________________________________________________________________________________________________________________
_________________________________________________________________________________________________________________________________________________________
_________________________________________________________________________________________________________________________________________________________