Alexandra Shaver Teaching Portfolio by alexandrashaver

Alexandra Shaver Teaching Portfolio

Contents I. II. III. IV. V. VI.

Teaching Philosophy Resume Elementary Lesson Plans Secondary Lesson Plans Visionary Studio Lesson Plans Personal Artwork

Alexandra Shaver Teaching Philosophy As Picasso said, “the artist is a receptacle for emotions that come from all over the place: from the sky, from the earth, from a scrap of paper, from a passing shape, from a spider’s web.” Art education shows us how to see and find inspiration in even the seemingly insignificant. The artist is able to find beauty and meaning in their day to day lives. By creating and engaging with art, we perceive the intricacies of our environments and realize our interconnectedness with humanity. As an art teacher, I am responsible for stimulating students to examine their world on a deeper level that transcends the superficial. Art education is not limited to simply understanding colors, forms, and aesthetics; it is about how the artistic medium transcends visual space and affects us on a human level. Through viewing artwork, we connect to understand others’ human experience. We can feel the artist’s pain, suffering, joy or happiness through colors and brushstrokes. When we see the color red we are not just seeing the color red. We feel impassioned or excited by experiencing the color. Art teachers are responsible for endowing their students with the tools to explore their creative expression. Students need to understand that it is their personal touch which gives their art materials life. As an art teacher, I stress the importance of understanding individual differences and show students the value of defining their personal artistic voice. Art education shows students how to understand all kinds of artistic expression and views which may be dissimilar to their own. Understanding that each artist comes from a different culture and has unique experiences broadens the student’s own artistic practice. I believe in art education as a means of developing a seamless understanding of self. As an art teacher, my objective is to help each student to recognize their artistic voice as a source of strength, because it is their own personal truth which should be highly valued. In addition, I understand the importance of creating curricula that holds a direct connection to students. In my classroom, students are engaged through fun and meaningful lessons. By keeping lesson plans exciting, students naturally want to learn. I believe that young students can engage with sophisticated topics, and lessons do not need to be purely surface level. I also believe in allowing for plenty of reflective time after an artwork is created. Through providing time for students to view and talk about their own work and their classmates’ work, the artistic process becomes more interactive and compelling. This is a way for students to strengthen their connection with classmates empathetically. My goal as an art teacher is to show students that their uniqueness is what defines their artwork. I believe art education should touch much deeper than formal training. As an art teacher, I want to show my students how to see. With sincerity to self, I encourage students to trudge down their personal artistic path. My objective is to create a classroom of well informed artists who are able to navigate their world with sensitivity and awareness. Through artistic guidance, students can find beauty in more than the conventional and expand themselves to embrace others’ diverse visions.

ALEXANDRA SHAVER alexandra.shaver@ gmail.com / 845-242-0395

EDUCATION New York University, New York, NY, Master of Arts, May 2015, GPA 3.8 The Cooper Union, New York, NY, Bachelor of Fine Arts, M ay 2010 Awarded a full tuition merit scholarship TEACHING EXPERIENCE ESF Summer Camp, Bronx, NY, Jun. 2016-Aug. 2016 Art Specialist (anticipated) ▪ Will instruct fun art lessons for groups of students ages 4-8 and 9-15 through a supportive learning environment NYC iSchool (9-12), New York, NY, Jan. 2015-May 2015 Student Art Teacher ▪ Created and implemented expressive art lessons for Intro to Drawing and Intro to Painting classes ▪ Encouraged students to explore how their unique artistic voices can be imparted into their drawings and paintings P.S. 116 The Mary Lindley Murray School (Pre-K-5), N ew York, NY, Sept. 2014-Dec. 2014 Student Art Teacher ▪ Designed exploratory lesson plans for kindergarten and 3rd grade students, which strengthened their artistic skills and conceptual thinking capabilities ▪ Provided one-on-one help to students and communicated with students to encourage their artistic confidence NYU Visionary Studio: Saturday Art Workshop (9-12), New York, NY, Oct. 2014-Dec. 2014 Art Teacher ▪ Created and instructed an art workshop for high school aged students ▪ Designed curricula for a theme based self-portrait unit, which facilitated students to explore the complexities of their personal identity in relation to their culture and larger societal context Visual and Performing Arts Institute, Highland, NY, Jun. 2009-Jul. 2009 Counselor ▪ Guided 2nd grade aged children through creative classes including: Painting & Collage, African drumming, Chorus, Meditation, and Drama ▪ Nurtured each child’s special interests and ensured that children had an enjoyable time while learning PROFESSIONAL EXPERIENCE Chibi Jewels, New York, NY, Apr. 2011-Sep. 2015 Jewelry Designer, Materials Manager, Production Manager ▪ Conceptualized innovative jewelry collections and illustrated hand-drawn designs for castings including: charms, pendants, rings, and earrings ▪ Sourced and ordered all jewelry materials to fulfill orders, Organized materials and was responsible for inventory of supplies Mickalene Thomas Studio, Brooklyn, NY, Dec. 2010-Feb. 2011 Studio Assistant ▪ Painted and hand-applied rhinestones with precision to large scale paintings by renowned artist Mickalene Thomas ▪ Performed general studio maintenance and organized studio materials Skills: Painting (oil, acrylic, watercolor), Drawing, Fabric Dying, Embroidery, Handmade Jewelry Techniques, Printmaking, Photoshop, Final Cut Pro, After Effects, Microsoft Office Suite, Quickbooks

Elementary Lesson Plans

Fauvism: Feeling Self-Portraits Grade Level: 3rd grade Time: 2 classes (50 mins each) Central Focus/Rationale: Through an introduction to Fauvism, students will learn about colors as a way of depicting their feelings. Students will develop a strengthened conception of using color as a means of expressing an emotion in their artwork. Pedagogical Rationale/Theoretical Reasoning: Experience and Education, John Dewey Dewey’s philosophy that a meaningful education is best attained through hands-on work is implemented in this lesson. Through consideration of the experiential continuum, this lesson works off of students’ prior learner-centered knowledge. Students are asked to consider emotions they have felt and work off of their prior understanding of how to make a self-portrait. Learning Objectives: ● Students will learn about Fauvism through a brief introduction of the art movement and look at Fauvist artworks. ● Students will look at Fauvist artworks and discuss how artists’ color choices convey different feelings. ● Students will apply their understanding of color for emotion in their own self-portraits using warm and/or cool colors. ● Students will apply the technique of observational drawing through drawing their own face while looking in the mirror. Language Use: Fauvism, emotional color Instructional Resources & Materials: Fauvism, Heilbrunn Timeline of Art History, Metropolitan Museum of Art http://www.metmuseum.org/toah/hd/fauv/hd_fauv.htm Supplies/equipment/tools: paper (8 ½”x11”), pencils, permanent markers, oil pastels, watercolors, mirrors Artwork/Media: 1. Fränzi in front of Carved Chair,Ernst Ludwig Kirchner, 1910, Oil on canvas 2. Self portrait , Ernst Ludwig Kirchner, 1925, Oil on canvas

3. Portrait of Madame Matisse (The green line), Henri Matisse , 1905, Oil and tempera on canvas 4. Self-Portrait as an Invalid, Ernst Ludwig Kirchner, 1918, Oil on canvas 5. Maurice de Vlaminck 6. Fiery Me , Kat Vazquez, 2014, Oil on canvas 7. Earthy Me , Kat Vazquez, 2014, Oil on Canvas 8. Example of self-portrait, pencil & sharpie 9. Example of self-portrait, pencil, sharpie, cray-pas, watercolor Handouts/Ancillary Instructional Resources: Fauvism Worksheet Instructional Strategies and Learning Tasks: Day 1: Introduction to Lesson (5 mins) ● Once students enter the intro. meeting I ask, “You have all made self-portraits before, right?” ● Next, in order to reinforce their prior understanding of making self-portraits I ask, “What can you tell me about making self-portraits?” ● Students are told that they will make self-portraits in a brand new way today. Rather than looking at their faces straight 0n, students are instructed to turn their heads slightly and draw their faces at an angle while looking in the mirror. ● I explain that today is the first day of a two part lesson and we will be sketching out our faces in pencil. Demo (5 mins) ● Students are told that paper is on the tables and that they should take a piece of paper and write their name in pencil on the back. ● A brief demonstration is given to show students how to start their portraits. Students are told to look closely at their faces and draw what they see. Students are reminded of some other self-portrait tips learned previously: 1. “The top of your nose connects into your eyebrows.” 2. “Your eyes are in the middle of your head rather than too close to the top of your head.” 3. “Eyes can be drawn by making a “U” shape and then an upside down “U” shape to create the overall shape.” ● After this brief demonstration, I tack up an example of a finished pencil drawing portrait. When students are finished with their pencil drawings they can use permanent marker to trace over their lines. Work Time (20-30 mins)

● Mirrors are distributed to students and students begin drawing. I walk around the room and assist students who need help.

Clean up (5 mins) ● When students are finished they clean up their space. Table folders are passed out to collect drawings. Closing Meeting (5 mins) ● After clean up, students will join the meeting. I ask, “Did you enjoy making self-portraits in this different way today- was it easy or hard?” ● Students are told that next week they will be using cray-pas and watercolors to add color to their portraits. ● I explain, “When you’ve made self-portraits in the past you’ve probably tried to match colors as closely as possible to your real clothing and skin color. But, this next class we are going to use colors in a fun experimental way…” ● Images of Fauvist paintings are tacked up on the wall and it is explained to students that next week we will be using color in an unrealistic way. A discussion is opened up, “Looking at these paintings, what emotions do you think these artists are trying to convey based on their color choices?” Informal and Formal Assessments of Student Work: Students will be assessed based on listening respectfully to the teacher and their peers during the introduction and closing meeting. Students will also be assessed on their ability to use all work time to their best ability. Learning Tasks

3 Well Developed

2 Developing

1 Needs Improvement

Class Discussions ● Intro ● Closing Meeting

Student listened attentively during the intro and closing meeting. Student contributed to these discussions.

Student listened attentively during the intro and closing meeting.

Student was uninvolved and disruptive to others during the intro and closing meeting.

Class Work ● Activity

Student fully engaged with the activity and used all work time productively.

Student engaged with the lesson and used most work time productively.

Student did not use work time during the activity productively. Student was distracting to other students during the activity.

Standard 2: Knowing and Using Arts Materials and Resources Students will be knowledgeable about and make use of the materials and resources available for participation in the arts in various roles. Visual Arts Common Core Standards: VA:Cr1.2.IIa: Choose from a range of materials and methods of traditional and contemporary artistic practices to plan works of art and design. Day 2: Introduction Meeting (10 mins) ● Students will be introduced to the class and told that today we will continue to work on our self-portraits. ● I explain that we will be using cray-pas and water colors. ● We look at a new art movement for inspiration. The word Fauvism is written on the board, and students are introduced to the French art movement that started around the year 1900. ● I mention how “fauves” means “wild beasts,” because the art movement was so wild and different at the time. ● Fauvist paintings once again hang on the board in the front of the room. I remind students that last class we discussed how these artists use color to create different emotions. ● “Let’s brainstorm. What are some colors we could use to show calmness?....Happiness?....Excitement?” Demo (5 mins) ● A brief demonstration is provided of how to use oil pastels and watercolors in a style similar to the way Fauvists used oil paints. ● I talk students through the process of how I choose the colors as I add color to my piece. ● I explain that the colors you use can help create emotion, also the kinds of marks you make using your oil pastels and watercolors can inform the emotion conveyed. ● Ex. Scratchy marks may seem more angry or aggressive, while smooth blended marks are more peaceful looking. Work time (20-25 mins) ● Students will sit down at their tables and fill out Fauvism Worksheet . ● Students will think of what feeling they plan to convey and what colors they intend to use. ● Once both colors are approved oil pastels and watercolors are distributed. Clean up (5-10 mins)

● Students put their artwork on the drying rack. Then they clean up their space and join the closing meeting.

Closing Meeting (5 mins) ● Students are asked, “Did you like using color in an unrealistic way?” ● “Did you make any discoveries or learn anything while making your paintings today?” ● Students are asked to discuss their own artworks, “What colors did you use and what emotion did you want to convey?” Informal and Formal Assessments of Student Work: Students are formally assessed based on their final artwork and Fauvism Worksheet . Did the student create a self-portrait where they looked carefully at their own reflection and used the materials to create a portrait with an intentional mood as indicated through the Fauvism Worksheet ? Students are informally assessed based on their listening and participation during the introduction and closing meeting. Students are also assessed based on how well they used work time productively. Learning Tasks

3 Well Developed

2 Developing

1 Needs Improvement

Class Work ● Final Artwork ● Fauvism Worksheet ● Activity

Student completed the Fauvism Worksheet to plan their artwork. Student completed a final artwork which shows that they looked carefully at their reflection and considered colors to create mood as indicated on their Fauvism Worksheet. Student used all work time productively during the activity.

Student completed the Fauvism Worksheet to plan their artwork. Student completed a final artwork, although it does not seem like they followed the planning indicated in the worksheet. Student used most of the work time during the activity productively.

Final artwork and Fauvism Worksheet a re incomplete. Student did not use work time productively.

Class Discussions ● Introduction ● Closing Meeting

Student listened attentively and thoughtfully contributed comments during the introduction and/or closing meeting.

Student listened attentively during the introduction and closing meeting.

Student was uninvolved and disruptive during the introduction and closing meeting.

Visual Arts Standards: New York Visual Arts Standards: Standard 1: Creating, Performing and Participating in the Arts: Students will actively engage in the processes that constitute creation and performance in the arts (dance, theatre, and visual arts) and participate in the various roles in the arts. Standard 2: Knowing and Using Arts Materials and Resources Students will be knowledgeable about and make use of the materials and resources available for participation in the arts in various roles.

Standard 3: Responding to and Analyzing Works of Art Students will respond critically to a variety of works in the arts, connecting the individual work to other works and to other aspects of human endeavor and thought. Standard 4: Understanding the Cultural Dimensions and Contributions of the Arts Students will develop an understanding of the personal and cultural forces that shape artistic communication and how the arts in turn shape the diverse cultures of past and present society. Assessment Materials Fauvism Worksheet

Instructional Materials Artwork

1) Fränzi in front of Carved Chair , Ernst Ludwig Kirchner, 1910

2) Self portrait,Ernst Ludwig Kirchner, 1925

4) S elf-Portrait as an Invalid , Ernst Ludwig Kirchner, 1918 3) Portrait of Madame Matisse (The green line) ,H enri Matisse , 1905

5) Maurice de Vlaminck

7) Earthy Me , Kat Vazquez, 2014

6) F iery Me,Kat Vazquez, 2014

8) E x. of self-portrait (pencil)

9) Ex. of self-portrait (pencil, sharpie, oil pastels, watercolor)

Discussions during the Fauvism: Feeling Self-Portraits lesson

Providing feedback to students during the Fauvism: Feeling Self-Portraits lesson

3rd grade students at work during the Fauvism: Feeling Self Portraits lesson.

Examples of students completed Fauvism Worksheets

Student Artwork

Works in progress during the Fauvism: Feeling Self-Portraits.

Student Artwork

Fauvism: Feeling Self-Portraits, 3rd grade artwork

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Paul Klee Inspired Drawings Oil Pastel & Tempera Resist Grade level: Kindergarten Time: 1 class (50 mins) Central Focus/Rationale: B y exploring the resist technique, students will learn a new way of creating visually captivating artwork. Through showing students the artwork of Paul Klee, whose artwork is very simplistic, students can feel confident about their own drawing skills. Pedagogical Rationale/Theoretical Reasoning: Principles of

Possibility: Considerations for a 21st Century Art & Culture Curriculum, O livia Gude This lesson utilizes Gude’s philosophy of incorporating fun and play into learning. Students learn a new art making technique that seems like magic, and they get to discover the process by doing it themselves. Learning Objectives: ● Students will learn resist techniques using oil pastels and tempera paint. ● Students will look at and discuss the artworks of Paul Klee. ● Students will create artworks using their imaginations to explore imagery like Paul Klee’s or invent their own.

Language Use: resist, bright color, oil pastels, Paul Klee Instructional Resources & Materials: Crayon Resist Lines Lesson Ideas http://www.firstpalette.com/Craft_themes/Colors/Crayon_Resist_Lines/Crayon_Resist_ Lines.html Supplies/equipment/tools: p aper, oil pastels, tempera paint, paint brushes, water cups, paper towel, pencils Artwork/Media: 1) Puppet Theater , Paul Klee, 1923 2) Blossoms at Night,Paul Klee, 1930 3) The Goldfish , Paul Klee, 1925

Instructional Strategies and Learning Tasks: (5 mins) Introduction to Lesson ● Students enter the classroom and join the introduction meeting. ● I explain, “Today we are going to look at the artwork of artist Paul Klee and we are going to use drawing and painting in a fun new way...” ● First, the students are introduced to the artworks of Paul Klee which hang on the board ( Puppet Theater and Blossoms at Night. ) ● Students are asked to think about what they see, “How do you think Paul Klee made these pictures?” ● “Can you tell me what you see in these pictures?” ● I begin by hanging up a blank sheet of paper on the board. I show students that they should write their name on the bottom of the page in pencil. Next, they should make a border about 1” from the edge of the paper. ● I ask students to help me brainstorm, “What do you think I should draw on my paper?” ● Using oil pastels, I will make a drawing. Students will be encouraged to use bright colors, and it will be explained that they should press their oil pastels firmly against the paper. (5 mins) Demo ● Tempera paint is applied over the cray-pas using a big brush. I show students how to use a big flat brush to spread a wash of paint over their drawing. ● “Why do you think the paint doesn’t cover the oil pastel?” ● Students learn how the oil pastel is waxy and oil-based and the paint is water-based, water and wax do not stick to each other. ● When the demo is complete, I will walk my drawing over to the drying rack to show them visually and verbally what to do when they are finished painting. ● I tell students that when they are at their seat they can begin by writing their name and making a border. Meanwhile, cray-pas will be distributed. ● Think about what you are going to draw. I will ask, “what are some ideas we came up with before for things to draw?” (25 mins) Work Time ● Oil pastels are passed out and students draw. When students are finished using oil pastels, water, and tempera paint is passed out. ● I will check in periodically to make sure students are on task. (10 mins) Clean Up ● Students put their artworks on the drying rack. ● They put their brushes away and take a baby wipe to clean their hands and work space. ● “If you want to be a super helper you can also return your paint to the cart.”

(5 mins) Closing Meeting ● Students are asked, “Did you like using oil pastels and tempera paint?” ● “Does someone want to tell me what they made a picture of?” ● “What colors did you use?” ● A brief experiment is shown to students. I draw a line on a sheet of paper using various drawing materials and test each to see if black tempera paint will cover the line drawn. I test out marker, colored pencil, crayon, and chalk. ● I begin by drawing a line and asking, “do you think the paint will cover this mark?” Students are asked to raise their hand in response. ● Next, I ask, “or do you think the paint will NOT cover this mark?” Again, students raise their hand if they believe this is true. ● I then paint a brush stroke over the mark and we discover if the mark is covered or not. ● Students are shown another image of Paul Klee’s artwork ( The Goldfish .) Informal and Formal Assessments of Student Work: During the introduction and closing meeting I ask students questions that involve their participation in the discussion in which they will be informally assessed. Students will also be informally assessed based on how productively they use work time during the activity. Students will be formally assessed based on how their final artwork demonstrates use of oil pastels and tempera paint to create a completed artwork. Learning Tasks

3 Well Developed

2 Developing

1 Needs Improvement

Class Work ● Final Artwork ● Activity

Student created a completed final artwork which demonstrates use of oil pastels and tempera paint. Student used all of work time productively.

Student completed a final artwork and used most of work time during the activity productively.

Student did not complete their final artwork and did not use work time during the activity productively.

Class Discussions ● Introduction ● Closing Meeting

Student listened attentively and thoughtfully contributed comments during the introduction and/or closing meeting.

Student listened attentively during the introduction and closing meeting.

Student was uninvolved and disruptive during the introduction and closing meeting.

Standard 2: Knowing and Using Arts Materials and Resources Students will be knowledgeable about and make use of the materials and resources available for participation in the arts in various roles. Standard 3: Responding to and Analyzing Works of Art Students will respond critically to a variety of works in the arts, connecting the individual work to other works and to other aspects of human endeavor and thought. Instructional Materials Artwork

2) B lossoms at Night , Paul Klee, 1930 1)

Puppet Theater , Paul Klee, 1923

3) The Goldfish, Paul Klee, 1925

Testing out different drawing materials during the Paul Klee Inspired Drawings lesson.

Kindergarteners creating their Paul Klee Inspired Drawings.

Student Artwork

Paul Klee Inspired Drawings, Kindergarten artwork

Nature Sound Drawings How can we look at the artwork of Charles Burchfield as inspiration and create drawings that imagine what nature sounds look like? Grade Level: 5th grade Time: 1 class, 40 minutes Central Focus/Rationale: By looking at and discussing the artwork of Charles Burchfield, students will gain a sense of how an artist finds inspiration from their natural environment. Burchfield’s artworks show the natural world transformed through his personal emotive lens and reveal his close connection to nature. Students observe the different quality of marks and patterning in Burchfield’s artwork and how this shows his feeling of natural environments. In Burchfield’s artwork there are instances of lines created that invoke the sense of sound. Students are introduced to the word “synesthesia,” which describes how one sense can stimulate another. In Burchfield’s artwork, there are instances of synesthetic happenings in which the feeling of sound is invoked through visually created marks. After viewing Burchfield’s artwork, students will begin a guided nature sound listening activity in which they fill out worksheets and create drawings that imagine what they hear, feel, and see. Students are reminded to think about how Charles Burchfield used different lines to show a feeling or to depict different sounds. This nature sound drawing activity provides an opportunity for students to creative problem solve. They are asked to create a drawing through imaginatively thinking of how nature sounds make them feel. This drawing activity is not concerned with creating a realistic depiction of nature, rather it creates an opportunity for students to use their imaginations to think of how to visually depict sound and how nature makes them feel. Pedagogical Rationale/Theoretical Reasoning: • Experience and Education, John Dewey Dewey’s theory is utilized in this lesson as students learn through sensory and hands on experience. Students are active participants of the lesson and learn through organized experience-based learning which allows opportunities for imagining and creating. • Creative and Mental Growth, Viktor Lowenfeld

This lesson was designed taking into consideration Lowenfeld’s theories on age and creative development. According to Lowenfeld, students at the 5th grade age level become increasingly concerned with creating realistic artwork and seeking peer approval. For these reasons, I designed a lesson which is not concerned with realistic artistic depictions, instead this lesson focuses on an imaginative approach to art-making. Learning Objectives: ● Students will look at and discuss the artwork of Charles Burchfield. ● Students will imagine how they can visually depict nature sounds and how these sounds make them feel through creating drawings. ● Students will implement drawing techniques utilizing varied line qualities to create their drawings. ● Students will listen to nature sounds and through writing describe what they hear, imagine seeing, and how it makes them feel. Language Use: The language functions for this lesson are “describe,” “imagine,” and “create.” During the discussion of Charles Burchfield’s artwork, students are asked to describe what they observe. Students are also asked to describe how what they see creates feeling in the artwork. For the Nature Sounds Activity students are asked to fully use their imaginations to imagine what sounds look and feel like. Next, students create drawings that manifest their imaginings on paper. By first learning about Charles Burchfield’s artwork and then creating drawings of their own, students explore the concept of the word “synesthesia,” which describes how one sense can inform a different sense. Instructional Resources & Materials: Supplies/equipment/tools: • pencils • paper, 12” x 18” Artwork/Media: • http://www.handprint.com/HP/WCL/artist27.html • Heat Waves in the Swamp: The Paintings of Charles Burchfield 1. Charles Burchfield, Cricket Chorus, 1917 2. Charles Burchfield, The Insect Chorus, 1917 3. Charles Burchfield, The Song of the Telegraph, 1917-52 Handouts/Ancillary Instructional Resources: • Nature Sound Clip

• Nature Sound Worksheet Procedure / Instructional Strategies and Learning Tasks: Intro. (10 mins): As students enter the classroom, I hand them a name tag to fill out. I have students gather around near the front of the classroom. I introduce myself to the class and explain that today’s class will be a one day lesson. I explain, “for this lesson you will need to use your eyes, but you will also need to use your ears…” I introduce the artist Charles Burchfield by providing a little background information. Posters of Burchfield’s The Insect Chorus and Cricket Chorus hang on the wall. I explain that there is a similarity between these two artworks and I tell the class their titles. I ask the class why they think these artworks have these titles. (If they are unsure, I can ask them what “chorus” as a guiding question.) I explain that these two artworks are interesting because the titles and the lines Burchfield used show that he was working to draw the sounds that he heard. Next, I introduce the class to the word “synesthesia,” which describes when one sensation informs another sense. I explain how Burchfield’s artwork possesses a synesthetic quality. I ask students to notice the variety of lines and I mention how the lines shape the sound. I ask, “what words would you use to describe the lines you see?” I explain how the lines repeat in areas and create patterns which appear to create movement mimicking the way a vibration looks. I also mention how Burchfield’s artwork shows his feeling towards the nature he is creating artwork of and shows us how different environments made him feel. I will also show Charles Burchfield’s painting The Song of the Telegraph and ask the class to describe the sounds they imagine hearing. Nature Sound Activity (22 mins): Next, the class transitions to the Nature Sound Activity. I explain that we will be exploring the idea of creating art that explores the concept of “synesthesia” by listening to nature sounds and drawing what we imagine. The class is handed out the Nature Sound Worksheet and a piece of drawing paper, I ask students to write their name on both. The class listens to a nature sound clip and they are expected to first fill out the Nature Sound Worksheet in reaction. I explain the worksheet before beginning the Nature Sound Clip, “I want you to imagine yourself in nature, think about what you hear, what you imagine seeing, and how this sound makes you feel.” I inform the class to listen very carefully, and to write down the ideas that come to mind based on what they are hearing. After filling out the worksheet, students continue on to create their nature sound drawing using their worksheets as reference. For this activity, the class listens to the Nature Sound Clip and students are asked to imagine a natural setting based on what they hear and to create a drawing. I remind students to think about Burchfield’s artwork, “think about how the sounds you hear make you feel and think about what marks you can use to express this feeling. Through this drawing activity, I really want you to explore the different kinds of lines you can

use.” I also mention that they shouldn’t be concerned with creating a realistic drawing since this is an exercise that explores imagination and a new way of making art. As the class works, I walk around the room and provide guidance to individual students. Clean Up (3 mins): Students are instructed to stop working. I ask students to pile their drawings, worksheets, and pencils on their desks. Closing (5 mins): To wrap up the lesson, I ask the class, “how did it feel to create art in this new way?” I also ask the class what they imagined while listening to the nature sounds and if anyone would like to share their artwork. Before students leave I make sure to thank them. As parting words I mention, “I hope that this lesson will inspire you to consider how to use your senses to make are in new ways!” Informal and Formal Assessments of Student Work: Students are informally assessed based on their participation during the discussion of Charles Burchfield’s artwork. Students are formally assessed based on their completed Nature Sound Worksheet and final Nature Sound Drawing.

Learning Tasks

3 Well Developed

2 Developing

1 Needs Improvement

Class Discussion • Discussion of Charles Burchfield’s artwork

Student thoughtfully contributed thoughts/ comments during the discussion and respectfully listened while others shared comments.

Student respectfully listened to others and sometimes shared thoughts/comments during the discussion.

Student was uninvolved and did not contribute during the discussion.

Activity and Class Work • Nature Sound Worksheet • Nature Sound Drawing

Student engaged with the Nature Sound Activity by carefully listening and filling out all areas of the Nature Sound Worksheet. Student created a Nature Sound Drawing that reveal exceptional effort and creativity in the variety of lines used. Student’s Nature Sound Drawings show that they used the Nature Sound Worksheet for reference.

Student filled out the Nature Sound Worksheet. Student created Nature Sound Drawings that show good effort. Student’s Nature Sound Drawing show that they used the Nature Sound Worksheet for reference.

Student was not engaged during the lesson and was disruptive. Nature Sound Worksheet and Nature Sound Drawing are incomplete.

Visual Art Standards: New York Visual Arts Standards: • Standard 1: Creating, Performing and Participating in the Arts: Students will actively engage in the processes that constitute creation and performance in the arts (dance, theatre, and visual arts) and participate in the various roles in the arts. • Standard 3: Responding to and Analyzing Works of Art  Students will respond critically to a variety of works in the arts, connecting the individual work to other works and to other aspects of human endeavor and thought. Visual Arts Common Core Standards: • VA:Cr2.1.6a: Demonstrate openness in trying new ideas, materials, methods, and approaches in making works of art and design. • VA:Cn10.1.5a: Apply formal and conceptual vocabularies of art and design to view surroundings in new ways through art-making. _____________________________________________________________________________________ Instructional Materials

1) Charles Burchfield, Cricket Chorus, 1917

2) Charles Burchfield, The Insect Chorus, 1917

3) Charles Burchfield, The Song of the Telegraph, 1917-52

_____________________________________________________________________________________ Assessment Material Nature Sound Worksheet

Name:___________________________________________

Date: ____________________________

Nature Sounds Drawings As you listen, answer the following questions for each nature soundâ&#x20AC;Ś

What do you hear?

What do you imagine seeing?

How does this sound make you feel?

Examples of students completed Nature Sound Worksheets

Secondary Lesson Plans

Expressive Self-Portraits: How can mood be conveyed through brushstrokes and values in a painted self-portrait? Lesson 1: Expressive Self-Portraits: How can black and white paint be used to create an expressive painted self-portrait? Grade Level: 9-12 Time: 1 of 3 classes, 57 minutes each Central Focus/Rationale: This is the first lesson of an Expressive Self-Portrait unit designed for an Introduction to Painting class. Previously, students were introduced to color mixing by creating color wheels in which they learned how to mix primary colors to create secondary and tertiary colors. In addition, students learned about value by painting grayscales, tints, and shades. After this students put their color mixing skills to use by creating landscape paintings. Following this lesson is a realistic self-portrait lesson, in which students will use photographs of themselves as reference. This Expressive Self-Portrait lesson acts as an extension of students exploration using only black and white paint. Through this material limitation, students will create paintings of their face taking into consideration the values and the brushstrokes they use. Students will look carefully at their own reflection and work to create a depiction of their face. Learning Objectives: ● Students will consider how mood can be portrayed without color. ● Students will examine the values and brushstrokes used in painted portraits and self-portraits throughout history. ● Students will visually integrate grayscale mixing techniques to create black and white painted self-portraits. ● Students will create observational paintings in which they carefully look at their own reflection. Language Use: The language functions for this lesson are “examine,” “interpret,” and “create.” Students will first consider how they can create an artwork without use of color. They will then examine how values and brushstrokes are used to create mood in painted portraits and self-portraits by other artists. Students will interpret the mood that they feel is portrayed in these artworks based on what they see. They will then create their own self-portraits, through consideration of how other artists have created portraits. Students will integrate previous grayscale mixing techniques. Brushstrokes, values , and mood are the essential vocabulary for this lesson.

Instructional Resources & Materials: ● Austrian Expressionism, http://www.moma.org/explore/collection/ge/styles/austrian_expressionism Supplies/equipment/tools: ● black and white tempera paint, 17” x 22” brown paper, paint brushes, water containers, wax paper (as palettes), mirrors, utilizing Powerpoint Artwork/Media: 1) Egon Schiele, Self-Portrait 2) Oskar Kokoschka, S elf-Portrait, 1 913 3) Vincent van Gogh, The Potato Peeler , 1885 4) André Derain , Henri Matisse , 1905 Handouts/Ancillary Instructional Resources: ● Expressive Portraits PowerPoint, Expressive Self-Portraits Homework Instructional Strategies and Learning Tasks: Intro (10 mins): As students enter the classroom the following is written on the board: AIM: How can we use only black and white to create expressive self-portraits? Get Ready: 1) How can you create a mood or expression in a painting without using color? 2) What do you know about creating a self-portrait? Do you have any tips? Students are asked to answer Get Ready questions #1 and #2 in their notebooks. After several minutes, students are asked to share their responses with the class. I explain that today we will be using only black and white paint to create self-portraits that explore how values and brushstrokes can be used to depict ourselves. Slideshow (10 mins): During the slideshow I explain to pay attention to the brushstrokes each artist has used, “how do the artist’s brushstrokes convey mood?” I will also make sure to remind students to think about how these artists’ artworks can help them with their own self-portraits. For each slide I will ask: 1) What sort of brushstrokes do you see? 2) How is value used? 3) What mood do you think is being expressed? Activity (20 mins): Before students begin, I explain that we will be using brown paper, black paint and white paint. I mention that by using brown paper as a background, both

black and white will act as strong visual elements. The white paint can be used to make different values when mixed with the black paint, but also the white paint can be used to create highlights. I explain that as students look at their reflections they should also look at which parts of their face are brighter and darker. I ask, “Where do you see shadows? Where do you see highlights?” I will inform students that they should work similarly to how they did while creating their grayscales and mix different shades of gray on their palettes before applying the paint. I will also explain that the focus of this lesson is not to create a very realistic self-portrait. I will tell students to consider the slideshow they just saw and to think about how the artists created a mood without creating an overly realistic portrait. I will inform students that the slideshow was intended to guide their artistic exploration, and it can help them to consider the types of brushstrokes and values they utilize in their own artwork. Instead, the focus of this lesson is based on how value and brushstrokes have meaning and create mood. Students will get black and white paint, brushes, water containers, and wax paper for their tables. Mirrors and brown paper will be distributed to students. Students will begin by looking carefully and painting their reflection. Closing (10 mins): I will ask students, “Are you enjoying this project? Are you finding it easier or more challenging to paint with only black and white? Why?” After this brief discussion, I explain the homework assignment and pass out the Expressive Self-Portraits Homework worksheet. I will tell the class that there are 4 different homework worksheets with an image of one of the artworks that we saw in the slideshow today. I explain to bring the completed homework worksheet back in tomorrow. Clean up (7 mins): Two students will be selected to clean brushes, meanwhile other students will discard palettes, pile up their notebooks, stack mirrors, and wipe down their tables. Students will be reminded to write their names on their paintings. Informal and Formal Assessments of Student Work: Students will be informally assessed through discussion of the Get Ready questions, discussion during the Expressive Portraits PowerPoint p resentation, and how effectively they work during the activity. Students will be formally assessed through their Get Ready written responses and the Expressive Self-Portraits Homework. Learning Tasks

3 Well Developed

2 Developing

1 Needs Improvement

Class Discussions ● Get Ready

Student fully engaged with the discussions through contributing their thoughts/comments.

Student sometimes contributed their thoughts/comments.

Student was uninvolved and did not contribute to the discussions.

● Expressive Portraits PowerPoint

Student respectfully listened to others.

Class Work ● Get Ready ● Painting Activity

Student thoughtfully responded to the Get Ready questions in their notebook. Student diligently worked on their self-portrait painting during the activity.

Student responded to the Get Ready q uestions in their notebook, but with minimal effort. Student worked during the painting activity after prompted by teacher.

Student did not complete the Get Ready questions in their notebook. Student used work time during the painting activity poorly.

Homework ● Expressive Self-Portraits Homework

Student’s completed worksheet shows that they looked carefully at the artwork on the worksheet. Student explains an aspect of the artwork that they can utilize or use as inspiration in their own self-portrait.

Student’s completed worksheet shows that they looked at the artwork on the worksheet but student provides only brief one word answers. Student does not explain an aspect of the artwork that they can utilize or use as inspiration in their own self-portrait.

Student’s worksheet is incomplete. Student does not show that they have looked carefully at the artwork on the worksheet. Student does not explain an aspect of the artwork that they can utilize or use as inspiration in their own self-portrait.

Visual Art Standards: New York Visual Arts Standards: Standard 1: Creating, Performing and Participating in the Arts: Students will actively engage in the processes that constitute creation and performance in the arts (dance, theatre, and visual arts) and participate in the various roles in the arts. Standard 3: Responding to and Analyzing Works of Art: Students will respond critically to a variety of works in the arts, connecting the individual work to other works and to other aspects of the human endeavor and thought. Visual Arts Common Core Standards: VA:Cr1.2.IIa: Choose from a range of materials and methods of traditional and contemporary artistic practices to plan works of art and design.

LESSON 1 Instructional Materials Expressive Portraits PowerPoint â&#x20AC;&#x2039;

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Slide 2

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LESSON 1 Assessment Expressive Self-Portraits Homework (V â&#x20AC;&#x2039;ersions 1, 2, 3, and 4)

Lesson 2: Expressive Self-Portraits: Reconsidering Mood Grade Level: 9-12 Time: 2 of 3 classes, 57 minutes each Central Focus/Rationale: This is the second lesson of an Expressive Self-Portrait unit designed for an Introduction to Painting class. In the previous lesson, students were asked to consider how they can create mood in a painting without using color. The class was presented a slideshow of painted portraits by Egon Schiele, Oskar Kokoschka, Vincent van Gogh, and André Derain to emphasize how a painting can be created to show expression and mood using distinctive brushstrokes. During this second lesson, students will reorient themselves to recall the mood they want to create and spend the majority of class time working on their self-portraits. Learning Objectives: ● Students will reflect on the mood they are planning to convey in their artwork. ● Students will consider how their brushstrokes create expression and mood within their artworks. ● Students will integrate the concept of value through their black and white painted self-portraits. Language Use: The language functions for this lesson are “reflect” and “demonstrate.” Students will reflect on the mood they are planning to show in their self-portrait. They will spend some time at the beginning of class writing in their notebooks about the mood they are trying to convey. They will reflect on how they can best convey this mood. They will spend the duration of class demonstrating how to convey this mood in their paintings. They will take time to visually demonstrate how value and brushstrokes can be used to create expression in their self-portraits. Brushstrokes , values , and mood are the essential vocabulary for this lesson. This lesson focuses on how brushstrokes and values can clearly convey mood. Instructional Resources & Materials: Supplies/equipment/tools: ● tempera paint, 17” x 22” brown paper, paint brushes, water containers, wax paper (as palettes), mirrors Instructional Strategies and Learning Tasks:

Intro (10 mins): As students enter the classroom the following is written on the board: AIM: How can we demonstrate mood in a painted self-portrait? Get Ready: 1) What mood are you working to convey in your self-portrait? 2) How do you plan to strongly convey this mood? (Think brushstrokes, values, etc.) Students are asked to answer Get Ready questions #1 and #2 in their notebooks. After several minutes, a few students are asked to share their responses with the class. I explain, “I thought it would be helpful to reconsider what mood each of you is striving to convey through your artwork, and today we will continue to work on our self-portraits.” Activity (35 mins): Students will be instructed to get black and white paint, brushes, water containers, and wax paper for their tables. Meanwhile, their paintings and mirrors will be passed out. Students will have the rest of the class to work on their paintings. I will walk around the classroom and help any students that have questions or may need a little extra help. Once students have finished painting themselves in black and white they have the option of adding color to the background. I will explain that if students do add color they should still strongly consider their brushstrokes. They should also select colors that will consistently work to convey the desired mood of their paintings. Closing (5 mins): I will thank students for their hard work. I will ask students to pile yesterday’s homework in a pile on the middle of their tables. I will inform students that tomorrow we will be having a critique. I will explain that the critique will be an opportunity to observe and interpret classmates’ artwork through discussion. Clean up (7 mins): Two students will be selected to clean brushes, meanwhile other students will discard palettes, pile up their notebooks, stack mirrors, and wipe down their tables. Informal and Formal Assessments of Student Work: Students will be informally assessed through the discussion of the Get Ready questions and how productively they work during the activity. Students will be formally assessed by their Get Ready written responses. Learning Tasks

3 Well Developed

2 Developing

1 Needs Improvement

Class Discussions ● Get Ready

Student fully engaged with the discussion through contributing their thoughts/comments.

Student sometimes contributed their thoughts/comments. Student respectfully listened to others.

Student was uninvolved and did not contribute to the discussions.

Class Work ● Get Ready ● Painting Activity

Student thoughtfully responded to the Get Ready questions in their notebook. Student demonstrated strong understanding of mood and clearly defined the next steps for their artwork. During the painting activity student diligently worked.

Student responded to the Get Ready questions in their notebook, but with minimal effort. Student showed understanding of mood and briefly defined next steps for artwork. Student worked during the painting activity after prompted by teacher.

Student did not complete the Get Ready questions in their notebook. Student used work time during the painting activity poorly.

Lesson 3: Expressive Self-Portraits: Critique Grade Level: 9-12 Time: 3 of 3 classes, 57 minutes each Central Focus/Rationale: This is the third and final lesson of an Expressive Self-Portrait unit designed for an Introduction to Painting class. During this class students will have an opportunity to view and respond to each others’ artworks. A guided critique will allow students to see the brushstrokes and values used in their classmates artworks and how these elements combine to create a mood. Learning Objectives: ● Students will interpret the mood of classmates’ artworks by combining their visual understanding of art elements and their own personal perspective. ● Students will critique classmates’ artworks and make helpful suggestions on how to strengthen the intended mood of the artworks.

Language Use: The language functions for this lesson are “interpret,” “critique,” and “analyze.” Students will interpret what mood they see conveyed in 5 of their peers artworks. They will then critique classmates artwork through some guided questions which once again call to mind use of brushstrokes and value to create mood. The main art vocabulary to be discussed will be mood, brushstrokes,and values. Students will be strongly encouraged to use art vocabulary during the critique and all students will have access to the Art Vocabulary Handout. Students will complete the Expressive Self-Portraits Final Reflections Worksheet which will allow for students to further reflect on the types of brushstrokes and values they used in their paintings. They will be propelled to analyze how their brushstrokes and values create mood in their self-portraits. Instructional Resources & Materials: Supplies/equipment/tools: ● sticky notes, pencils Handouts/Ancillary Instructional Resources: ● Art Vocabulary Handout , Expressive Self-Portraits Final Reflections Worksheet Instructional Strategies and Learning Tasks: Intro (5 mins): As students enter the room, their artworks are tacked up on the wall. I will explain that today we will be having a critique where we will consider how brushstrokes and values are used to create mood. Activity (37 mins): To begin students will be handed five sticky notes. I will assign each student five other classmates’ artworks to respond to. Students will be asked to write down on a sticky note the mood that they think each artwork is trying to convey. Then students will be asked to put a sticky note on the wall under each artwork. I will stress that each student should keep their response respectful. This activity should take about ten minutes. After all students have responded to the five artworks, each student will be asked to collect the sticky notes which respond to their artwork. I will ask students if the responses that they received were the mood that they were working to convey. Also, I will ask if any students want to share how the responses were different or similar to their planned mood for the painting. After this, I will ask if any students have suggestions on what art elements could be incorporated to strengthen that intended mood. I will also mention that interpretation of an artwork also has much to do with personal perspective, and each individual will have their own personal read on a painting.

For the remainder of time, I will ask students the following questions to guide the critique: 1) In which paintings do you see a wide variety of values? 2) In which paintings do you see less of a variety of values? 3) In which paintings do you see a clearly defined mood? What art elements work to demonstrate the mood clearly? Closing (15 mins): I will thank students for a great class, and commend them for their participation in painting in this expressive way which may have been different or challenging. I will mention that I hope this painting project expanded their consideration of how brushstrokes and value can impact the mood of a painting. Students will then fill out the Expressive Self-Portraits Final Reflections Worksheet before they leave class. When they have completed the worksheet they are asked to stack the worksheets in a pile on the center of their table. Informal and Formal Assessments of Student Work: Students will be informally assessed by their participation during the critique. Students will be formally assessed on their final artworks and Expressive Self-Portraits Final Reflections Worksheet . Learning Tasks

3 Well Developed

2 Developing

1 Needs Improvement

Class Discussions ● Critique

Student thoughtfully contributed thoughts/comments during the critique. Student used art vocabulary and showed a strong awareness of art concepts.

Student respectfully listened to others and sometimes shared thoughts/comments during the critique.

Student was uninvolved and did not contribute to the discussions.

Class Work ● Sticky Note Activity ● Expressive Self-Portraits Final Reflections Worksheet

Student participated in the sticky note activity. Student completed the Expressive Self-Portraits Final Reflections Worksheet. Student’s responses revealed a strong understanding of brushstrokes, value, and mood.

Student participated in the sticky note activity. Student completed the Expressive Self-Portraits Final Reflections Worksheet. Student’s responses revealed an understanding of brushstrokes, value, and mood.

Student did not participate during the sticky note activity. Student did not complete the Expressive Self-Portraits Final Reflections Worksheet.

Visual Art Standards: New York Visual Arts Standards: Standard 3: Responding to and Analyzing Works of Art: Students will respond critically to a variety of works in the arts, connecting the individual work to other works and to other aspects of the human endeavor and thought. Standard 4: Understanding the Cultural Dimensions and Contributions of the Arts: Students will develop an understanding of the personal and cultural forces that shape artistic communication and how the arts in turn shape the diverse cultures of past and present society. Visual Arts Common Core Standards: VA:Cr3.1.Ia: Apply relevant criteria from traditional and contemporary cultural contexts to examine, reflect on, and plan revisions for works of art and design in progress.

Lesson 3 Instructional Material

Art Vocabulary ABSTRACT: Artwork in which the subject matter is stated in a brief, simplified manner; little or no attempt is made to represent images realistically, and objects are often simplified or distorted. ASYMMETRY: A lack of equality between parts or aspects of something. BALANCE: The way in which the elements in visual arts are arranged to create a feeling of equilibrium in an artwork. The three types of balance are symmetry, asymmetry, and radial. COMPOSITION: The overall placement and organization of elements in a work of art, as well as the interrelationships between individual elements. CONTRAST: Differences between two or more elements (e.g., value, color, texture) in a composition; juxtaposition of dissimilar elements in a work of art. Also refers the degree of difference between the lightest and darkest areas of an image. DESIGN: The plan, conception or organization of a work of art; the arrangement of independent parts (the elements of art) to form a coordinated whole. EMPHASIS: Special attention or embellishment on an element, characteristic or object in a work of art that makes it stand out from others. EXPRESSIVE CONTENT: Content expressive of ideas and moods in a work of art. HIGHLIGHT: a bright or reflective area in a painting, picture, or design. LINE: In visual art, a delineation or fracturing of space in color or black and white. Line qualities can vary in width, length, gesture, color, direction, etc. MOOD: The state of mind or emotion communicated in a work of art through color, composition, media, scale, size, etc. NEGATIVE SPACE: Shapes or spaces that are or represent the areas unoccupied by objects. SHADOW: An area of darkness created when a source of light is blocked. SHAPE: A twodimensional area or plane that may be open or closed, free form or geometric. It can be found in nature or created by humans. STYLE: A set of characteristics of the art of a culture, a period, or school of art; the characteristic expression of individual artists or groups. TEXTURE: The surface quality of materials, either actual (tactile) or implied (visual). It is one of the elements of art. THEME: A subject or topic of discourse or of artistic representation. VALUE: Lightness or darkness of a hue or neutral color. A value scale shows the range of values from black to white and light to dark.

LESSON 3 Assessment Expressive Self-Portraits Final Reflections Worksheet

Name _________________________________________ Date _________________

Expressive Self-Portraits Final Reflections

1) What sort of brushstrokes did you use in your painting? (Ex. thick, thin, fuzzy, flowy)

2) What types of value did you use in your painting? ● Where did you use darker values?

● Where did you use medium values?

● Where did you use lighter values?

3) How do the brushstrokes and values you used create mood in your self-portrait?

4) If you added color, how did this impact the mood of your painting?

Providing guidance to a student during the Expressive Self-Portraits lesson

Slideshow presentation during the Expressive Self-Portraits lesson

High school students painting during the Expressive Self-Portraits lesson.

Student Artwork

Expressive Self-Portraits, high school artwork

The job of an e du cat or is t o t ea ch s tud en ts to se e v i talit y in t hem se lv es .

â&#x20AC;&#x201D;Josep h C a mpbe ll

Automatic Drawing: How can you create a drawing by accessing the right side of the brain? Grade Level: 9-12 grade Time: 1 lesson, 55 minutes Central Focus: This lesson is based on the Surrealist drawing technique of automatic drawing. Through this unit, students are asked to consider the left side of the brain and the right side of the brain in terms of their art making. According to Drawing on the Right Side of the Brain, the left side of the brain is considered the area of analytical, verbal, and cognitive thought. Meanwhile, the right side of the brain is thought to be where visual and spatial thought occurs. As students create their automatic drawings, they will consider how they can use line quality and integrate drawing techniques learned throughout the semester like hatching, cross-hatching, and stippling to transform their drawings into a representational drawing. This lesson provides students with a new way to consider how the left side of the brain and the right side of the brain work together. Students gain insight into how through their own unique perception they can take an abstract visual form and find realistic pictorial elements to emerge. Pedagogical Rationale/Theoretical Reasoning: Pedagogy of the Oppressed, Paulo Freire Rather than lecture based or “banking” style education where it is assumed that the student is an empty receptacle in which knowledge is deposited, students will learn through direct exploration. Students and teacher will learn together through discussions and reflections on the artworks created. Learning Objectives: ● Students will learn about the drawing technique of automatic drawing and how to utilize it to create an artwork. ● Students will gain information about the historical context of the art movement of Surrealism, in which automatic drawing originated. ● Students will reflect on how they construct their own unique visual associations. Language Use: automatic drawing, Surrealism, right brain, left brain

During the first lesson, students will be introduced to the technique of automatic drawing. They will learn what this term means through definition and by utilizing the art process directly. Students will also learn about the art movement of Surrealism in which automatic drawing originated. Students previously learned that the right side of the brain controls visual and spatial thought. Now, through learning about Surrealism and automatic drawing students will expand their conception of the right side of the brain as also being the source of subconscious thoughts. Students will incorporate previously learned art vocabulary as they discuss what they see in the artworks shown during the PowerPoint presentation. Instructional Resources & Materials: ● MoMA Learning, A ndré Masson ,A utomatic Drawing http://www.moma.org/learn/moma_learning/andre-masson-automatic-drawing Supplies/equipment/tools: pencils, drawing paper, utilizing PowerPoint Artwork/Media: 1. Automatic Drawing, André Masson , ink on paper, 1924 2. Furious Suns , André Masson , ink on paper, 1925 3. Bison on the Brink of a Chasm, André Masson , ink on paper, 1 944 Handouts/Ancillary Instructional Resources: ● Automatic Drawing PowerPoint Procedure/ Instructional Strategies and Learning Tasks: Intro (5 mins): A slide of Automatic Drawing by André Masson will be projected on the smartboard and a few questions will be written on the board for students to answer in their notebooks once they enter the room: 1) Look at the artwork on the smartboard, how do you think this artwork was made? 2) What realistic images do you see in this drawing? Students will spend 3 minutes writing their responses in their notebooks. Next, I will ask students to share their responses. Slideshow (10 mins): I will ask the class if they have ever looked up at the clouds and imagined seeing realistic forms. I will explain that this artwork was created in a similar way. I will explain that this artwork was made by artist André Masson using a drawing

technique called “automatic drawing” which was invented during the art movement of Surrealism. I will ask the class, “does anyone know what the word “subconscious” means?” I will continue on to explain Surrealism, mentioning that the art movement was founded in accessing the subconscious mind, which is associated with the right side of the brain. They thought that you were closer to accessing the subconscious mind through dreams and other irrational thoughts. I will explain that automatic drawing was designed to reveal the subconscious mind. The hand randomly moves across the paper and the artist makes meaning out of those lines and pictures seem to emerge. I will continue through the rest of the slideshow and ask students to tell me what sort of images they see in the artworks. Activity (30 mins): I will once again describe how to make an automatic drawing. I will emphasize that you should try not to think while drawing and to let your hand move however it wants to across the paper. Paper will be distributed to students and students will begin drawing. I will tell the class that they will have 5 minutes to draw and let their hand glide across the paper. After 5 minutes have passed, I will tell students to pause and look at their artwork, “Do you see any realistic forms emerging? Think about how you can work to accentuate these forms, consider line quality and shading. You can also incorporate drawing techniques we have learned throughout the class like hatching, cross hatching, and stippling.” Closing (10 mins): I will tell the class that we will spend the last few minutes of class talking about this drawing experience and the drawings that were made. I will ask students, “how did it feel doing this drawing activity?” I will continue on to ask students what sorts of images appeared in their drawings. I will go around the room and ask one person from each table to hold up either their own artwork or someone’s at their table which they find interesting. I will thank students for their hard work today. Clean up (5 mins): Students will be instructed to put their names on the back of their drawings, to put their drawing materials back in the bins, and to stack their drawings and notebooks in two separate piles on the table. Informal and Formal Assessments of Student Work: Students will be informally assessed through their notebook entries at the beginning of class and their responses during the PowerPoint presentation. In addition, students will be assessed on how well they use class work time.

Learning Tasks

3 Well Developed

2 Developing

1 Needs Improvement

Class Work ● Notebook Entry ● Activity ● Final Artwork

Student wrote a meaningful notebook entry. Student fully engaged with the activity and used all work time productively. Student completed a final artwork utilizing the technique of automatic drawing,

Student completed their notebook entry. Student engaged with the activity and used most of the work time productively. Student completed a final artwork.

Student did not complete their notebook entry. Student did not use work time productively. Student’s final artwork is incomplete.

Class Discussions ● PowerPoint

Student listened to teacher and classmates. Student actively participated during the PowerPoint presentation.

Student listened to teacher and classmates.

Student was uninvolved and/or disruptive during the PowerPoint presentation.

Visual Art Standards: New York Visual Arts Standards: Standard 1: Creating, Performing and Participating in the Arts: Students will actively engage in the processes that constitute creation and performance in the arts (dance, theatre, and visual arts) and participate in the various roles in the arts. Standard 3: Responding to and Analyzing Works of Art: Students will respond critically to a variety of works in the arts, connecting the individual work to other works and to other aspects of the human endeavor and thought. Standard 4: Understanding the Cultural Dimensions and Contributions of the Arts: Students will develop an understanding of the personal and cultural forces that shape artistic communication and how the arts in turn shape the diverse cultures of past and present society. Visual Arts Common Core Standards: VA:Cr1.2.IIa: Choose from a range of materials and methods of traditional and contemporary artistic practices to plan works of art and design.

Instructional Materials Automatic Drawing P owerPoint

Slide 1: Automatic Drawing, André Masson, ink on paper, 1924

Slide 2: Furious Suns, André Masson, ink on paper, 1925

Slide 3: Bison on the Brink of a Chasm, André Masson, ink on paper, 1944

Student Artwork

Automatic Drawings, high school artwork

Visionary Studio Free Saturday art workshop open to high school students throughout the NYC area

Lesson Plans

Ink Portraits: How do we study and paint our facial expressions using ink? Grade Level: 9-12 Grades Time: 1 class, 2 hours Central Focus/Rationale: In this lesson students will produce a series of ink drawings that incorporate technical skills as well allow students to experiment in constructing a self-portrait of their face. We will cover the study of tones, values, and shading for those who have expressed interest in deepening their technical skills. At the same time the focus of the lesson is to allow students to explore what it ‘feels’ like to study their face by looking to emphasize features they dislike as well as confront their physical identity. Exercises will help students reflect on their facial emotions and how that might inform and influence their self-portrait. Students will be encouraged to work large, work on a series of drawings in class and experiment with the fluid qualities of ink. Pedagogical Rationale/Theoretical Reasoning: We have chosen to base our pedagogical rationale for this class on Olivia Gude’s contemporary art practice guidelines developed through her Spiral Workshop, a Saturday art class for teens at the University of Illinois in Chicago. We have structured our rationale in the spirit of Gude’s guidelines. ● Students will be prompted to begin to actively observe and interpret themselves and their surroundings and make creative decisions to express their identity through self portraiture. ● Class discussions will facilitate a habit for looking and discussing self-portraits and encourage students to engage in accountable talk, listening, and learning through their peers.

Learning Objectives: ● Students will apply the technique of ink painting to create a self-portrait of their face. ● Students will apply the skills of value, tone, and shading to express mood and facial expressions. ● Students will reflect on how the change of lighting might influence how they might create their self-portrait and the various moods of their self-portraits. Language Use: Tone, value, mood, expression

Instructional Resources & Materials: ● Faces Slideshow: 1) Marlene Dumas 2) Marlene Dumas 3) Auguste Rodin 4) Adrian Piper 5) Kathe Kollwitz 6) Kathe Kollwitz 7) Edvard Munch

● Homework Supplies/equipment/tools: ● Black ink ● Buckets/ yogurt containers for water ● Small containers for ink washes ● Brushes ● Small and large paper ● Hand-held mirrors ● Lamps and clap lights ● PowerPoint/Slideshow of artists Instructional Strategies and Learning Tasks: Intro (5 mins): Class will begin by discussing our homework assignment from the previous week. Students will be asked: What was the theme you created during the week? How did doing this assignment make you feel? A couple of students will share their selfies homework assignment from the tumblr page. Take a moment to introduce the concept: you are the curator of your selfies, consider posting on the tumblr page as a virtual way to exhibit your work. Slideshow (10 mins): During the slideshow various artists’ portraits depicting faces will be shown to the class. Students are asked to explain what they see in the images and how the expressive quality of the artworks convey meaning. At the end of the slideshow, the activity is introduced, “We will continue working on investigating our identity. The focus of today’s lesson is on depicting our own face and facial expressions.” Demo (10 mins): To further explain the activity of the lesson, a demonstration is shown to the class. It is explained that, “we will be making artworks today using ink and mirrors to create self-portraits.” A brief ink demo is provided showing how to create ink washes of varying values.. During the demo, I explain to the class that they should carefully look at their reflections in the mirror and draw what they see rather than what they know. I also mention to the class the reason for using ink in

this lesson, “we will be using ink because it is a challenging medium to work with, but also lends itself to creating very freeing expressive artwork.”

Activity (75 mins): Mirrors, paper, ink, paint brushes, and water cups are distributed to the class. ● Warm up: Students begin through a warm up exercise in which they test brushes and create ink washes on scrap paper. Students are instructed to initial the back of each paper. ● Three (5 mins) poses: Students will be timed and instructed to create three different five minute drawings. For each drawing students are asked to change their pose or facial expression. ● Lights are turned off: Students are informed that the next activity involves working in the dark using clamp lights. It is explained to the class that by using a direct light source more extreme contrast is created and dramatic drawings can be created. ● Three (5 mins) poses: Students will be instructed to change their pose or facial expression during each 5 minute interval. Students will be reminded to question how the change of lighting transforms how they see and draw their face. ● Final pose (35 mins): Students will be encouraged to focus on an expression or emotion when working on their final pose on larger scale paper. Clean up (10 mins): The lights are turned on and students are instructed to clean up materials. Students are told to rinse off paint brushes and water cups. They are also told to lay drawings flat on the table and tack their final drawings up on the wall. Closure (10 mins): During the closure, students are asked to gather around the drawings that are tacked up on the wall. Students are instructed to comment on a classmate’s work and talk about what stands out to them (at least 3 students should speak.) The homework and a brief intro for the next project is mentioned. How will you make transitions: ● Transitions and timing each exercise will be vocalized. We will give a 15 minute warning prior to the end of the final pose. Differentiated Instruction: ● For students who show they work quicker in completing their final pose, they will have the option to work on another self-portrait drawing. ● To accommodate students who work at different paces we will remain flexible in our timing for each exercise. Informal and Formal Assessments of Student Work:

● Students will be assessed based on following instructions, using all of the time provided for each pose, and thoroughly cleaning up their space. ● Students will be assessed based on their general classroom behavior. Learning Tasks

3 Well Developed

2 Developing

1 Needs Improvement

Class Work ● Activity ● Final Artwork

Student fully engaged with the activity and used all work time productively. Student completed a final artwork which shows effort working with the ink medium. Final artwork displays use of ink washes and exploration of mark making.

Student engaged with the activity and used most work time productively. Student completed a final artwork which shows effort working with the ink medium.

Student did not use work time during the activity productively. Final artwork is unfinished.

Class discussions ● Slideshow ● Closure

Student listened attentively and thoughtfully contributed comments during the slideshow and/or closure.

Student listened attentively during the slideshow and closure.

Student was uninvolved and disruptive during the slideshow and closure.

Visual Art Standards: New York Visual Arts Standards: Standard 1: Creating, Performing and Participating in the Arts Students will actively engage in the processes that constitute creation and performance in the arts (dance, music, theatre, and visual arts) and participate in various roles in the arts. Standard 2: Knowing and Using Arts Materials and Resources Students will be knowledgeable about and make use of the materials and resources available for participation in the arts in various roles. Standard 3: Responding to and Analyzing Works of Art Students will respond critically to a variety of works in the arts, connecting the individual work to other works and to other aspects of human endeavor and thought.

Instructional Materials Faces Slideshow Slide 1

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Students creating dramatic self-portraits using mirrors and spotlights in a dimly lit classroom during the Ink Portraits lesson.

Ink Portraits, high school artwork

Student Artwork

Ink Portraits, high school artwork

Environmental Self-Portraits: A goraphobia, Claustrophilia, or the elephant in the room Lesson 1: Environmental Self-Portraits: How do certain environments make you feel? Grade Level: 9-12 Time: 2 sessions, 2 hours each (day 1) Central Focus/Rationale: Students will place themselves in either an over crowded (people/objects) or empty environment, using a reference photo they take during the week, to explore how different settings make them feel. Materials will be charcoal and student’s choice of a color medium (watercolor, colored ink, pastel, pencil). Students choose what relation to environment is important to them (spacial, historical, socio-political, cultural, personal, etc.) Using the two extremes of either a crowded or empty setting will exercise their understanding of perspective, composition, anatomy, and the handling of different mediums, including photo reference. Pedagogical Rationale/Theoretical Reasoning: Principles of Possibility: Considerations for a 21st-Century Art & Culture Curriculum by Olivia Gude, Art Education; Jan 2007 This lesson will utilize concepts used in Olivia Gude’s Spiral Workshop like incorporating elements of juxtaposition, layering, and overlapping. Students will be given the option of using a reference image that they draw and/or collage onto directly. Through isolating themselves in a different medium than the background environment, students can think about themselves in their environment and why/how they stand out. Learning Objectives: ● Students will learn how to integrate or juxtapose themselves within their chosen environment. ● Students will reflect on their identity in context to their environment. ● Students will explore how their environment affects their psyche. ● Students will consider how they construct meaning out of their environment.. ● Students will learn how to render a landscape or environment, while considering techniques of perspective, composition, and anatomy. Language Use: integration, juxtaposition, layering Instructional Resources & Materials: Supplies/equipment/tools:

charcoal, watercolor, colored ink, pastel, pencil, camera, reference photo, Smart Board Environmental Self-Portrait Slideshow: Oscars Selfie, 2014 Christina’s World, Andrew Wyeth, 1 948, Tempera on panel The Snake Charmer, Henri Rousseau, 1907, Oil on canvas Self-Portrait, Leonara Carrington, 1937-8, Oil on canvas Untitled Film Still #21, Cindy Sherman, 1978, Photograph The Artist Is Present, Marina Abramovic, 2010, Performance art My Bed, Tracey Emin, 1998, Installation Roaming, Carrie Mae Weems, 2010, Video http://www.art21.org/videos/short-carrie-mae-weems-roaming ● Blogs/social media posting: http://selfiesnyu.tumblr.com/ ● Environmental Self-Portrait Homework

● 1. 2. 3. 4. 5. 6. 7. 8.

Instructional Strategies and Learning Tasks: Intro (10 mins): Class will begin by passing out reference photos to students, these photos should have been emailed prior to class. Next, students’ homework assignments posted on selfiesnyu.tumblr.com will be made visible on the Smart Board. Students will look at and discuss everyone’s weekly homework. Slideshow (20 mins): A slideshow of various artists’ work will be shown to the class. The images selected explore identity as it relates to setting. Students are asked to talk about what they see in the images. They are also asked to think about how the setting and/or figure depicted in the artworks make them feel. Activity (75 mins): Students will spend the first 10 minutes creating a minimum of 5 thumbnail sketches in order to explore potential composition options for their final piece. Teachers will meet with each individual student as they finish their planning to discuss and ensure that the student is ready to begin their project. Students will spend the duration of the activity time working independently independently on creating their own environmental self-portrait on large drawing paper with charcoal and a color medium of their choice (watercolor, colored ink, pencil, pastel. Clean up (10 mins): Students will clean up their workspace. If using paint and brushes, they are asked to rinse brushes thoroughly. Closure (5 mins): The homework is introduced and explained. Students are expected to write an artist’s statement about their environmental self-portraits (80-100 words.)

Learning Tasks

3 Well Developed

2 Developing

1 Needs Improvement

Class Discussion ● Slideshow

Student respectfully listened to classmates and provided meaningful comments during the slideshow.

Student respectfully listened to classmates during the slideshow.

Student was uninvolved and disruptive during the slideshow.

Class Work ● Activity

Student fully engaged with the activity and used all work time productively. Student created thumbnail drawings.

Student engaged with the activity and used most work time productively. Student created thumbnail drawings.

Student did not use work time productively.

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Assessment Environmental Self-Portrait Homework

HOMEWORK Environmental Self-Portrait: Agoraphobia, Claustrophilia, or the elephant in the room? How do certain environments make you feel? Artist Statement 80-100 words about your environmental self-portrait. Brainstorming ideas: ● How do certain environments make you feel? ● How does your presence affect an environment? ● How do you represent yourself in an environment? What does this tell viewers about your identity? ● What are you saying with your body language or facial expression in reaction to your environment? ● Think of how you can contrast or juxtapose yourself in an environment.

Lesson 2: Environmental Self-Portraits: How does setting inform your self-portrait? Unit Title/Overarching Question: How can we represent our identity from a personal level to a larger ‘bigger picture’/political level? Lesson Title: Agoraphobia, Claustrophilia, or the elephant in the room? How do certain environments make you feel? Grade Level: 9-12 Time: 2 sessions, 2 hours each (day 2) Instructional Strategies and Learning Tasks: Intro (1o mins): Students are asked to begin class with a turn and talk activity. Students that were present last class will explain their artwork to students that were absent. Students will point out an element of their partner’s work that they find effective and an element that can further be developed. Activity (95 mins): Students will continue creating their Environmental Self-Portraits . Students are encouraged to add a color medium of their choice (watercolor, colored ink, pencil, pastel) in order to finish their artwork. Students are allowed to take home their artwork or use the last week of Visionary Studio to complete their assignment if needed. Clean up (5 mins): Students clean up their workspace and return all art making supplies. Students who used paint are asked to thoroughly clean brushes. Closure (15 mins): Students are instructed to hang their artwork on the wall or rotate their easel so their artwork is visible to the class. Students will then participate in a gallery walk and have an opportunity to view their classmates’ work. Students will share their artist’s statements. Informal and Formal Assessments of Student Work: ● Students will be assessed in-process on their effort in utilizing the varied materials and reference photo to make an environmental self-portrait. This project will also serve as a way to assess students’ comprehension of perspective, composition, and anatomy. ● Students will be assessed on their contribution to the group discussions and if they respect all individuals in the class (oneself, teacher, and peers). ● Students will be assessed on their effort to complete homework. The assessments will serve as a guide for the content of future lessons. What concepts do students struggle with? What concepts do students connect with?

Learning Task

3 Well Developed

2 Developing

1 Needs Improvement

Class Work ● Activity

Student fully engaged with the activity and used all work time productively.

Student engaged with the activity and used most of the work time productively.

Student did not use work time effectively.

Class Discussions ● Turn and Talk ● Artist’s Statement Sharing

Student participated in the turn and talk activity by contributing thoughtful comments. Student shared their artist’s statement with the class.

Student participated in the turn and talk activity. Student listened attentively while artist’s statements were shared.

Student did not participate in the turn and talk activity. Student was disruptive during discussions.

Final Assignments ● Final Artwork ● Artist’s Statement

Student created a completed self-portrait with an emphasis on a particular setting. Student’s artist statement is well thought out, reveals purposefulness of setting, and reveals their comprehension of how setting imparts meaning in a self-portrait.

Student created a completed self-portrait. Student’s artist statement is thoughtful, but does not address setting particularly.

Student did not complete an artwork. Student did not complete an artist’s statement.

Environmental Self-Portraits lesson critique

Environmental Self-Portraits, high school artworks in progress

Student Artwork

Visionary Studio student artworks at the final gallery exhibition.

Personal Artwork

Sea of Selene, 2016, acrylic on canvas, 20 in x 36 in

Fire, 2016, acrylic on canvas, 11 in x 14 in

Owl in the Snow, 2015, acrylic on canvas, 14 in x 11 in

Starman, 2016, acrylic on canvas, 24 in x 18 in

The Late Shift, 2014, acrylic on canvas, 40 in x 30 in

North Sea at Dusk, 2015, acrylic on canvas, 18 in x 24 in