Explorations in Art by Marilyn G

MIDDLE SCHOOL Explorations in Art By Marilyn G. Stewart and Eldon Katter

What sets Explorations in Art apart?

Theme-Based Learning Unit themes such as Belonging and Making a Difference underscore the relevance of art in students’ lives and reveal the important roles art plays in cultures around the world.

Process-Based Studios By learning a process that emphasizes the importance of thinking, planning, and reflection in creating superior, original artworks, students go far beyond the basics of art-making.

Solid Foundation in Art Concepts Available as an eBook and print textbook. No other program provides such strong support for teaching elements and principles, with in-depth lessons, helpful illustrations of skills and techniques, brilliant fine art examples, exemplary student artwork, and an exceptional Student Handbook.

DAVIS PUBLICATIONS 50 PORTLAND STREET WORCESTER MA 01608 800-533-2847 DAVISART.COM Program Overview

A Personal Journey A Community Connection A Global Pursuit A Personal Journey focuses on the A Community Connection focuses on how A Global Pursuit focuses on ideas and experiences of artists, and how their groups of people use art to communicate artwork from around the world and perspectives and approaches change and connects with the study of U.S. History. connects with the study of Western over time. and non-Western history.

Teacher Edition

Teacher Edition includes: Unit Planning Guide • Suggested pacing • At-a-glance planning • Vocabulary • Pacing, objectives, studios, necessary materials

• Strategies for using text and images effectively Lesson Wraparound Material • Inquiry-based activities to challenge learners • Point-of-use support on every page • Additional background on art and artists • Four key sections that organize teaching instruction of each lesson: • Compare and Contrast Venn diagrams Prepare, Teach, Assess, and Close • Ideas for extending the lesson • Numerous teaching extensions: differentiated instruction, paths of inquiry, interdisciplinary content, online resources, assessment options, and more • Studio evaluation criteria • Critical thinking exercises Unit Rubrics and Summative Assessment • Support for differentiated instruction • Authentic assessment options for both art and non-art content • Cross-curricular connections • Unit Performance Tasks that help determine depth and breadth of understanding • Studio Exploration rubrics with a clear evaluation structure for studio work • Unit Concepts rubric for assessment of specific unit objectives

2 Explorations in Art, Middle School Student Books

Student Book includes: • 9 theme-based units • Brilliant fine art images • 54 studios with stellar examples of student artwork • Art criticism of fine artand student artwork • Technique illustrations • Artist biographies • Timelines • Globes and maps

Student Book, A Global Pursuit, Unit 8

Why do people make art? Introduce your students to art’s most fundamental concepts in

To express themselves To tell a story To make things look beautiful To remember important people the opening section, “An Introduction to Art.” Winold Reiss, Langston Hughes (1902–1967), Poet, ca. 1925. • Present—through inspiring images and simple text—art’s forms, purposes, subjects, themes, and media.

Mongollon (Casas Grandes style), Macaw Bowl, Tardio Period, 1300–1350. • Take a visual look at the elements of art and principles of design.

David Hockney, Garrowby Hill, 1998. To remember special times

To share feelings Reinforce concepts and skills through 54 engaging studios. Diego Rivera, Learning the ABC’s (Alfabetizacion), 1923–28. • Skills and techniques lessons in each unit allow in-depth coverage. • Carefully chosen fine art and student artwork supports the text. Anna Mary Robertson Moses, called Grandma Moses, Summer Party, 20th century.

Peter Paul Rubens, Portrait Study of His Son Nicolas, 1621. What other reasons do people make art? • Studio Exploration lessons in every unit focus on thoughtful, xx An Introduction to Art xxi relevant use of elements, principles, and techniques. Student Book, Introduction to Art • Art criticism exercises hone students’ skills in self and peer revision.

Watercolors Tempera Paints

Studio Background Studio Background Watercolor paints are transparent, and come in tubes or pans. Start with just a few basic colors, Tempera paints come in both liquid and powder form and in brilliant hues. They dry quickly, and then mix them to create a wider range. developing a dull, chalky appearance when dry. They can be layered to produce intense color.

• A wash is a thin layer of paint spread over Using Tempera Paints Review basic skills, techniques, and concepts through a large area. • Use a stiff bristle brush and short, swift • To mix a tint, add small dots of colored brushstrokes to paint large areas of color paint to white paint. first. the clear, comprehensive Student Handbook. • Revisit elements and principles.

A green wash • To mix a shade, add small amounts of black to a color. • Study a simplified chronology of Western art styles and • You can let a wash dry and then paint Paint large areas first. Notice how you can see one color through over it. Allow area to dry before adding small another in this watercolor painting. • details. Brushing large areas of wet paint Emile Nolde, Summer Flowers, 1930. • You can paint over a wash before it has dried. over dry paint will cause the paint to run. movements. Using Watercolors • To make a white area, do not apply paint. • To create sharp edges, apply wet paint to Let the white paper show through. dry paper. • To create soft edges, apply wet paint to damp paper. • To mix a new color, add small amounts of a • Refer to safety information and art forms. • Paint light colors first, darkest colors last. different color to the original color. • To create a light value of a hue, dilute the • When you change colors, wash, wipe, and paint with plenty of water. blot the brush. Do not dip the brush directly • To create a darker value, use more pigment into the bottle. and less water. Add small details after the paint dries.

This artist let the white paper show in some areas to create highlights. Once a bottle is opened, use it as quickly as Winslow Homer, Sunshine and Shadow, Prout’s Neck, 1984. • possible. Keep bottles tightly closed. Do not return unused paint to the bottles.

A dark value of blue

300 Student Handbook 301

Student Handbook

Davis Publications DavisArt.com 3 Unit Organization

Teaching and learning strands that work! All nine units in the student book follow this same structure.

Strand 1: Two lessons plus a Studio Exploration

Student Book, A Personal Journey, Unit 2

Fig. 2–4 What does this Fig. 2–8 Student artwork 2.1 UnitExploring X the Unit Theme image tell you about 2.2 UnitSkills and X Techniques 2.3 Studio Exploration — Drawing the life of a migrant Inspiration from Art agricultural worker? Dorothea Lange was known for She chose those photographs that Dorothea Lange, Migrant Recording Daily Life Agricultural Worker, Near Holtville, Shading Recording My Daily Life her “compassionate eye,” and her best captured the message that she California. Photograph, 1937, Snark/Art Resource, NY. ability to capture an image that could was trying to convey. In the darkroom The photographs on pages 32 and 33 and to capture the strength and courage of the Creating the Illusion of Form Have you In a black-and-white drawing, for example, Studio Background Step 1 Plan and Practice communicate the plight or hardships where she developed her film, she on these two pages are all artworks by human spirit, even in the most challenging ever noticed how some artists can draw black is the darkest value, and white is Dorothea Lange said that she lived a • Brainstorm on paper or with a classmate of others. She almost always had would decide how to crop, or frame, Dorothea Lange. Lange was an important situations. objects, buildings, and people so that they the lightest value. There are many values “visual life.” As she went about her daily a list of possible images from your her camera with her, but she didn’t each image to eliminate some parts and American artist whose photographs look three-dimensional, even though they of gray between black and white. Every photograph everything she saw. She emphasize others. Selecting What to Show One of routine, she paid attention to what she saw daily life. include records of the Great Depression, are drawing on a flat surface? One way imaginable color has a darkest value, a carefully observed the world and Dorothea Lange’s great strengths as an happening around her. What do you see Choose one that you can visualize well When Lange came upon Nettie one of the most difficult times in our that artists create the illusion of a three- lightest value, and a range of values in • selected scenes that she thought were artist was her selection of subject matter. happening when you go out into the world enough to draw. Featherston and her three children nation’s history. Lange’s compassion for dimensional form is through shading between. important to record. Subject matter refers to the people, objects, each day? (Figs. 2–11 and 2–12), the strong and the people she photographed allowed her techniques. • Will your drawing be horizontal or and other things shown in an artwork. Shading refers to the darkened areas, In this studio exploration, you will vertical? She often shot more than one determined mother had just sold her Value refers to the lightness or darkness of or shadows, on an object. Highlights create a drawing that records a scene photograph of a scene. Sometimes she car tires to buy food. Lange took six a color. Artists use value, or various tones refer to the area on a form that reflects from your daily life. When you leave Things to remember: stood back and shot from a distance, photographs, moving closer for each of a color, to create the illusion of three the most light. Artists who are making a and then moved in for closer views. image. your home, look around. Notice people’s P Fill the page with your drawing. dimensions. realistic drawing think about the actual activities, gestures, and body positions. Be P Use shading techniques to give the or suggested light source to decide where aware of settings—the objects, buildings, Shading techniques, such as hatching, Look for examples of hatching illusion of three dimensions. These two value scales show a to use shading, or darker values, and Observe or scenery that you see. Think of ways to range of values from white to where to use highlights, or lighter values. crosshatching, stippling, and blending, and crosshatching in Fig. 2–8. Notice how show these details in your drawing. P Pay attention to your light source black, and a range of values for Contrast is the use of strong differences allow artists to create gradual changes the artist created lighter and darker areas. and light and dark values. Where the color purple. between values. between light and dark areas. Artists use The closer together the lines are, the darker You Will Need will you place shadows? Where will different tools for different techniques. As the shading becomes. • sketch paper you place highlights? an artist, you should learn which tools are Tools: Fine-tipped drawing tools, such as • pencil best for which techniques and effects. pencils, markers, and a pen and ink. • eraser Hatching and Crosshatching • drawing paper Meet Dorothea Lange Hatching is created by using closely spaced, Dorothea Lange is known for her photographs of people who parallel lines. When the lines Practice: Hatching and Inspiration from Our World faced hardships. Lange was hired by the federal government are placed close together, they Crosshatching to document the plight of rural Americans during the Great create a dark area. When they Practice using both hatching and Depression and the dust bowl of the 1930s. are placed farther apart, they crosshatching techniques to create Lange traveled around the Midwest and West, which had create a lighter area. shadows and highlights on an object. been suffering severe drought. There she recorded the lives of Try using different tools, such as families who were forced to leave their farms and travel all over Crosshatching is created by using crossed • the country in search of work. parallel lines. Crosshatched pencils and markers. How does The highlight areas in this drawing suggest that the light source is on the right. each tool change the effect? Fig. 2–12 Dorothea Lange, Migrant Mother, Nipomo, California, Today her photographs are records of this time in America’s lines go in two different 1936. Gelatin silver print. Reproduced from the Collections of the Library of Congress. history. directions. When crosshatching, an artist begins “Pick a theme and work it to exhaustion…the subject by creating hatched lines. Then the artist Fig. 2–3 During the Depression, the families shown here lived beneath a giant billboard. Why do you think Lange must be something you truly love or truly hate.” Fig. 2–11 Compare this image with Fig. 2–12. Which photograph do crosses them with another set of lines. photographed the families from a distance? —Dorothea Lange (1895–1965) you feel is more dramatic? Explain your answer. Dorothea Lange, Three Families, Fourteen Children on U.S. 99, San Joaquin Valley, California, 1938. Gelatin silver print, 9 5/8" x 7 ½" (24.5 x 19.1 cm). Dorothea Lange, Migrant Agricultural Workers Family, 1936. Gelatin silver print. Reproduced The St. Louis Art Museum. Purchase: Museum Shop Fund. from the Collections of the Library of Congress.

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2.1 Continued Studio Time x.x2.2 Continued Studio Time 2.3 Studio Exploration Continued

Choosing Subject Matter All artists Deciding How to Show Subject Matter Fig. 2–9 How does Grant Wood use Illusion of Three-Dimensional Forms Step 2 Begin to Create Step 5 Share and Reflect must select what they want to record. Some After choosing a subject, an artist must Drawing Student Life stippling to create Experiment with different sketches Look at all of your sketches and Share your finished drawing, along with Make sure to talk about your decisions artists focus on special events or important decide how to show it. As Dorothea Lange Draw a scene from a typical school the illusion of three Create a drawing of an arrangement of • Choose the appropriate drawing tools • • • • people. Others show ordinary people doing did, an artist may choose to record close- day. dimensions? Notice interesting objects. for the techniques that you will use. of your subject. Then choose one cropping ideas before selecting an image your original sketches, with a group of to include some parts or exclude other the smooth transition that you want to refine using shading for your final drawing. classmates. parts. ordinary things, such as children playing up views of just a few people or views of a What will you show? What Draw the arrangement using any one Try to achieve a full range of value in • between the light • techniques. in the rain (Fig. 2–5) or doing the laundry faraway crowd. students will you include? Observe and dark values. of the techniques described in this your drawing. • As you work on your drawing, pay • Talk about your subject matter, and why • Reflect on what you learned in (Fig. 2–6). Grant Wood, In The Spring, Reflect on the range of values you were particular attention to value—light you chose to show it the way you did. this studio that you could apply to Settings are also important. The addition the people you want to draw. lesson. Remember that you will use 1939. Pencil on paper, able to show in your drawing. and dark areas. Where will you another art form, such as painting or How do artists who work without a of buildings, scenery, or objects helps put Make sketches of them in your 18" x 24" (45.7 x 61.0 these shading techniques to create the • Take turns telling why you chose a sketchbook to use in your final cm). Courtesy of The Butler illusion of three-dimensional form. place shadows? Where will you place particular sketch. photography. camera remember what they have seen? people and events into a recognizable Institute of American Art, drawing. Youngstown, Ohio. ©Estate highlights? Some artists train themselves to observe world. To highlight certain features or of Grant Wood/Licensed by Fig. 2–10 Student artwork carefully. Other artists make some sketches draw attention to certain parts of an • How will you organize your VAGA, New York, NY. on the spot. Later, they select what to show artwork, the artist can create contrast by drawing? Remember to include Art Criticism background and objects that will in their final artwork. experimenting with light and dark. What did the artist choose show a typical school day. What Describe Name as many things as you Interpret to show in this artwork, and why? details will you include? can identify in this artwork. Will you show lots of details, or will you • Evaluate How effective is this artwork • Experiment with pencil, marker, focus on the overall shapes and forms? Analyze What shading techniques did and charcoal to determine the type the artist use? Where do you see light in creating the illusion of three Fig. 2–6 How does the setting make this a scene from Decide whether you want to show your of line quality that will work best • values? Where do you see dark values? dimensions? daily life? subject up close or from a distance. Suzuki Harunobu, Drying Clothes, 1767–68. Color woodcut on paper, 11" x 8" for your subject. Step 3 Revise (28 x 21 cm). Philadelphia Museum of Art. Stippling Stippling uses patterns of dots Blending Blending is a shading technique Try using strips of paper to frame, Reflect on how well your drawing • to create values and gradual in which you rub or crop, your sketches. Cropping shows a typical scene in your school. Did you remember to: changes in values. from dark to light to to the outside edges of a sketch can Check Your Understanding create a gradual give you a distance view. Cropping to a P Fill the page with your drawing? 1. Why is setting important in change in value. smaller part of a sketch can give you a P Use shading techniques to give the Observe Find examples of light and dark close-up view. illusion of three dimensions? artworks that record daily life? Observe Look at this example of blending. values in Fig. 2–9. Notice how the closer Practice: Blending Check Your Understanding 2. Compare and contrast the How do the techniques P Pay attention to your light source the dots are, the darker the value. Dorothea Lange photographs on help to create the illusion • Using one tool at a time, create an 1. Explain how you would use each and light and dark values to show pages 32 and 34. How are they Tools: Fine-tipped drawing tools, such as of three dimensional area of color on drawing paper. shading technique to create light and shadows and highlights? similar? How are they different? pencils, markers, and a pen and ink. forms? • Rub the area with your fingers, a dark values. tissue, or a cotton swab. 2. Compare and contrast two 3. Select an artwork in this lesson Adjust your work if necessary. In your Tools: A soft drawing tool, such as a soft paintings in this unit that have the and explain how the artist provided • Work from dark to light to show a sketchbook, make a note of your revisions lead pencil, charcoal, or colored chalk. illusion of three dimensions. How are us with a record of that time and Practice: Stippling gradual change in value. and why you made them. the techniques that the artists used place. Begin with wide spaces between • Then choose one of the tools and Fig. 2–5 What ordinary events did the artist John Biggers choose to show in this painting? • to create depth similar? How are they the dots. create a practice drawing of an Step 4 Add Finishing Touches John Biggers, Shotgun, Third Ward #1, 1966. Oil on canvas, 30" x 48" (76.2 x 121.9 cm). Smithsonian American Art Museum, Washington, DC/Art Resource, New York. different? Fig. 2–7 Student artwork object. • If you want to give special attention to • Then gradually add more dots. 3. Why does creating the illusion • Try using an eraser to create a part of your drawing, use contrast, or • Now use the stipple technique of form make artworks seem more big differences in value, to help direct highlights. Fig. 2–13 Student artwork to practice drawing an object. realistic? the viewer’s attention.

36 Unit 2 Artists Are Recorders 37 40 Unit 2 Artists Are Recorders 41 44 Unit 2 Artists Are Recorders 45

Unit Overview Lesson 1 Lesson 2 Lesson 3 Exploring the Unit Theme Skills and Techniques Studio Exploration • Introduces the unit theme and objectives • Shows how a universal • Provides background and • Reinforces concepts and • Includes two large theme has been basic information about an skills learned in previous fine art images interpreted by many element or principle, art two lessons different artists form or medium, process • Inspires students with fine • Relevant text captures or technique reader interest • Explores the theme in depth art and everyday visual • Profiles an artist and • “Observe, Tools, Practice” culture examples offers a Studio Time, a sequence models good • Culminates in an Art Criticism hands-on lesson illustrated studio habits exercise using exemplary with student work • Studio Time allows student work experimentation and develops skills needed for the Studio Exploration that follows

4 Explorations in Art, Middle School Strand 2: Two lessons plus a Studio Exploration

Photographing Urban Life New York Contemporary Approaches Mary Ellen Fig. 2–21 What lines, 2.4 UnitArt History X and Traditions 2.5 UnitGlobal X View shapes, and colors are 2.6 Studio Exploration — Still Life Drawing Unit 2 Connections artist James VanDerZee looked at urban Mark is a contemporary photographer repeated to create Inspiration from Art Careers Art Historians African American culture through the whose subject matter includes genre visual rhythm in this Many artists choose to paint simple, products to buy and use. Artist James Art historians are concerned Who used it, and for what? What can lens of a camera. His black-and-white scenes of everyday life across society. Like Haitian daily life scene? ordinary objects from daily life. Pop Rosenquist sometimes layered his with the history of art and its we learn from it now? Art historians Genre Scenes of Daily Life photographs display a wide range of Dorothea Lange, she is known for her Genre Paintings: Focus on Haiti The Objects of My Life Language Arts Philomé Obin, Bal en Plein artists of the 1960s often focused on still-life objects. In other paintings, he Music relationship to our culture. Art usually earn a graduate degree. Often, values, from dark to light (Fig. 2–15). ability to capture the human spirit of her Air (Outdoor Dance), 1958. Daily Scenes in Haitian Art in the world. These paintings serve as Studio Background Step 1 Plan and Practice everyday popular objects. These artists painted objects individually around the Writing has long been a method historians work like detectives, trying they become experts in a particular We can learn a lot about the way people VanDerZee’s photographs of daily life in subjects. Haitian Oil on masonite, 24" x 29 ½" live, work, and play just by looking at genre paintings, or scenes of daily life, records of daily life in Haiti. Look at the (61 x 75 cm). Milwaukee Art sometimes expressed a point of view canvas. Why do you think this artist for recording events, people, to find out as much as they can about subject, style, culture, time period, art Museum, Gift of Mr. and Mrs. If someone found your book bag and You may want to choose objects you Harlem span fifty years, from the early • and beliefs. For the ancient artworks from the past. They ask form, or medium. artworks. Throughout history, artists have Mark’s subject matter includes a wide are common subjects of Haitian art. They three paintings on these pages. What Richard B. Flagg (M1991.142). emptied its contents, what clues to your have with you, such as a book bag, about how daily life is surrounded chose to paint something as ordinary 1900s to the 1950s. Mesoamerican and South American questions like these: Who made this recorded the daily life activities of the variety of people, from the party goers are among the most valued artworks by scenes from daily life do you see in each life would those contents provide? We or your shoes, or objects from the by an ever-increasing assortment of as dishes in a dish drainer? people around them. Art historians call VanDerZee is, however, particularly in Fig. 2–16 to people living in poverty museums, galleries, and private collectors painting? people, writing was a way to record artwork? What is it made of? rarely think about objects as historical classroom. Fig. 2–26 In this such artworks genre scenes. Genre scenes known for his photographs of the Harlem in both urban and rural environments. religious beliefs and keep track of records, but archeologists and historians • Think about how you might want to painting, how did Fig. 2–30 Compare this are scenes that show people doing ordinary Renaissance. The Harlem Renaissance Mark establishes trust with her subjects Fig. 2–20 What does this the artist show time. These people created books, painting from the 1500s with picture show about daily often rely on them as they piece together organize the objects. Will one object be refers to an era during the 1920s and in order to capture them in their everyday which objects called codices, whose pages were made the work of Inatace Alphonse activities at work and at play. life in this Haitian home? evidence of how people once lived. 1930s in Harlem when there was a lives, whether they are rodeo performers, the center of interest? are closer and from bark paper or deerskin arranged (pages 52 and 53). What From artworks, we know about work in Louverture Poisson, The Lesson, which objects are could an art historian learn 5 like a folding screen. They used signs renewal of the creative and intellectual carnival workers, or a homeless family c. 1946–47. Oil on masonite, 14 /8" x In this studio exploration, you will farther away? from each artwork? ancient Egypt and games in ancient Greece. 20 ¼" (37 x 51.4 cm). Milwaukee Art draw a still life that “says” something Things to Remember: and pictures, rather than words, to contributions of African Americans. living in a car. Museum, Gift of Mr. and Mrs. Richard James Rosenquist, Pieter Bruegel the Elder, The Wedding We also have some idea of what the interior Dishes, 1964. Oil on B. Flagg (M1979.22). about you. A still life is an arrangement of P Focus on the main shapes and record what was important to them. Dance, 1566. Oil on panel. City of Detroit of people’s homes looked like in Holland in canvas, 50" x 60" (127 Purchase, Detroit Institute of Arts. objects that are not alive and cannot move. forms first. x 152.4 cm). © James the 1600s (Fig. 2–14). Since the invention Rosenquist/Licensed by Fig. 2–29 Blues guitarist B. B. King You will select and arrange objects that P Use value and contrast to direct the VAGA, New York, New of photography in the late 1800s, some Rose Archive. suggest who you are, how you live, and attention of your viewer. York. artists have also used cameras to record what you care about. Music can also serve as a record daily life. Visual Rhythm Look at Figs. 2–21 and P Use shading techniques to give the 2–22. Notice how each has a sense of You could choose items from home and illusion of three dimensions. of a specific time or place. Music movement and rhythm. Visual rhythm is school, such as knickknacks, a favorite often reflects a unique culture or created when an artist repeats an element, cup, a book, or photographs. You may time in history. For example, the such as a color, line, or shape. What want to choose natural objects, such as blues are an African American Fig. 2–14 Where do you see examples of shading and musical invention. highlights in this painting. Where is the light source? elements are repeated in Figs. 2–22 and shells, rocks, and twigs. Open up your 2–24 to create a sense of visual rhythm? Gabriel Metsu, The Letter Reader, 1662–65. Oil on panel, 20 ½" x 16" (52.07 x imagination and find things that really tell Because the blues originated with 40.6 cm). Reproduced courtesy of the National Gallery of Ireland. about you. African Americans, many of the Daily Life Fig. 2–31 Report card ca. 1954 Rose Archive. You Will Need origins of blues music can be traced Fig. 2–16 What makes this image look informal? Where do you see dark Visual Culture back to African cultures. What do People keep many kinds of and light values? Social Studies Connection • drawing paper records. What kinds of records of 1896 Look for examples of visual rhythm in you think that people in the future Mary Ellen Mark, Gibbs Senior High School Prom, St. Petersburg, Florida, 1986. Photograph, Mary PACIfIC ATLANTIC 1662–65 1838 The first motion 1938 1995 OCEAN OCEAN signs, advertisements, and packaging. • pencil and eraser you do you think your school and Ellen Mark Library, New York. Published by CRIZMAC Art and Cultural Education Materials. Haiti is a small country in the Caribbean’s West Inspiration from Our World may learn about your generation Metsu, The First permanent picture shown in a The first Mark, Indies. It covers the western third of the island Remember that book covers are considered markers, colored pencils, or pastels family have? Your school probably Letter Reader photographic image movie theater ballpoint pen High School Prom • by listening to today’s popular music Fig. 2–15 Where do you see a contrast in values? of Hispaniola. Christopher Columbus started a form of packaging. variety of objects has grade reports, text scores, school What is the center of interest? • for young people? a Spanish colony there in 1492. Most of Haiti’s 1600s–1700s 1800s 1900s • flashlight or other light source photos, and letters from your parents James VanDerZee, Miss Suzie Porter, Harlem, 1915. Gelatin silver people are descendents of Africans brought print. © Donna Mussenden VanDerZee. (optional) and teachers. Your parents may ATLANTIC Cuba to the island as slaves in the 1500s. In 1697 1704 1877 1915 1951 1999 OCEAN have your birth certificate, medical Cap Haitien Haiti became a French colony. The country has The first issue of the Thomas Edison VanDerZee, The first Lovell, Whispers Fig. 2–22 Coumbite is Haitian Creole for “communal records, photographs, and special Boston News-letter, invents the first Miss Suzie videotape from the Walls been independent since 1804. Today, most of activity.” How did the artist place light and dark areas to Fig. 2–28 Ancient peoples also carved their America’s first continuously machine to record Porter recorder Haiti Puerto keepsakes from your childhood. the people are farmers who grow such crops as give you a feeling of rhythmic movement? What else did writing on statues and architectural features. published newspaper sounds. Dominican Republic Rico coffee, corn, sugar cane, and sisal. the artist do to create a sense of rhythm and movement? Pre-Columbian Guatemala, Zoomorph P from Quiriga, ca. 300–630. What kinds of records do you keep Courtesy Davis Art Images. Port-au-Prince Castera Bazile, Coumbite Communal Fieldwork, 1953. Oil on masonite, 24" for yourself? x 19 ¼" (61 x 49 cm). Milwaukee Art Museum, Gift of Mr. and Mrs. Richard B. CARIBBEAN SEA Flagg (M1991.106).

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Fig. 2–18 The artist installed this scene in a museum Continued gallery. Why might he have been interested in controlling 2.5 Continued Check Your Understanding 2.6 Studio Exploration Continued Unit 2 Vocabulary and Content Review Art Criticism 2.4 the lighting to create highlights and shadows? Whitfield Lovell, Whispers from the Walls (table and vanity installation view), 1. Find and describe examples of Fig. 2–33 Where Installations as Temporary Records Figs. 2–17 and 2–18 show two different 1999. Photo by Steve Dennie/University of North Texas Press. Courtesy DC Moore Viewing Genre Scenes as Records and bustle of people going about their daily how the Haitian painters featured do you see Gallery, New York. Step 2 Begin to Create Step 5 Share and Reflect Some artists use installation art to views of Whispers from the Walls, an Notice Figs. 2–23 and 2–24 by Inatace activities. Look for examples of repeated in this lesson used dark and light highlights and Vocabulary Review Write About Art shadows? document daily life. Installation art is installation created by Whitfield Lovell. Alphonse, a contemporary Haitian artist of colors, shapes, and lines in each artwork. values to create the illusion of three- • Begin by arranging your objects. • Next, add color and detail. How can • Share your finished drawing with one • Describe the way you used value and Match each art term below with its Discuss what elements the artist Chicago Mural Group, Study Lovell’s use of value in his charcoal genre scenes. First, look at each painting as These repeated elements create a sense of As you decide where to place you use color to help emphasize the or more classmates. contrast to direct the attention of your usually a temporary exhibit, large in Meet Whitfield Lovell dimensional forms. Latino and Asian- a record of daily life in Haiti. What can you visual rhythm and movement. them, think about the parts of the important parts of your drawing? viewer. definition. chose to show in this genre scene of American History, scale, which includes both two- and three- drawings of people in Fig. 2–17. 2. • Talk about the objects in your drawing Born in the Bronx, in New York City, Find examples of visual rhythm in arrangement that you want life in rural Spain in the late 1700s. 1974. Left detail: dimensional objects. learn about life in Haiti by looking at these and how you decided to show them. How would you change your artwork if value Hispanic Immigration Lovell’s control of the dark and light values Whitfield Lovell documents rural African Finally, look for examples of shading the artworks of two different Haitian • two paintings as records of Haitian life? to emphasize in your drawing. you were to create another version? hatching How did the artist use light and dark by Oscar Martínez. Artists create installations with real objects makes the people in his drawings seem like American life of the past in his artworks. and highlights. Alphonse uses bright colors artists in this lesson. Compare and • What do the objects say about you? values to focus our attention? (912 West Sheridan, Lovell learned about photography from his Identifying the Artist’s Techniques with strong highlights and carefully blended contrast how each artist created a • Experiment with lighting. Shine What do they say about the time in highlights Chicago) in a section of a museum or gallery. Because ghosts coming through the walls. He also a light onto the arrangement from a installations are usually temporary, a uses carefully placed spotlights to create father, an amateur photographer. His father Next, look at each painting for examples of values in both images. Find examples in sense of movement and rhythm. which you live? stippling also taught him to pay attention to the way particular direction, such as from above contrast between highlights and shadows. visual rhythm. Each of these two paintings each artwork of how this shading technique 3. subject matter photograph of the installation often shapes, values, and colors work together. Compare and contrast the artwork or one side. How can you use the light to becomes the permanent record of the captures the movement and action of the helps to create the illusion of three of Inatace Alphonse with the Check Your Understanding create shadows and contrast? 1. a shading technique that uses artist’s creation. Lovell likes to go to flea human figures on the canvas. Notice in Fig. dimensions on a two-dimensional artwork. artworks of the earlier artists in this markets. There, he collects Art Criticism patterns of dots 1. What are genre scenes? 2–23 how the artist captures the hustle Fig. 2–24 Note how the figures fill the canvas. How did the lesson. How did each artist document objects from the past to include artist use dark and light values to give the figures three- • How can you use value and contrast Describe What objects did the artist Interpret Why do you think the artist 2. a shading technique that is created 2. Compare and contrast the people in his installations. dimensional form? daily life differently? to direct your viewer’s eye? include? What details did the artist chose each object? How would you by using parallel lines and objects in Whispers from the Walls Inatace Alphonse, Market, 1990s. Acrylic on canvas, 12" x 12" (31 x 31 cm). with the people and objects shown in “I enjoyed the fact that my Courtesy of the artist. Reproduced with permission. • Decide which details of each object you choose to show from each object? describe what interests this artist? 3. the area on a form that reflects the father and I shared the trait want to show. Will you include all of the Describe What do you see in this mural? Interpret What ideas about daily life The Letter Reader on page 46. Analyze Explain how the red fabric Evaluate How effective is this artwork most light of being particular about details, or only the most obvious ones? Analyze How did the artist use does this artwork communicate? 3. visual things.” York. New Courtesy DC Moore Gallery, helps create unity. Find examples of in showing three-dimensional forms? 4. the lightness or darkness of a color Why is photography a good way to Meet Inatace Alphonse Studio Time highlights and shadows to create the Evaluate Why or why not would you different values that help to create the How effective was the artist in creating document daily life? — Whitfield Lovell (born 1959) Step 3 Revise 5. the people, objects, and other illusion of form? consider this a genre painting? Alphonse was born in Port- illusion of three dimensions. an interesting composition? Explain au-Prince, the capital of Create a pencil sketch when you are things shown in an artwork • your answer. Haiti. Alphonse’s paintings, Record Your Daily Life satisfied with the arrangement and Did you remember to: valued by collectors around Paint a scene from your daily life. lighting. P Focus on the main shapes and Fig. 2–27 Student artwork Studio Time the world, demonstrate To begin, choose his talent for capturing the • forms first? Meet the Artist For Your Sketchbook a scene, make Aesthetic Thinking movement and action of P Use value and contrast to direct the Oscar Martínez was Use your daily life to inspire future sketches, and plan Records of the Past the human figure on canvas. attention of your viewer? What makes a photograph an born in Mayagüez, artworks. Keep a list of words

Courtesy of the artist and the Haitian Art Collection, Art Collection, Courtesy of the artist and Haitian Florida. Del Ray Beach, Alphonse's genre paintings your composition Puerto Rico. He lives Make a drawing showing what daily life was like P Use shading techniques to give the artwork? What types of photographs and phrases, as well as sketches in the past. of contemporary life in Haiti are known for in pencil. would not be considered artworks? in Chicago, Illinois, their vibrant colors and visual rhythm. illusion of three dimensions? Fig. 2–32 Francisco Goya y Lucientes, Boys Climbing a Tree, 1792. where he founded and photographs, that you find Use dark and light Oil on canvas 55 ½" x 43 7 10" (141 x 111 cm). Museo del Prado, Use a family photograph or magazine cutout • / the Latin American interesting or that inspire you. • “I paint the Haiti of my childhood, values to create Madrid, Spain. Scala/Art Resource. as inspiration. Museum of Art. everyone working together to help the illusion of • Focus on the main shapes and forms Adjust your work if necessary. In your What people and objects will you include? each other.” • three dimensions. first. Lightly sketch the outlines. Then sketchbook, make a note of your revisions For Your Portfolio What kind of background setting will you — Inatace Alphonse (born 1943) add smaller shapes and forms as needed. and why you made them. “My artwork is about creating the • Reflect on your color appearance of stories and dramas that draw? Review your artworks from this choices. • Don’t worry about details at this point, are based on reality, dreams, and the Step 4 Add Finishing Touches unit. Look for effective examples of • You may choose to add color to your drawing as you will focus on those later. shading to create the illusion of form, imagination.” when it is finished. Are there any details of your objects that — Oscar Martínez (born 1950) Fig. 2–19 Student artwork Fig. 2–25 Student artwork • Fill the paper with your sketch. • and repeated lines, colors, and shapes you want to add? Reflect on ways your drawing shows the past. Fig. 2–23 Compare and contrast this painting of communal workers with the one by Castera Bazile in Fig. 2–22. to create the sense of visual rhythm. Fig. 2–17 What catches your eye in this bedroom scene? How is the sense of movement different in each work? • Can additional shading techniques help Whitfield Lovell, Whispers from the Walls (bedroom installation view), 1999. Photo by Steve Dennie/University of North Texas Press. Courtesy DC Moore Gallery, New York. Inatace Alphonse, Harvest with Cows, 1990s. Acrylic on canvas, 11" x 14" (28 x 35.6 cm). Courtesy of the artist. Reproduced with permission. to make your objects appear to be three- dimensional? 52 Unit 2 Artists Are Recorders 53 48 Unit 2 Artists Are Recorders 49 56 Unit 2 Artists Are Recorders 57 60 Unit 2 Artists Are Recorders 61

Lesson 4 Lesson 5 Lesson 6 Connections/ Art History and Traditions Global View Studio Exploration Vocabulary & Content Review • Includes timeline of theme- • Includes map of area profiled, • Reinforces concepts and related historical events; puts plus globe for larger context skills learned throughout unit • Helps students see art’s lesson’s fine art in context • Introduces students to art • Inspires students with fine relevance to other subjects • Shows how artists across of a cultural group art and everyday visual and to students’ own lives time and place respond to • Profiles an artist and offers culture examples • Reviews unit vocabulary; a theme through their art a Studio Time hands-on • Culminates in an Art Criticism includes writing and art • Profiles an artist and offers a lesson skill-building exercise using criticism exercises Studio Time hands-on lesson exemplary student work • Provides sketchbook, portfolio, and aesthetic thinking prompts

Davis Publications DavisArt.com 5 Learn about the unit structure in each Student Book and Teacher Edition, Unit Preview as you view these pages from A Personal Journey, Unit 2.

The Unit Preview introduces each unit and helps the teacher introduce the unit theme and learning objectives to students.

The Human Experience Each unit is organized around a universal theme or enduring idea that is shared by people across time and place.

Art and the Human Experience Each unit focuses on how artists across time and place have experienced the theme.

Strands Each unit theme is divided into two strands that help students experience the theme from two different perspectives.

Fine Art Fine art on these pages gives you examples, in a variety of media, of how artists across cultures and time periods have responded to a universal theme.

Teacher Edition, A Personal Journey, Unit 2

6 Explorations in Art, Middle School Unit Objectives Each unit is organized around four learning objectives:

Learn about artworks. Students learn the significant role that art plays in our lives and in society.

Learn how artists communicate. Students learn how artists communicate ideas using the elements of art, principles of design, skills and techniques, and forms and media.

Experience the theme as artists. The nine studio activities in each unit provide an opportunity for students to express their understanding of the unit theme, while practicing the specific skills and techniques that artists use to communicate.

Experience the theme as viewers of art. Like creating art, the viewing of art is a skill that can improve with practice. Each unit includes numerous artworks from across time and place to help students learn how to view and discuss artworks. Art criticism questions based on both fine art and student artworks are also included.

Art Concepts Elements and principles, skills and techniques, and forms and media are introduced and reinforced throughout each unit. Students learn how these concepts work together to create effective artwork and convey artists’ messages.

Davis Publications DavisArt.com 7 Unit Planning Guide

At-a-glance planning assistance is here, at your fingertips!

Teacher Edition, A Personal Journey, Unit 2

Strand 1 Review both strands within the unit, and clearly understand the intentions of each.

Key Concept: A guiding concept for each strand helps clarify broad learning objectives and maintain unit focus.

Objectives Preview objectives, lesson by lesson, to coordinate with your overall curricular goals.

Artworks See the images—fine art, student work, and more—that appear in each lesson, to speed preparation and discussion planning.

Studio This section lists the art form students will be exploring in the studio portion of the lessons and the suggested medium or media to use. Media may, of course, be adjusted according to your available supplies.

Supplies Supply lists help you plan your unit needs.

8 Explorations in Art, Middle School Lessons Check pacing and other important details of each lesson. Lesson page numbers are included for ease of use.

Connections Preview the images and conceptual links between other disciplines, careers, and daily life that you’ll be presenting to students.

Vocabulary and Content Review Preview the fine art for the Write About Art and Art Criticism exercises, and review unit vocabulary.

Unit Vocabulary Teachers can view the Unit Vocabulary at a glance.

Davis Publications DavisArt.com 9 Unit Overview

In this 2-page lesson, students begin to experience the theme, objectives, and art concepts by viewing and discussing two artworks.

Teacher Edition, A Personal Journey, Unit 2

Prepare Unit Theme Unit themes are based on universal themes common to the human experience. Students learn how artists experience and communicate these enduring themes.

Unit Focus Review the overall intention of the unit, including what students will study, how they will incorporate what they learn in their studio work, and major concepts to emphasize.

Unit Vocabulary All highlighted words in the unit, in English and Spanish.

Teaching Options Strategies offered in this yellow bar allow you to move beyond the scope of the text, adapting lessons to your students’ skill levels, offering background information and extensions, and highlighting relevant ancillary materials.

Teaching Through Inquiry Challenge students with extensions that require critical thinking in aesthetics, art history, art criticism, and studios.

10 Explorations in Art, Middle School Unit Preview for Students Students can review unit objectives related to art concepts, art production, and viewing art.

Teach Engage A quick exercise to spark student interest and introduce the theme.

Read the Text Questioning strategies focus students on the introductory text after reading, and also serve as discussion-starters.

Explore the Art Here you’ll find strategies for engaging students with the artworks on the spread. Possible answers to questions asked in image captions are provided here.

Close Final questions for discussions help reinforce what’s been learned in the lesson and relate it to students’ lives.

Extend the Lesson Thought-provoking questions and activities take students further in their understanding of the unit’s main theme.

Compare and Contrast Encourage students to compare and contrast the two artworks shown by using a Venn diagram. Suggested entries for the diagram are included.

Davis Publications DavisArt.com 11 Lesson 1: Exploring the Unit Theme

This 4-page lesson introduces students to some of the many ways artists have explored the theme through art. An artist’s biography, a Studio Time lesson, and end-of-lesson assessment are always included.

Teacher Edition, A Personal Journey, Unit 2

Prepare Strand 1 About the Artist Teach Pacing Estimated time it Each unit includes two Background about featured Engage These discussions will take to teach the lesson. strands. Each strand artists gives you additional serve to activate students’ prior Teaching styles vary, so use the provides a specific focus discussion points or ways to knowledge and to introduce pacing estimates as guidelines on the unit theme. help students understand the lesson theme and concepts. rather than rules. the artists’ work. Discussions are designed to make lesson concepts relevant Objectives Concept mastery, to students. use of vocabulary, and studio Teaching Options work expectations are outlined. Strategies offered in this yellow Read the Text Read-and- bar allow you to move beyond question sequences reinforce Vocabulary Highlighted the scope of the text, adapting critical reading skills. in yellow in the student text, lessons to your students’ skill lesson vocabulary is provided levels, offering background Explore the Art Questions in English and Spanish with information and extensions, and and discussion help students an English definition for each highlighting relevant ancillary learn to look carefully and word. materials. make analysis habitual.

12 Explorations in Art, Middle School Teach (continued) Critical Thinking Questioning strategies urge students to Assess synthesize disparate facts, determine likely conclusions, and A quick assessment of see that there is often more than one “right” answer in art. the lesson objectives.

Studio Evaluation Supplies Teaching Options Close Criteria A quick list of basic materials Differentiated Instruction Questions and short What to look for in finished needed for the Studio Time Additional or alternate activities exercises help students studio work for this lesson. activity. for your advanced or special retain what they’ve Share criteria with students needs students, Spanish-speak- learned and apply it to at the start of the studio ers, English language learners, their lives. activity to set clear Create: Studio Time or those who need extra help. expectations. Background and support for the Check Your initiation of the studio activity. Interdisciplinary Connections Help students see parallels Understanding between art and language arts, Possible answers to questions performing arts, and other in the student text. curricular areas.

Teaching Through Inquiry Exercises in art criticism, art history, aesthetics, and art production engage students in careful analysis of artworks, styles, media, and the world around them.

Davis Publications DavisArt.com 13 Lesson 2: Skills and Techniques

This 4-page lesson gives students hands-on experience with a vital technique, major art form, or basic skill. Careful observation and practice are emphasized. A Studio Time lesson and assessment are always included.

Teacher Edition, A Personal Journey, Unit 2

Prepare Teaching Options Practice Everything you need to Color Coding Color coding helps you Brief, focused exercises help familiarize get ready for the lesson: find the options you prefer quickly. students with media, techniques, and suggested pacing, processes they will use throughout the objectives, and vocabulary. Brown titles indicate resource lists. unit and the year. Before practice begins, the text prompts students to observe Green titles are connections to Language artwork on the page and acquaint them- Engage Arts, Reading Comprehension, Grammar, selves with the tools they’ll be using. Activate students’ prior knowledge and Vocabulary, or Writing Process. introduce the lesson theme and concepts through quick, middle school-friendly Purple titles are assessment options. activities. Related questions are designed to make lesson concepts relevant to students. Dark Blue titles indicate inquiry, art history, artist background, or other general topics.

14 Explorations in Art, Middle School Create: Studio Evaluation Teaching Options Check Your Studio Time Criteria Assessment Understanding Get students started on the Reminders of what to look for Choose from teacher-based, Answers to the end-of-lesson studio activity that accompanies in students’ finished artworks. peer-based, or self-assessment assessment are provided here. this lesson. The activity makes techniques to determine how use of the skills students have well students understand the practiced during the lesson. lesson’s concepts.

Davis Publications DavisArt.com 15 Lesson 3: Studio Exploration

Each strand ends with a Studio Exploration. The 4-page studios provide cumulative reinforcement and exploration of lesson concepts. A 5-step studio process guides students through the creative process.

Teacher Edition, A Personal Journey, Unit 2

Prepare Art Form Explore the Images Create: Studio Everything you need to get The art form used in the Studio Use the images labeled Inspi- Exploration ready for a meaningful studio Exploration is clearly stated at ration from Our World to help Step-by-step support for the experience is here, including the top of the student page for link the studio art concepts to students’ creative process timing, objectives, supplies, easy reference. scenes or objects students un- begins on this first spread and vocabulary. derstand. Discussion questions and continues on the second in the Teacher Edition help spread. focus students on how these Studio Background images relate to the Studio Step 1: Plan and Practice Exploration. This section introduces stu- Planning suggestions help dents to the basic concepts students think carefully before and expectations of the Studio they begin, and prevent rushing Exploration, suggests possible through the Studio Exploration. ideas, and lists the materials students will be using.

16 Explorations in Art, Middle School Step-by-Step Illustrations Clear illustrations help clarify studio techniques and strategies.

Create: Studio Exploration Assess Art Criticism These strategies help students work Guidelines for a quick, informal Art Criticism based on student artwork through the 5-step creative process. assessment of lesson objectives. provides students with a safe model for Note: A complete Studio peer revision and assessment. Large, Step 2: Begin to Create Clear illustrations Exploration Rubric is available well-crafted student work offers inspiration outline the major steps in the process. at the end of each unit. and motivation. Possible answers to Art Criticism questions are available at point Step 3: Revise Things to Remember of use. checklist makes omission less likely. It Close prompts students to slow down, look Suggestions for ways to help students at their work more carefully, and make retain and expand upon what they’ve adjustments to match expectations. learned.

Step 4: Add Finishing Touches Coach students through the addition of crucial details and emphasize good artistry.

Step 5: Share and Reflect Strategies for encouraging discussion, analysis, the use of appropriate art vocabulary, and planning for future art-making.

Davis Publications DavisArt.com 17 Lesson 4: Art History and Traditions

These lessons explore the unit theme in the context of history.

Teacher Edition, A Personal Journey, Unit 2

Strand 2 Time Line Teaching Options Using the Time Line With this lesson, a new Significant theme-related Lesson Resources Check The Teacher Edition includes strand begins, culminating events engage students. the maps, artist biographies, strategies for meaningful use in a Studio Exploration. Artwork from the lesson reproducible activities, and of the time line. is identified and placed in assessment materials that context along the time line. supplement the text. Teach Teaching Through Inquiry Read the Text Explore Art history, criticism, and art styles and movements Prepare aesthetics activities help highlighted in the text. Lively, Vocabulary Learn the reinforce text concepts. informative text focuses on art terms associated with major artists and events. particular art styles, move- About the Artist ments, and time periods. Background about artists Explore the Art Vibrant fine mentioned in the text provide art brings the period, style, or you with additional teaching theme alive for students. approaches.

18 Explorations in Art, Middle School Supplies Assess Be prepared with point-of-use lists of necessary Evaluate understanding of both text materials and tools for Studio Time. content and the Studio Time art activity.

Studio Evaluation Studio Time Teaching Options Close Criteria Exemplary student work Assessment Options Multiple Tips for summing up the Check a list of suggested provides inspiration and approaches to assessment— lesson and reinforcing expectations for the Studio motivation for students. peer, self, and teacher-based— concepts. Time lesson before students offer maximum flexibility. begin. Check Your Studio Option Explore other Understanding ways to reinforce or extend Three questions check lesson concepts through recall and synthesis of hands-on activities. lesson concepts.

Davis Publications DavisArt.com 19 Lesson 5: Global View

This lesson highlights a world culture and its traditions and art, exploring them within the context of the unit theme.

Teacher Edition, A Personal Journey, Unit 2

Captions Explore the Art Using the Map Teaching Options Image captions include Image-specific discussions help Tips and questioning Social Studies Connection thought-provoking students look more closely strategies help hone skills These activities encourage questions. and observe more carefully. in map-reading, inference, deeper understanding of the and critical thinking. featured culture through collaborative work. Maps The lesson includes two maps: Visual Culture a regional map showing Focused questions and a countries, cities, and land hands-on activity help make forms related to the featured students aware of the images area, and a globe showing and designs that surround the featured culture’s overall them nearly all the time. An position. emphasis on critical analysis helps students become more visually discriminating.

20 Explorations in Art, Middle School Meet the Artist Capsule biographies help bring featured artists to life for students.

Create: Studio Time Carefully-crafted activities encourage students to respond to or acknowledge the art of the featured culture while creating art that is based in their own cultural traditions.

Davis Publications DavisArt.com 21 Lesson 6: Studio Exploration

Lesson 6 is the unit’s second Studio Exploration. It may incorporate skills and concepts learned in any of the preceding lessons in the unit. The four-page studios provide cumulative reinforcement and exploration of lesson concepts.

Teacher Edition, A Personal Journey, Unit 2

Prepare Teaching Options Things to Remember Everything you need to get This yellow-tinted section provides Checklist helps students keep overall ready for a meaningful studio additional or alternative approaches, objectives and expectations for the experience is here, including resources, background, and ideas to a lesson in mind. timing, objectives, vocabulary, consider as you plan for this lesson. and supplies. Lesson Resources A list of available ancillary materials appropriate for this Studio Evaluation Criteria lesson. This helpful checklist provides reminders Studio Background of what to look for in finished student This section introduces students to the Differentiated Instruction Strategies artwork. Note: A complete Studio basic concepts and expectations of the for adapting or extending the lesson for Exploration Rubric is available on the Studio Exploration, suggests possible advanced, special needs, or other learners. Unit Rubrics and Summative Assessment ideas, and lists the materials students page. will be using. More About… Background on art, artists, techniques, materials, or processes helps make you an expert on the subject being taught.

22 Explorations in Art, Middle School Assess Guidelines for a quick, informal assessment of lesson objectives.

Teaching Options Close Art Criticism Digital Option Technology alternatives Suggestions for ways to help students Art Criticism based on student artwork provide extensions for Studio Exploration retain and expand upon what they’ve provides students with a safe model for lessons. learned. peer revision and assessment. Large, well-crafted student work offers inspiration Assessment Options Peer, self, and and motivation. Possible answers to Art teacher-based strategies help you check Criticism questions are available at point comprehension from many angles. of use.

Davis Publications DavisArt.com 23 Connections & Vocabulary and Content Review

Each unit includes a 2-page Connections feature that connects the unit theme and art concepts to four major categories. That is followed by a 2-page review of vocabulary and key concepts covered in the unit.

Teacher Edition, A Personal Journey, Unit 2

Interdisciplinary Teaching Options Daily Life Connections Internet Resources Discover websites that offer Make clear to students how important Daily Life, Careers, and two students research and inquiry opportunities, as well and prominent art is in their daily lives. major curriculum areas are as art-educational games, brain teasers, and puzzles. Strategies for class discussion, tips for covered here, including Math, Descriptions in the Teacher Edition point to particularly using the accompanying artwork, and Language Arts, Social Studies, relevant sections of the sites for quick access. more are included in this section. Performing Arts, or Science. Students learn that art is woven Community Involvement Ideas for bringing the into life and ideas in many community into your classroom or taking your Careers students out into the community. different ways. Explore a career in the arts with students.

Questioning strategies help students think Interdisciplinary Planning Here you’ll find tips for beyond the stereotypical “starving artist” working with colleagues in other subjects to maximize and see these careers as relevant and students’ learning. valuable to society.

24 Explorations in Art, Middle School Connections & Vocabulary and Content Review Aesthetic Thinking Art Criticism What is beautiful, and why? Aesthetic thinking questions End the unit with a careful analysis of a work of fine art. The help students consider their own assumptions in depth questions provide opportunities for students to demonstrate their and look anew at objects they thought were familiar. understanding of the unit theme as well as specific art concepts.

For Your Portfolio Teaching Options For Your Reteach Tips for working with students Advocacy Ideas for promoting Sketchbook Final activities help anchor as they evaluate their work your art program in your Quick exercises sharpen concepts in students’ memories, throughout the year and department, school, or observational and drawing and prepare them for the next assemble a meaningful record community. skills and help focus students unit. of progress and achievement. on possible ideas or directions Family Involvement Tips for for their work. Tips and strat- keeping families aware of and egies help students get the involved with your art program most out of their sketchbook and its goals and achievements. exercises.

Davis Publications DavisArt.com 25 Studio Exploration Rubrics & Summative Assessment

The end of each unit in the Teacher Edition includes authentic assessment options, as well as engaging extensions across the arts.

Studio Exploration Rubrics Evaluate the student work that results from Lessons 3 and 6 of each unit. Objectives and sources of evidence are provided for each lesson. Four levels of achievement are included, with clear descriptions of expectations in each.

Connections Across the Arts Meaningful connections across the arts conclude each unit.

Teacher Edition, A Personal Journey, Unit 2

26 Explorations in Art, Middle School Summative Assessment Unit Performance Tasks Clear performance tasks provide an authentic assessment opportunity for each unit. This includes students’ understanding as both creators and viewers of art, as well as their understanding of the unit theme.

Unit Concepts Rubric Objectives The four objectives align with the objectives introduced at the beginning of the unit.

Rubric A rubric is included for each unit performance task.

Davis Publications DavisArt.com 27 Table of Contents

A Personal Journey A Community Connection A Global Pursuit An Introduction to Art An Introduction to Art An Introduction to Art Unit 1: Artists Are Storytellers Unit 1: Art and Messages Unit 1: Artists Send Messages Unit 2: Artists Are Recorders Unit 2: Art and Daily Life Unit 2: Artists Show Identity and Ideals Unit 3: Artists Are Designers Unit 3: Art and Belonging Unit 3: Artists Teach Lessons Unit 4: Artists Are Teachers Unit 4: Art and Places Unit 4: Artists Create Organizations Unit 5: Artists Are Naturalists Unit 5: Art and Nature and Order Unit 6: Artists Are Messengers Unit 6: Art and Change Unit 5: Artists Respond to Daily Life Unit 7: Artists Are Inventors Unit 7: Art and Celebration Unit 6: Artists Remember Places Unit 8: Artists Are Planners Unit 8: Art and Making a Difference Unit 7: Artists Reveal Nature Unit 9: Artists Are Pioneers Unit 9: Art and New Directions Unit 8: Artists Celebrate Continuity and Change Student Handbook Student Handbook Unit 9: Artists Explore New Territory Resources Resources Student Handbook Resources

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