Final Lesson Plan Proposal
Shelby Flynn
ARE4352
Overarching Theme
• The over arching theme for this unit is
exploring self and others. I want the student
to look at themselves as a student, artist,
athlete, son/daughter, brother/sister etc. I
want them to examine all of their facets and
express them through art. I want them to tell
me their story through the works they create,
while experimenting with different media.
Sculpture
Betye Saar -Liberation of Aunt Jemima
Betye Saar- Sock it to ‘Em
Objective
• The objectives of this lesson are to introduce
the students to the work of Betye Saar, to get
the students to think about the stereotypes or
labels they place on their peers as well as the
labels that might be placed on them, and to
learn and practice assemblage techniques.
NGSSS
• Integrate curiosity, range of interests, attentiveness, complexity,
and artistic intention in the art-making process to demonstrate selfexpression. (VA.912.C.1.1)
• Evaluate the technical skill, aesthetic appeal, and/or social
implication of artistic exemplars to formulate criteria for assessing
personal work. (VA.912.C.1.3)
• Apply art knowledge and contextual information to analyze how
content and ideas are used in works of art. (VA.912.C.1.4)
• Analyze challenges and identify solutions for three-dimensional
structural problems. (VA.912.C.1.7)
• Develop competence and dexterity, through practice, in the use of
processes, tools, and techniques for various media. (VA.912.S.3.12)
• Create works of art that include symbolism, personal experiences,
or philosophical view to communicate with an audience.
(VA.912.O.3.1)
Statement of Origin
• The idea for this lesson came from reading the
article Making Women Artists Visible by
Heather Anderson (1992). My familiarity with
Betye Saar’s work is from a women in art
history class I took at UCF.
Procedures
Day One
• I will begin my lesson by having the lights turned off and the image of Betye Saar’s
The Liberation of Aunt Jemima projected for the class to see. This will let the
students know that we are being the class with a group discussion.
• I will give a brief bio about Betye Saar
• We will discuss possible meanings of the work
• We will compare and contrast two of her works
• I will tell the students that their assignment is to challenge a label or stereotype
that has been place on them or that they’ve placed on themselves.
• They are to do this by creating an assemblage piece
• The students will sketch ideas for their piece in their sketchbooks. I want to see at
least three different ideas sketched out.
• I must approve at least one of the sketches before they can begin the assignment
• I f I did not approve a sketch before the end of class then their homework is to
sketch at home. I will approve them at the start of the next class period
Procedures
Day two:
• The students must have me approve their sketches at the start of
class.
• They will then gather materials to begin the assemblage piece.
• They will be given 3 to 4 class periods as needed to complete the
assignment.
• We will have a short class critique on the in progress works to help
improve the quality of the work
• When they are done the students will write an artists statement
• The students will present their artist statement and completed
work to the class. The class will judge the pieces to determine if the
message was clearly received.
Assessment
• The students will be assessed on:
– Participation in classroom discussion and critiques
– Sketches are present
– Quality and completeness of the work
• The assessment will be based on a rubric that
will be given to the students before they start
the assignment.
Ceramics
Nicolas Africano
The Recording (1976)
Nicolas Africano
Jekyll/Hyde: The Mixture (1982)
Objectives
• The objective for this lesson is to have the
students tell a story through art. It could be
autobiographical or any other story they are
familiar with. The objective is also to have
students think about a figure’s relationship to
the background and the message that
relationship could convey as well as having
them practice sculpting human figure(s) out of
clay.
NGSSS
• Integrate curiosity, range of interests, attentiveness, complexity, and
artistic intention in the art-making process to demonstrate selfexpression. (VA.912.C.1.1)
• Evaluate the technical skill, aesthetic appeal, and/or social implication of
artistic exemplars to formulate criteria for assessing personal work.
(VA.912.C.1.3)
• Examine and revise artwork throughout the art-making process to refine
work and achieve artistic objective. (VA.912.C.2.1) Process and apply
constructive criticism as formative assessment for continued growth in
art-making skills. (VA.912.C.2.3)
• Demonstrate use of perceptual, observational, and compositional skills to
produce representational, figurative, or abstract imagery. (VA.912.S.2.5)
• Develop skill in sketching and mark-making to plan, execute, and construct
two-dimensional images or three-dimensional models. (VA.912.S.3.10)
Statement of Origin
• The idea for this lesson came from the lesson
plan packet from ARE 4352 as well as Chapter
9 Sketchbooks by Roberta Rice and Sue Ellen
McNeil.
Procedures
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I will introduce the class to the work of Nicholas Africano.
We will have a classroom discussion about what events might be represented in
the works and what message the artist is trying to convey.
The class will chose a fairytale from their childhood, a current event, a memory
etc and make sketches in their sketchbooks deciding how to tell that story through
art inspired by Nicholas Africano’s style.
Once I have approved their sketches, the students will begin creating their figures
out of clay.
While the figures are drying the students will fashion a setting for this story to take
place. They can create a three dimensional environment like The Recording (1976)
or a two dimensional environment like Jekyll/Hyde: The Mixture (1982)
Once the clay pieces have been fired, the students will glaze the pieces if they
wish. They can also paint the pieces with acrylic paint.
Then the students will combine the two elements, the figure and the background ,
considering composition to tell the story.
When they have completed the work the students will write a poem about their
story that goes along with the piece they created.
Assessment
• The students will be assessed on:
– Participation in classroom discussion and critiques
– Sketches are present
– Poem Present
– Quality and completeness of the work
• The assessment will be based on a rubric that
will be given to the students before they start
the assignment.
Painting
Zak Smith
Self- Portrait
Zak Smith
Jena with Sunkist and Sunkist-Colored T-Shirt
Zak Smith
Jill, On the Floor
Objective
• The objective of the lesson is to have the
student explore the human figure by painting
a portrait of a classmate or a self portrait in
the style of Zak Smith. The students will also
be expected to practice creating a detailed
background. They will also practice their skills
with acrylic paint.
NGSSS
• Evaluate the technical skill, aesthetic appeal,
and/or social implication of artistic exemplars to
formulate criteria for assessing personal work.
(VA.912.C.1.3)
• Use descriptive terms and varied approaches in
art analysis to explain the meaning or purpose of
an artwork. (VA.912.C.3.1)
• Develop skill in sketching and mark-making to
plan, execute, and construct two-dimensional
images or three-dimensional models.
(VA.912.S.3.10)
Statement of Origin
• When I saw these paintings they reminded me
of the drawing style we are taught in Drawing II
at UCF. That is primarily what I based my
lesson on. I also based this lesson on the
article Teaching Art History: Research and
Synthesis by Floyd W. Martin.
Procedures
• I will project the images of Zak Smith’s portraits for the
class.
• We will discuss the artist’s style talking about his selective
use of color, the poses of the subjects, and the detailed
background.
• We will also go over the basics like composition and
direction of light
• The students will practice sketching each other in their
sketchbooks
• The students will then create a either a self portrait or a
portrait of a classmate using acrylic paint
• Once the assignment is completed we will discuss their
works in a classroom critique.
Assessment
• The students will be assessed on:
– Participation in classroom discussion
– Sketches are present
– Quality and completeness of the work
• The assessment will be based on a rubric that
will be given to the students before they start
the assignment.
Drawing
Aline Kominsky-Crumb
Power Pack Comics Vol. 1
Aline Kominsky-Crumb
Objective
• The objective of this lesson is to introduce the
students to a female artist and her work, As
well as teaching the students to use humor in
their art. This will also get the students to
practice a different style of drawing.
NGSSS
• Demonstrate use of perceptual, observational, and
compositional skills to produce representational,
figurative, or abstract imagery. (VA.912.S.2.5)
• Develop skill in sketching and mark-making to plan,
execute, and construct two-dimensional images or
three-dimensional models. (VA.912.S.3.10)
• Integrate curiosity, range of interests, attentiveness,
complexity, and artistic intention in the art-making
process to demonstrate self-expression. (VA.912.C.1.1)
Statement of Origin
• The idea for this lesson originated from the
article Comic Liberation: The Feminist Face of
Humor in Contemporary Art by Sheri R. Klein.
Procedures
• I will show the students examples of work by Aline
Kominsky-Crumb.
• We will discuss how and why the artist used humor in
her art.
• The students will then practice sketching in a cartoon
like style similar to the way Aline Kominsky-Crumb
creates her work. I want them to practice writing their
own humorous sayings or stories.
• Once I have approved their sketches the students will
start their comic strip drawings on white paper.
• Once they have completed the assignment, we will
have a classroom critique.
Assessment
• The students will be assessed on:
– Participation in classroom discussion
– Sketches are present
– Quality and completeness of the work
• The assessment will be based on a rubric that
will be given to the students before they start
the assignment.
Media Criticism
Old Spice Commercials
• http://oldspice.com/enUS/videos/video/34/questions/?page=2
• http://oldspice.com/enUS/videos/video/22/the-man-your-mancould-smell-like/?page=2
Objective
• This lesson is meant to get the students to
examine the tactics used in advertisements.
The students will then utilize these tactics by
creating a advertisement of their own.
NGSSS
• Use descriptive terms and varied approaches
in art analysis to explain the meaning or
purpose of an artwork. (VA.912.C.3.1)
• Integrate curiosity, range of interests,
attentiveness, complexity, and artistic
intention in the art-making process to
demonstrate self-expression. (VA.912.C.1.1)
Statement of Origin
• The idea for this lesson came primarily from
the art criticism class I took at UCF. This
lesson also coincides with one of the excerpts
we read in class, Standards for School Art
Programs from NAEA.
Procedures
• I will show the students the two Old Spice commercials.
• We will discuss what tactics the advertisers used to sell the product.
• We will come up with a definition of success in advertising.
• Then we will determine if the advertisement was successful.
– Do you remember the product they are advertizing or just the humor of the
commercial?
– Does the commercial make you want to purchase the product?
• The students will be assigned to groups to create a commercial for a
product they drew out of a hat which I will have prepared. The
commercial must incorporate the tactics we discussed in class. They will
write the script for the commercial in class.
• The students will film the commercial outside of class and show the video
to the class when the assignment is due.
• After each commercial we will discuss what advertising tactics the
students used and we will decide if the commercial was successful based
on our definition of success.
Assessment
• The students will be assessed on:
– Participation in classroom discussion and critique
– Quality and completeness of the work
– Filmed commercial present
– Script present
• The assessment will be based on a rubric that
will be given to the students before they start
the assignment.
Text References
• Anderson ,H. (1992) Making women artists visible. Art
Education. 45(2)
• Klein, S. R. (2008). Comic liberation: The feminist face of
humor in contemporary art. Art education, 61(2), 47-52.
• Martin, F. (1993) Teaching art history: Research and
synthesis
• Purposes, principles, and standards for school art programs.
(2002). National Art Education Association , 1-26.
• Rice R.W., (1990). Sketchbooks. In: Little B.E. (ed),
Secondary Art Education :An Anthology of Issues. Reston
VA: National Art Education Association. Pp. 107-123
Image References
Africano, Nicolas (1976)The Recording [mixed media] Kankakee, Illinois
Africano, Nicolas (1982) Jekyll/Hyde: The Mixture [mixed media] Kankakee, Illinois
Kominsky-Crumb, Aline (unknown) Jewish Dilletante from L.I. [drawing], Long
Beach NY
Kominsky-Crumb, Aline (1989) Nose Job [drawing], Long Beach NYOld Spice (2010)
The Man Your Man… retrieved from http://oldspice.com/enUS/videos/video/22/the-man-your-man-could-smell-like/?page=2
Old Spice (2010) Questions, retrieved from http://oldspice.com/enUS/videos/video/34/questions/?page=2
Saar, Betye (1972) Liberation of Aunt Jemima [assemblage] Los Angeles, CA,
Brooklyn Museum
Saar, Betye (2011) Sock it to 'Em [assemblage] Los Angeles, CA
Smith, Zak (unknown) Accurate (self portrait), [painting] Syracuse, NY
Smith, Zak (unknown) Jena with Sunkist and Sunkist-Colored T-Shirt , [painting]
Syracuse, NY
Smith, Zak (unknown), Jill, On the Floor [painting] Syracuse, NY