DOCUMENT RESUME
ED 237 435 SC. 015 191 TITLE Visual Arts Education Guidelines, K-12. INSTITUTION Georgia State Dept. of Education,Atlanta. Div. of Curriculum Development.; Georgia State Dept.of Education, Atlanta. Office of instructional Services. PUB DATE NOTE 317p.; Photographs may not reproduceclearly. PUB TYPE Guides Classroom Use - Guides (For Teachers) (052) EDRS PRICE MFO1 /PC13 Plus Postage. DESCRIPTORS *Aesthetic Values; Art Activities; *ArtAppreciation; *Art Education; Art Expression; ArtHistory; *Critical Thinking; Curriculum Development; Curriculum Guides; Elementary SecondaryEducation; Value Judgment ABSTRACT Guidelines are offered for implementing an art education program fostering artknowledge, .art appreciation, and personal creativity. Six chapters covergoals, content, curriculUm planning,. resources, evaluation andadministration,. Chapter 1 identifies 5 objectives of art education--perceptualawareness, values, development, creative development,knowledge, and development of personal judgment. Charts tageach objective to specificskills, concepts, and grade levels. Chapter2 focuses on _S content areasfor teaching art. Subject, theme, products,media, function, and design are coded in charts tospecific objectives and activities. InChapter '3, exemplary units are providedfor early childhood, middle grades,. and secondar levels. The.early childhood unit onanimals offers -lessons such as looking at pets,3-dimensional animals, and children as art criti_s. "Feelings=in Art," the middle grade unit,includes lessons on s etching faces, humanform, and portraits and landscapes. The secondary level unit treatsexpressions of social concerns- through art. Chapter 4 provideslists of resources. Strategies for evaluating lessons'and student work arediscussed in chapter 5. The final chapter details implementation concerns,including personnel, scheduling, financing, and facilities.Appendices outline steps for developing.a visual arts curriculum, careerresources,. and relevant organizations. (LP)
******* ******* *** ** * ********* Reproductions supplied by EDRS are the bestthat can be made from the original document. ******* *********** U. EXPARTMENT Or EOUCAMN "ppossor4TO REPRODUCE THIS GRANTED By NATIONAL INSTITUTE Of EDUCATION MATERIAL HAS BEEN
EDUCATIONAL RESOURCES INFORMATION
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tootodiglo ooliIv, RESOURCEE M TNE EDUCATIONAL ?gin al view or opinions ttaltd in thisdacu. INFORMATION CENTER(ERIC)." frioni do not nocosionly topiesont (skill Nit omoion or poky: ViuM Arls IdUcation Guidelines, 1(12.
Georgia Department ofEducation
Division of Curriculum Services Office of Instructional Services
Georgia Department of Education
Atlanta, Georgia 30334
Charles McDaniel
State Superintendent of Schools, 2 1982 Contents ia
Spectators at The High Museum of M, Atlanta
.; . .. Foneard . .,:,,,,,,,,,,,... .. er I.E.!, Introduction I ,,E0 If
8 Acknowledgments EllaEt!!!I-If.... ! .
. , 9 Chapter I - The Goals of Art Education , ......
II . i . EiSif Itaaaitif,E. 9 General Alms of Education .... Five Goals of Art Education ,70f...... aiiii111}1IiiiiEiliiI5Iiiiifl."111isii12 A, Perceptual Awareness Eili/,:iiEE 15 B. Valuling of Art . . . ..
. 17 C. Production of Works of Art , and Its Relationship to Other Disciplines .._, ,21 D. Knowledge of Ilstory of M . . 25 ...... E. Aesthetic JudrInt 0
. . , .29 Chapter 11- Content for Teaching Art . .. . , ...... Es... 31'. Sub-jects .... II . IIIIif :E}li,
.....Ea,44i17,i lee,31 Staler List of Subjects in Art11,1Ifxtetaf Ea. 32 r , ,...... , Activities Focusing on Subjects , ..
, 37 ...... 1,iiIEFF Themes .
EiiE I IIIVI!fiEEE4ai 37 Starter °I AmesAr EliII . Ea . 38 Activities Focusing ort Themes .... , ...
itaii49 ...... ductsEiIaiI1!IS!,
A,4 a,,,...,,,,IEEEff.:11£1Iitl,aiiitif a. IFFEEEIEii'if 49 Starter Lisi, of m Products 50 NW' Activities Focusing on Art Products , . 1? tat,ili?..7IFIft,leFEIly,,:iii.
IE....a:11f 55 Media
55 s .iImaa Eiaalif.111FIilif ...... 'W Starter List of Media Used in
, .,. , 58 Activities Fodusingon Media .. . ,
... aliE: if Iiiitt,aiiiilif al,63 FUnC .....
_ ,,., . , . 53 Starter List Of Functiort in Art ., . . , ...... 64 ...... Activities Focusing on Function , . I 69 DesignJ...... ,.,:..,,,,...... 69 starter List of Elesign in Art , ...... ,, ...... A I, mfn n 70 ...... mclividuo rocuzillg !design li q't Middle grades student, crayon etching
Style , f7.7# 7, #I# , 77
77 starter List of Art styles , ,,, ,,,,,,, ,,!! ,,,,,,,,,,,,,,,,,, iii*:!iff!!!!!
78 Activities Focusing on Style
. . . , ,83 Ctiapter.111 a 'Developing a Plan for Teaching Art , , . ...
84 . Content Analpis ......
.. , . . 85 &empty Units ......
, .1. , ,, 86 Early Childhood Unit (K.4) ......
, _86 Overview of the Unit (Theme, Animals), ...... ,
. .^ ^ ^ w7 Lesson 1, Looking al Pets fOr ideas . ^ ^ 88 Lesson 2. How Mists and Critics SeeAnimals ...... '''' . ..'
, , 89 Lesson R Exploring Media to Find IdeasAbout Pets . .. 89 Lesson 4. Children As Art Critics
...... , 90 Lesson 5, Animals in Three.dimensionalForms ,.,
. . 91 Middle Grades Unit (51) , . , ...... _ ...... s. . Al91 Overview of the .Uni1 (Theme, ExpressingFeelings in Arl) ... 4_ ... 92 Lesson 1, Seeing and SketchingFaces , 44 4.. 44111414_ii 93 Lesson 2: The Style of Expressionism
, 14444{4441}4.194 Lesson 3. Portraits and Landscapes. ..
...... 96 Lesson 4.. The Human Form ...... ,
.. , .97 Lesson 5. EnvironMeNal Cesign , . .
, .98 LeSS011 6 Nonrepresentational An . , . ,
, , .99 Secondary An Unit (.12), ......
, ...... Overview of the Unit (Theme, M asSocial Commentary) .. . ..
, 100 . , .... Lesson 1Looking a: Social Concerns for Ideas .4,,, ;..-__.,.,' i' ; arftiell . 101 Lesson 2, Mists Express SocialConcerns . . . . ':f. -.;t'i '",:,
, , ,, 102 . 39o'' Lesson 3 Advertising Design ,, Offr I, : ~ 5 . , 103' : . . , ., ...... k0 Points ot Enq into Planning ,
105 .. , . . , , . Chapter IV Resources .
. . 105 Visual Arts reachprs and MediaSpecialists: Partners in Planning Instruction ... 0
. . .106 ,instructional Resources to Supportthe Visual Arts Progrant,:' . .., ..==
, , . , , .. . ..107 Cotegories of Resources , ... , .....107 , , , ...... Print Materials ......
. . . 111 Visual Materials: Still Images ......
, .113 Visual Materials: Moving Images...... 30 Contemporary Black 1011601On
The High Museum of Art, Atlanta
.. . , 114 The Georgia Textbooli List , , ,, ...... 115 Community Resources , .. . !!!!iiiitt!!!.. !!!!...iii!!!!!! .. 115. Museum Resources ......
. ,, 117 Chapter V Evaluation.
...... 117 Teacher's Program Outline and Lessons , . .
117 Student Viewpoint ,,......
I : . . 118 Helping Students Evaluate Their Work . . 1 ...... I 1 .... .
Written Assessment ...... 119
'1 1. I i 1 . I 120 General Principles in. Test Construction 1 ......
I 120 Types of Tests......
111.1. Grading ...... 1...... 121
,121 Reporting on the Program to School and Community , ... ..
, 123 Chapter VI Administering the Visual Arts Program , .. ,
staffing . I 1 1 / 1 1123
,. . . , . 123 Elemental,/ Classroom Teacher ,,, ......
...... 123 Visual Arts Teachers/Specialists , .. 125 System Visual Arts Personnel.. , , :
128 ...... , ...... Scheduling ,
, , . . . ,127 Financing , . ,
...... of Planning the Facilities ., ...... 128
All.purpose Att Studio (lloorplen) ! . iffi!!! . i"ii ....!! . ifiiii132 RefekncesfI!!!!!1 .... !' ... illIII/1iii132.
, , 135 APPenthCeS ! !! " 1 1 1 , . . 1111I
. . 135 Steps for Developing a Visual ArtsCurriculum , , .
Career Resources List for Visual Artist ...... ,...... , .. .. ,136
Organizations fur the Essentials of Education ..... , ...... ,159 Foreword a
.Visual Ms Education Guidelines,i?42,., has been
published by the Georgia Deparimeht ofEducation for commillee , teachers of the visual arts, Developed by
members from different levels ofvisual arts teaching it contains broad program goals, and iupervision, a
specific learning expectations 'andactivities which will 4 benefit both teadhertand students ofvisual arts,
A fundamental goal of theGeorgia. Department of I Ediation is the proeparation of graduates who can 1 communicate sensitively and creatively with other pea. 0
ple. Through art experiences,such asart criticism and
history, film making, ceramics and painting,students
are learning tobecome more :aware of their own and r other people's feelings, ideas andbeliefs about life as
well as about art. This publication,which identifies
goals, content, strategies and resourcesfor arts educa.
ton, can lead to the attainmentof That goal.
It is my hope that administrators,supervisors, counsel.
ors, parents,community leaders, students and teach=
ers will find theseguidelines helpful in organizing a comprehensive program that will broadenknowledge
and understanding of the visual arts andtheir important
role in our society.
Charles McDaniel
State Superintendent of Schools
Middle grades students art display, Cobb Coun,ty Schools
1 0 Introduction
Recent changes in the field of visual as education
stress the need for IN program to broaden its base in
the school, The study of the visual ads, once limited
predominantly 10 studio activities, now emphasizes
development of appreciation, valuing and knowledge
of art objects, Art education should provide students
with the competence to make and justify judgments of
aesthetic merit and quality in works of art. Changes in
society, its values and beliefs, provide new trends and
issues around which to center visual arts instruction.
The advancement of technology continues to create
new developments in the usual arts and toprovide
new content and issues for study.
Visual Ms Education Guidelines, K12, was devel .
oped by teachers for teachet. It provides planning
guidelines for implementing -a -program reflecting irn
portant changes in the field of art education, Materials
in this publication, are designed to illustrate posstil.
ties rather than to prescribe programs, It is oUr hope
that local system personnel will choose from among
4 the goals, objectives, activities, strategies and resources *# r the components that meet the needs, interests and
abilities of their students:
, Lucille G. Jordan
Associate State Superintendent
Office of Instructional Services
R. Scott Bradshaw, Director
V. Division of Curriculum Services
EXhiblibh at The High Museum of Art, Atialsj 1 13
7 Acknowledgments
We are sincerely grateful to thefollowing persons who We extend our appreciation to the committeemembers contributed papers on leachingvarious aspects of the who gave their time, thoughts andefforts to planning visuak arts: and developing this guide,
Paul Edmonston Eleanor Renuart Professor of Al Staff Development and Al Coordinator University of Georgia Griffin Cooperative Educational SeMcesAgency
Jean Ellen Jones Verle Mickish Assistant Professor r,f Al Professor of Al Education Georgia State University Georgia State University
Bryan Jefferson Peggy Woods Assistant Professor of Al Data Collector Georgia Slake University De Kalb County Schools
Jean Williams -7 Nancy Hooten Assistant Professor of Al Al Teacher University of Georgia Fort Stewart Elementary School
Juana Stewart Ken Giles Art Teacher Al Teacher Evans High School Westwood High School :Columbia County Schools Fulton County Schools
Virginia Arthur
Al Teacher
Jr J. Daniels Middle School
Cobb County Schools
Charles Biederman
We extend our appreciation toThe High Museum of No 18, Red Wing, 19675.6
(painted aluminum) Art, The Georgia Councilfor the Arts, The Georgia Mueum of Art and FrankWachowiak for The visual Gift of Joan Saugraln eredendick The High Museum of Alt Atlanta images reproduced in thisguide.
1A Chapter The Goals of Art Education
he General Aims of ducation
Why do we teach art in our schools? The answer may
be found in reviewing the general aims of education
and the relationship between these aims and the goals
of art education,
For over a century educational theorists in America have tried to define the minimum essentials of a
general education for all the people in a democratic
nation which regards universal free education as a
basic right. For the purposes of this guideline, the aims
of general education are basically three.
0...'. A. '. 77 A 6447 6 46 . 4 " a * a _ _ . . 60
#
E Ee A
7 6
t I3
,N1
Early childhood student, printmaking 17 9 GAGA (African) Thomas HEM Benton Herman Dailey "Nlmba" mask Down the River Daybreak (wood) (chalk on paptr) (lithograph) GM of Mr. and Mrs, Leslie L Rood ,1971 Gift of Lawrence and Alfred Fox Foundations Gilt of Mr, and Mrs. Sidney A, Wien, 1962 The High Museum of Ad, Atlanta The Nigh Museum of Art Atlanta The High Museum of Art, Atlanta
ART IN SOCIETY ARTISTIC HERITAGE -PERSONAL DEVELOPMENT
hirtfage of one's na- To contribute to the Octal-Order and-the To foster maximum development of human To transmit the cultural betterment of humanity personality and creative potential don and all humanity cultures that a The school has historically been regarded as the It is in artistic works of differpt It is not difficult to see that a belie ineach person discovers thesocial hub, mores, actileve- individues rig-ht-to develop talents and woad institution for the transmission of knowledge and valties-ertheltmanpaitand-present- cultural values which are the heritage of human. melts and ties,regardless ofracial,national or socio- recorded, interpreted in symbolsand preserved. economic background, is part of the educational kind, Such a heritage, both national and intercuk These records constitute a vasttreasure cisme tural in scope, must be understood for a personto goals of democracy. Education in thevisual arts, of the finest achievements of thehuman race. function as a literate and contributing memberof as defined in thiscurriculum guide, is a discipline in alltheir magnificent adult society. While the skillsof reading and Thus the visual arts, of learning central in its contribution tothe maxi. history both within and outside thebouts of writing, or verbal literacy, are universally regarded Mum development of personal and creative po.. one's own familiar culture, provide significant as basic to theattainment of educational or tential from childhood to maturity.:., models and are instructive teachers in our rela. functional literacy in general, the contribution of (ions with each other and in our highest aspire- the visual arts to education for visualliteracy in a
culture must not be underestimated. lions.
io Five Goals of Art Personal Development Central Aim of Education Arc Herbge Goals otAnducation-- Art In Society Education
Early childhood student, crayon drawing
Based on the general aims of education, five goals for D. Know about art histol and its relationship to
ad education reflect personal development; artistic other disciplines
heritage and an in society. The goals for art education E Make and justify Judgments concerning aesthetic were selected to provide a comprehensive arts pro . quality and merit of works of ad grata involving the Iwo basic modes of participation
expression through an and response to art The goals of a curriculum in the visual ads are to be
incorporated in continuous instruction in Georgia schools; Expression refers to ideas and feelings conveyed by These goals are broad enough in scope, yet definitive works of an The discovery of ideas, the transformation enough to encompass a range.of experiences in of those ideas by artistic means, and their realization in making and responding to works of ad, studying art an artistic medium are basic activities involved in *4s critically and developing an informed appreciation of expression. the visual ads and artists. While individual and local
The experience evoked when an individual views a applications of the several goals vary from place to place and from teacher to teacher, leading to diversity work of art is response, it involves description, inierpre-
tation and judgment of works of ad, of practice both in methods and results, the over- arching goals of instruction function as guides to Artistic expression and artistic response are the results establishing levels of attainment throughout the state, of an an program insuring students opportunities to Thus a common body of curriculum goals and experi- experience le rich variety of art. In addition to the ences for school art programs in Georgia will add creative process involved in mAingOf art; students strength and clarity to art instruction for the benefit of learn to apply their knowledge through ahalysis and teachers and parents, while allowing for diversity and synthesis: imagination by individual teachers in actual classroom
A.programin ad education from kindergarten through settings: The goals include both producer and con-
the twelfth grade in Georgia schools should provide sumer-oriented activities in the realm of the arts,
each student the opportunity to achieve the following
goals,
A Develop perceptual awareness
B. Value art as an important realm of human expe.
rience Note: The five goals, Ai, and the objectives ((asks)
C. Produce works of art are keyed to the activities charts in Chapter IL
11 21 PRODUCTION OF PERCEPTUAL HISTORY OF ART VALUING OF ART WORKS OF ART AWARENESS
penances fiom which todevelop the criteria for in
Ai PerceptualAwareness formed judgment. This culturalenrichment leads to an
informed and literate taste and appreciationfor the as This component of art instruction demandscontinuous and for the visual environment,both natural and human. exposure to themany.faceted products of artists, crafts., In addition to continuous exposure tothe varied prod. men, architects anddesigners throughout elementary guided discourse and secondary education. It is the task ofboth school Lids of the arts, stimulated and concerning works of art, whether originals orroroduc . and teacher to show ingenuityand imagination in flans, encourages students to expressideas and re= finding ways of making this exposure tothe ails, sponsos to different works,Media, artists and styles, whether in the student's immediate vicinity orin the This discourse, which will become morecomplex and larger environment, as diverseand stimulating as sensitive over time, involvesrecognition, ,description possible. As someone has said, no one cancreate out and interpretation of subject matterand thematic dif. of a vacuum. It is the school'sresponsibility to provide lances among different works andfamiliarity with the perceptual enrichment whether in theform of original sensory and formalproperties of ari. Through repeated worn painting, prints, sculptures, ceramics,murals, exposure and continuous experiencewith art, students monuments or environmental structuresand spaces develop a sounder Vocabulary and abroader base or through contactwith reproductions, films and slides. of perceived qualities uponwhich to draw in ex- Such exposure allows the studentto build a back . pressing their deepest feelings andresponges. ground of stored visual memoriesand perceptual ex.
C, Wyeth (Arettican, 188249415) Invocation to the Buttalolierd
(011 on oenvee)
The Nigh Museum ofrt, Atlanta 22
12 Objectives (tasks) (I=Introduce D=Develop R=Reinforce)
TOPIC CONCEPTiSKILL K-4 5-8 912
At the completion of experiences designed to develop perceptual awareness,
the student is able to
I D R A. Perceptual awareness 1. recognize and describe the subject matter of works of an;
a:identify the subjects in specific representational works of art (people, I I D R
buildings, animals, plants);
b: describe how the treatment of objects in two or more specific representa- I 1 D A
tonal works of an is similar or different;
c.identify themes of specific Works of art (friendship, mother and child, I 1 D R
crafts in Georgia);
d.identify events depicted in specific works of art (wedding, religious rem- I I D R
monies, battles, sports): ,
e.describe how the themes of two'or more specific works of an are similar I I D R
6r different;
1
f. describe the main idea presented in lig specific works of an (mother and I 1 D ' R
child at leisure, mother and child as religious figures);
g. identify some of the conventional symbols commonly depicted in works
of art (cross, crown, logos, flags, dove, family crests); 1.D R
h:translate the meaning of conventional symbols commonly depicted in works
of art; ID
i: describe how treatment of the theme of two or more works of art is I D
similar or different; ..,
. j, identify subjects that have two or more meanings in works of art; 1 D
.2 ,
ke interpret the meaning of objects in works of art; I D
3 1 n 4: identify allegories depicted in works of an;
11.interpret the meaning of allegories. I D
2.go beyond the recoghition of subject matter to the perceptionand description ID D R li
of 'tornl qualities and expressive content (the combined effect of the subject
matter and the specific visual form that characterizes a particular work of art); A . K4 5-8 9-12 CONCEPT/SKILL TOPIC
elements of works of art (colors, I D a.describe the characteristics of sensory
shapes, lines, textures, values, space);
elements and the com= b,describe the relationships among the sensory
positional principles (scale, proportion,variety, unity, repetition, rhythm, subordination, contrast) in works of balance, directional forces, emphasis,
art;
(color, line, space, I D R c,describe the differences between sensory elements shape, value, texture,) of two or more works of art:
and moods) of works of:art I D DR d.describe the expressive character (feelings
(sadness, anger, fright, happiness, anxiety);
such things as the most e.select from a group of works those that show
movement, stability, simplicity and complexity;
character; I D f. select works that are similar or different in expressive
works of art (scale, variety g ding am the major compositional features of in unity, proportion,repetition and rhythm, balance, directionalforces,
emphasis and subordination or contrast);
I D h,select works that are similar or different incomposition;
works of an: DR i. describe the major compositional principles of
values, shapes, space, DR k. describe how the sensory elements (lines, colors, textures) combine to give a work of an aparticular expressive quality;
DR work's expressive I, describe how compositional features contribute to a
quality;
tog_ ether to Df m, describe how theformal qualities and subject matter function
give a work of art its own expressive content;
fn expressive content of two or DR n,describe the similarities and differences
more works of art;
discernible subject matter, DR o,describe how some works of art have no
14 PERCEPTUAL PRODUCTION OF VALUING OF ART HISTORY OF ART AESTHETIC JUDGMENT AWARENESS WORKS OF ART
Spectators at The high Museum of Ad, Atlanta
B. Valuing of Art iv
Positive, informed attitudes and values in any realm of
human activity develop from exposure, thoughtful ex . J amination, reflection and increased information. Thus it
is in this goal that the deepest and most lasting
experiences in the visual ads are to be expected,
informed and rational altitudes and values are formed
slowly over time. Appreciative attitudes toward the
visual ads are built by looking at, analyzing, sharing,
criticizing, interpreting, evaluating, making, sharing and
enjoying the varied forms of the ad world. This is an
educative process aimed at reducing areas of igno .
rance and dispelling bias or prejudice, a process the art
curriculum in the schools is designed to provide.
Adults who support the visual ads are usually those
who have had a number of pleasurable and enlighten=
ing contacts with ad, artists, craftsmen, patrons, collec .
tons or museums, And in those instances where
exposure is lacking, the schools mustfill the void.
One of the ultimate aims of ad education is the production of sensitive and informed consumers of the
ads, Without educational efforts, there is.nothing to guarantee the enhancement of ordinary existence which comes with the humanizing effects of artistic and cultural Re: Sound art programs for the young are a kind of insurance that the civilizing aspects of the arts will continue.
15, D=Develop R=Reinforce) Objectives (tasks) (1= Introduce
K.4 942 CONCEPT/SKILL TOPIC
experiences encouraging the valuingof arf as an ittl Althe completion of pollard realm of humanexperience; the student will
toward ad; B. Value art as an Opor . 1,be effectively oriented
tant realm of human I D a,enjoy experiencing works of ad; experience I D experience works of ad; b.consider it important to
impact of works of ad. c, respond emotionally to The
to at 2.participate in activities related
I D and other exhibitions: a,attend school art displays
I D and books; b.look at art in magazines
I D DR the environment: c, observe aesthetic objects in
I D DR by ad historians, ancritics, artists); use art d,read about an (statements encyclopedias, ad books, reproductions,slides, references (dictionaries,
films). ID sophisticated conceptions about andpositive attitudes 3.express reasonably
toward art and artists; D a express positiveattitudes toward ad;
A = society; ID attitudes toward ,, of the visual ads in our b.express positive ID A c,empathize with artists; ID the functions of the visual adsin our society; d.demonstrate knowledge of ID R handcrafted and machine-madeobjects; a describethe differences between ID A between works of art and naturalobjects; 1. describe the differences DR 1 ID demonstrate knowledge of ad careeropportunities (designers, architects, g.
painters, craftsmen, photographers,etc),
toward different forms andstyles of ad. 4,show an open.mindedness
toward artistic experimentation. 5,show an open-mindedness
31 0 16 ( PROOUCTION OF PERCEPTUAL AESTHETIC JUDGMENT VALUING OF ART WORKS OF ART AWARENESS
Early childhood students, tempera resist preparation
Ci Production ofWorks of M
4hasteenlraditionally-held that continuous exposure
to and experimentation with a wide rangeof artistic
processes will lead a student toacquire confidence
and skill as a producer or performer in art.There is
much merit and common sense in this view.Exposure
to problems of art similar to thosefaced by mature
artists and craftsmen is the base uponwhich refine-
ment of artistic capacity is developed.What must be
added is emphasis on a progressiveseries of artistic
problems leading to more complex mastery ofskills as
the student matures, Media explorationshould be
guided by informed problem assignmentsand solu-
tions, A continuous demand for originality, forincreased
mastery of visual and plastic problemsof construction,
composition, representation, manipulation andtechni- cal understanding must guide theteacher's efforts. Objectives (tasks) (I =,Introduce D=Develop R Reinforce)
5.8 912 TOPIC CONCEPT/SKILL
At the completion of experiences designed to increase ability toproduce
art the student is able to
of objects, D A C. Produce works of art 1. produce original and imaginative works of an; given various forms
invent new forms.
2.express ideas fluently;
generate ideas for works of an (subjects, themes); D A
b.produce visual ideas: 1
C. use visual media;
d: compose visually.
3. produce a separate work of an that
afulfills the demands of a space or shape:
b.contains specified subject matter,
c.creates a particular mood or feeling that
I D (1)fits the mood of a poem, a dance or piece of music:
(2) shows a mood such as calmness, excitement, gaiety orsadness; I D R
(3) shows a particular feeling such as coolness, wetness, warmness, ID
loneliness or spookiness:,
(4) shows personal experiences, beliefs, feelings; I D
18. K4 5.8 912 TOPIC CONCEPTISKILL
R d.create meaning based on the use of established symbols (Ma logos flag); I D
A e, create meaning based on the use of new symbols; I D
ID A f, use exaggeration: .abstraction and simplification to expressideas:
g;modify the fr.of an object to improve its aestheticNattor functional ._ ID R__
characteristic;
I ID h, use a padicular composition (vertical, horizontal;diagonal, concentric,
symmetrical and asymmetrical) and use deep or shallow space;
I. create images with a particular function (communication, worship, cele, I I D DR
bration).
4,produce works of art that contain various visual concepts which
I D II a.demonstrate the ability to represent spatial concepts (one person standing
in front of another; something close and something far; a street and a
Wilding, color vanatibn);
D R b,demonstrate the ability to represent objects accurately in art products I
(painting, drawing, sculpture, graphics);
D A c,produce works in which the subject indicates cxpressions and emotions I ID
(running, walking, falling, laughing, crying, anger, fright or happiness);
I DR d. demonstrate The ability to represent an object from different viewpoints ..: and under different light conditions,
I ID DR 5. )(now and apply media, tools, techniques and forming processes;
I ,I D DR a,experiment with a wide variety of media (paint, clay, ink, film); 543 9.12 CONCEPT -KILL TOPIC
R print a linoleum block, mix specific iD L.perlorm processes (coil a pot, cut and
colors);
specific visual statement: D D R c, select the appropriate tools to produce a
R of tools and materials. ID d.demonstrate responsible and safe use
Ron Pettis; Rini: and Beasts (tampon), liusoogee County Jackson County Schools, School Art Symposium Randall Smith, Birds (sandstone sculpture; Schools, School Art Symposium
,r, PRODUCTION OF PERCEPTUAL HISTORY OF ART AESTHETIC JUMMENT VALUING OF ART WORKS OF ART AWARENESS
!ant innovations, The student should be able toexplain Di Kno ledge of History the reasons for critical acclaim of selectedfigures, of M and its Relationship monuments or works as superior examplessumming up the spirit of the agein which they occur. Such to Other Disciplines activities can be supplemented and made more memo . rable by visits to actual collections or museums, to
Study of major works, artists and movements in the famous architectural sites and monuments the visits stildent's own culture as well as other cultures; I;oth to be followed up by discussion andresearch: Similar- contemporary and historical, is a fundamental partof ly, visits by museum curators or gallery owners,an education in the arts. In the opinion of most historians, historians or private collectors who discuss thespecial contact with great works of art is a meansof under= nature of their collections, is anotherimportant avenue standing human ideals and aspirations and appreciat- for increasing student understanding ofthe historical ing the heroic, comic and tragic in humanaffairs. The dimensions of the visual ads, bitty of world art furnishes us with many examples of articles, lectures or discussions that explore human courage, endurance and achievement. and explain relationships between particular art move-
In achieving this goal of aninstruction the student ments and other historical or sociological eventsshould should recognize major historical periods, works, art- be offered whenever possible. Understandingthe con= ists and styles, especially those which have had an motions between art styles and life stylesfrom differ= enduring effect It requires that students have some ent cultures and historical epochsis the aim of instruc- contact with clear, interesting writing or discourse lion and student inquiry. explaining technical discoveries and historically'moor=
Eugene Mu* (French, 179813) Dellell,116 from "Hader series, 11 40 (lithograph, second The High MINN of Art, I is :c4 LC 21 Objectives (tasks) (I= Introduce D=Develop R= Reinforce:
K.4 942 TOPIC CONCEPT/SKILL
At the completion of experiences presentingart history and its relationship
to other disciplines, the studentis able to:
ID DR recognize major figures and works inthe history of art and understand their O. Know art history and its 1. significance. (Significance here refers to worksof art that began new styles, relationship to other works, changed the direction of art, contained disciplines markedly influenced subsequent visual and technical discoveries, expressedparticularly well the spirit of an
age and were considered tobe the major works of major artists.)
ID DR a.recognize well.known works of art;
significant: ID DR b.tell why well.known works of art are important or
ID DR c.name the artists whoproduced specific works of art:
significance ola work of art; ID d.select the statement that best characterizes the
considered to be important to the history ID e, explain why certain key works are
of art.
style, and analyze works DR DR 2,recognize styles of art, understand the concept of DR DR of an on the basis of style. (Impressionism,Cubism, Surrealism)
DR a.select from a group works of art of the samestyle;
similar or different in style, DR b.explain why two or more works of art are
ID DR c,answer questions aboutthe concept of style;
DR characteristics of specific styles; d.answer questions about the DR of works of art of the same style. I e,describe the common characteristics
and understand the relation of one style ID DR 3.know the history of human art activity
or period to otherstyles or periods ID DR a,rank works of art (two to 10) inchronological order;
works of art were produced; ID R b.place works Ofi in the time period during which
ID DR ,ch place works of art along a time line;
works of art were produced; ID DR d.identify the historical period during which
I
22 42 K4 58 9-12 TOPIC CONCEPT/SKILL
ID OH e,select the style name that most closely characterizes a work of art;
D t, explain why particular visual, conceptual, technological and cultural ad-
vances had to occur before a certain workof art could be produced;
R g.demonstrate understanding that art reflects the relationship between artists
and their culture (political, religious, economic: geographic); .
R h.recognize and understand similarities and differences in media, forming
processes, tools and techniques:
(1)_ select the works in which similar media, tools, techniques and forming D R
processes were employed;
R (2)describe the media, tools, techniques and forming processes erne
ployed in producing particular works, and explain th,-;3 advancements
that preceded their use (lithography, photography, plastic, steel);
D i. explain why works of art from technologically highly developed societies
differ from those of primitive societies:
j. identify the imponant oTexpresie ai-Pect eiidencidin a pirtiCu,ar work of art that is not evidenced in other works that preceded it.(Cu-
bistic works of an);
demonstrate knowledge of art of different cultures (European, Egyptian, I R ID
South American, African, Asian);
D I. select the most accurate statement about the functions of particular works
of art;
ID m. select the most accurate statementabout the culture which produced a
particular work of art
1D n,identify works of art that originated in particular cultures;
ID o,match a description of a culture with a representative work of artof the
same culture;
D p.infer the characteristics of a society that produced a particular work of art;
23 K-4 5.8 9-12 CONCEPT/SKILL
I D influenced specific subsequent styles. q.identify a style of art that may have
that relate principally to the 4,distinguish between factors of a work of art
personal style of the artist andfactors that relate to the stylistic period or
the entire age
the same period, selectthose that were a.from a group of works of art of
produced by one artist; DR various periods, select those that were b.from a group of works of art of
produced during the same period: ID characterize the similarities or dit. c.select statements that most accurately ferences between two works of art bydifferent artists of the same style
or period:
D between two works of art of the same d.describe the similarities or differences
style but produced by twodifferent artists; ID of arrt of the same style, but by two dif= e,when presented with two works fereni artists, characterize the differencesthat might relate to the person
ality of the artists
1 D existed between art and the otherdiscoplines 5,recognize the relationships that dance and particularly the historyof ideas of the humanities (literature, music,
and philosophy) during a givenperiod;
R produced during the same period ofliterature, a. select the work of art that was
poetry, dance or music: DR produced by societies holding particularideas, b.select works by art that were
philosophies or religious beliefs; ID the different natures of cultures based on work of c. make inferences about
art from those cultures.
7 PRODUCTION OF PERCEPTUAL HISTORY OF ART AESTHETIC JUDGMENT VALUING OF ART AWARENESS WORKS OF ART
E. Aesthetic Judgment
Perhaps The most sophisticated task for the student of the as is the development of intelligent and defensible judgment of qualifies and merits in works of art, espee cially when comparing one work, style or artist with another. To do this involves continued reflection, come ing to grips with questions of harmony or disunity, of what is aesthetically pleasing or displeasing, of func- tional design and the appropriate use of media. It involves attempts to develop and refine criteria for making judgments about divergent works, artists and styles,It also involves making discriminating judg . merits about works similar in content, medium or theme, and the ability to distinguish statements which are descriptive, analytic,interpretative or judgmental.
An important objective in this area of art instruction is to increase the student's familiarity with and use of termi- nology and the student's confidence in verbally ex . pressing ideas and reactions,
Edgar Degas (French, 1334.1917)
Ballerina:
(charcoal and chalk an paper)
The High museum of Aft, Atlanta
25 48 J Objectives (tasks) (1= Introduce D=Develop R =Reinforce)
5-8 9-12 CONCEPT/SKILL K-4 TOPIC ______
At the completion of experiences inmaking and justifying judgments can
cerning the aesthetic quality and meritof works of art, the student should
be able to
I DR R E. Make and justify judg- 1, make and justify judgments about aesthetic merit;
meats about the I DR R a,judge a work to be good or bad; aesthetic merit and have aesthetic merit, I DR R quality of works of art b.give reasons why a work of an has or does not
I DR R 2,make and justify judgments about aesthetic quality;
I DR R a,characterize the aesthetic quality of works of art;
DR R b.give reasons why a work of art has aparticular aesthetic quality;
c,judge a work of ail based on whether
I DR R (1)its organization leads to feelings of pleasure ordispleasure;
I 0 R R (2)its various aspects relate to each other:
ID R (3)it creates a vivid and intense impression:
particular medium: I D R (4)the artist has used the inherent qualities of a
I DR (5)the artist has controlled his or her medium;
society in which it was produced, I. D R----- (6)it successfully expresses aspects of
. the basis ID d,judge a utilitarian object, an advertisement or a building on of how well it functions or fits a context.
I DR 3.know and understand criteria formaking aesthetic judgments;
adequate judgmental cri- I DR a.discriminate among statements containing
teria and those containing inadequatecriteria; v D R 1 of art has aesthetic merit; b. give adequate reasons, for stating that any work l
different in appearance, ID c,explain why two or more works of art, although very
are often judged to beof essentially the same aesthetic worth',
26'\ 51 912, TOPIC CONCEPT/SKILL K4 5=8
L
d.explain why two or more works of arl with essentially the same subject ID
matter are often judged to be of very different aesthetic wadi:
e.describe personal biases that although almost entirely unrelated to aes: I D .. thetic quality, affect judgments of works of ad.
Terry Watson -----
Gear Shoalstand Room
(Ink drawing)
Clarke County Schools, School Art Symposium
17
In Conclusion
Such a curriculum as described will require Maximum
use of all available resources M a variedand increas
ingly complex series of learning experiences, 'The
result is a high school graduate who a literate,
informed and sensitive appreciator or practitioner of
one or more of the arts. It is hoped thatIkguidelines
and suggested activities as applied in actual classroom
situations will make a siOificart ntributjon to the
artistic and aesthetic education of youth,
ij ` '14g, 4.-
Henri Rousseau
(French, 18444910)
The Steeping Gypsy, 1867 (oil on nano!, ,51" x sir)
Collation, The Museum Modem -M; Now York-7
Gift of
mrs, Simon Guggenheim:.
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ACTIVITIES GOAL STUDENT OBJECTIVES
The teacher shows several examplesof por. Identify the objects Perceptual 1:a. in representational trails, such as awareness works of an; Self Po*aIt, RaphaelSoyer b. Describe how the treat. 3Pole ofBarlackLeonard Baskin ment of object in two spe- Students describe factors that are unique to cific representational works of of art is similar or different; this art form (portraits are representations people, usually the head is viewed andthe 2, d. Describe the expressive than involved in activity character (feelings and person is posed rather with other subjects): The teacher shows a ser moods) of works of art, ies of reproductions andasks students to tell which are portraits and which are not. What
are the visualdifferences in the way the artists have depicted the person? What feelings or
moods are portrayed in the works?Which
works are similar? Subjects
Subjects are whatever is described, identified or represented in art works, such as people, plants, cars and products of the aiiist's imagination.
UsaBlxler
Shoes (pencil diaing) Starter List of Subjects DeKalb County Schools, School An Symposium in Art
"Most every day I wear ray tennis shoes. Human forms Plant forms
Drawing them to!!! Se drawing an old head trees friend," eyes fen s hands leaks
torso grass
weeds
Animal forms vegetables
domestic animals fruit
farm animals
zoo animals Hurnermade forms
birds homes
fish skyscrapers
factories
Mineral forms dams
mountains highways
rivers railroads
lakes automobiles
oceans churches
rocks jewelry
clothing
Anse Im Atkins
Two Snakes, 1975
(stained glass)
"Crafts In Georgia" touring exhibition Georgia Council for the At 4 Atlanta
I use traditional materials, but my design work is contemporary. Much of my work combines a geometry of stripes ot other orderly pattern with free-flowing natural forms!
rot ( nselm Atkins)
31 Activities Focusing onSubjects Other Feature Goals Objectives
MEDIA subject of trees in art? How do students interpret the Perceptual A1-ab the subject of trees in works ofart? DESIGN How have other artists interpreted awareness trees are growing. The Students walk to an area adjacent tothe school building where student's selection of media. students produce drawingsat trees in the area using the Production of 02-cd displayed and are compared forsimilarities and The completed art works of trees are works of art and discuss the following differences in the interpretationof trees. The students view C5-ab subject, Are there reproductions or slides by otherartists who have used trees as a chosen media help to create a certain expressive similarities in interpretation? Does the
character in the work?
Maruyama Okyo, Pine Treesin the Snow (color on paper)
John Constable, An Ash Tree(pencil and watercolor)
Vincent van Gogh, Grove ofCypresses (drawing)
Pavel Tchelitchew, Hide.andSeek(painting)
Piet Mondrian, Flowering Trees(painting)
it and secretly chooses one DESIGN Using a group of photographs ofanimals, one child will be Al a Perceptual legs, animal and describes it to the group as toits color, shape of ears, size of A24 awareness descriptive phrases and art terms todescribe the placement of nose. The student uses and my ears are animal such as1 have four thick legs; my skin is rough and wrinkled;
0 flat and roundish lam gray.Which animal am 1?" (elephant).
FUNCTION several examples of portraits, such as The teacher shows Perceptual Al-ab PRODUCT A Boy, awareness A2.d From Fayum, Egypt, Portrait of DESIGN Diego Velazquez, The infanta Margarita,
Hars Holbein The Younger, HenryVII.
Amedeo Modigliani, Portrait ofJuan Gs,
Chuck Close, Mark, 1978.79,
portraits are Students describe factors that are uniqueto this art form, such as that posed rather representations of people, usually theheed is viewed and the person is of pictures and asks students than involved in activity.The teacher then shows a series the visual differences in the to tell which are portraitsand which are not What are artist produce portraits of these way the artists hasdepicted the person? Why did the works are similar? persons? What feelings or moods portrayed in the works? Which
2
32 :; Goals Objectives Activities Focusing on Subjects Other Features
History of art 01--ac The students and teacher recognize and select welt-known works of art by various PRODUCT D2t artists who have portrayed houses at various times in history. Here are exampl. MEDIA
D3-ab STYLE Charles Burchfield, Six O'Clock. 04 Andrew Wyeth, Farm Pond:
I Edward Hopper, House by the Railroad.
e Grandma Moses, The Old Checkered House.
The students are asked to describe the visual differences as depicted by the artists or to Perceptual Al -abf explain how and why the artists chose a particular dwelling to portray, The students awareness A2-abcd discuss the style of houses, determining if the artists portrayed an actual house or one Value art B2.bc from imagination. Reading historical accounts of the work can relate pertinent information
Production of C2-bcd for discussion. Students may draw or paint a house within the community. When the
works of art students works are displayed the class may discuss the question, How do our Cab drawings 0 houses reflect ideas and attitudes about modern times?
Students collect and examine objects found in nature, such as a bee hive, fruits, small DESIGN Perceptual A*. -ab plants, leaves of trees, shells, seed pods, roots and rocks. A magnifying glass may awareness A2.abce be used to emphasize the details of inner shapes, various textures and color areas.
Using slides, the teacher presents several examples of drawings, paintings, weaving, Aesthetic E2-C(1,2) and sculpture. The works are selected to emphasize the incorporation of natural forms, judgment colors and textures as a subject or motif of at These are examples.
Japan, Large Bowl with Pine Motif (Shino stoneware)
0 KonstantinMilonadis, Flower Garden (sculpture)
Muchi, Six Persimmons (painting)
Tiffany designed lily Window, Columbian Exposition Chapel
Susanna Kuo, Target (turkey quills sewn onto handwoven hemp)
How have the artists treated the natural objects in each work? Are thereSimilarities?
Each student selects from the examples of art works, the motif which he'or she judges to
show the most simplicity add writes the choice and reason(s) on a piece of paper. The
results are polled, rated and presented to the whole class for discussion.
PRODUCT Perceptual Al .ab The horse first appeared ih had about 30,000 years ago. It Was found in the Lascaux France: The teacher and students select and examine art works in MEDIA awareness caves in southern which the horse is portrayed, beginning \at Lascaux and proceeding to modern times
The following are in chronological order: 65
33 John Constable (English,
17/6-1t37) 4
LaPdsclpe (watercolor), Vase (Chinese) Gift of Mr; and Mrs, Allred Early Sung Dynasty, 96V211 AD. W. Jones The High Museum of M, (stoneware with glazed floral motif)
Manta The High Museum of Ad, Atlanta
.4
Tin New Mexico (photograph), The High Muaeumof kti Atlanta Paul Strand (Amor loan. b,1190), Grazing Horses, Goals Objective
History of art, DI-ab o Horse aid Groo, about 10 f.C, (statuette).
D2abcd Young Men cn Horseback, Parthenon,4
D5-b r Horse Bobbindeg, Tang Dynasty, 61g ggl A:D. (sculpture). Drawings and Sfun'les of Horses, Leonardo da Vinci, 1452-1519 (drawings).
Value art S2-bd BulaioHunter;shout 1 ,anonymous American,
_ Chateau onoHorses,Raoul Duty, 1930 (painting);
Students rear! resource hooks to discover the important role of the horse in many
societies, why and how the arrt sts expressed the subject in many forms and media, and
why the selected works are significant in histo.
Perceptual Al -abj Painters and sculptors have recorded circus people since the origin of the circus in PRODUCT
awareness Alacd England less than 20Q years ago, Who are the circus people? Acrobats, clowns, and MEDIA other performers were members of the circus family, Have you attended a circus? What
do you most remember? Students and teacher collect and examine works of art showing
people who make up the circus:
Production of Cl o Auguste Renoir, Two btrie, Circus Girls,
works of ad C2-bcd s Walt Kuhn, Acrobat in Red and Green.
Clabc 0 John Sloan, Old Clown Making Up. . 4 Georges Rouault, A Clown:
6 Honore Daumier. A Clown:
6 Pablo Picasso, The Circus Family,
Why do circus people wear costumes? Which works are similar in feelings and moods?
After discussion of the visuals, ikstOdents produce a group mural expreising the mood
of the circus including circus people: The classroom or portion of the school may be
transformed into an environment reflective of a circus environment. Students can dress ,_ in costuRes or create clown faces with face'painting. PRODUCT Perceptual Al -ab Charles Shee lerS Buck County Bam is a careful crayon and tempera work with emphasis MEDIA awareness A2-abcdfh on light and shade which suggests a record made byacamera. This picture is totally different in feeling from John Mann's painting, Barn in the Berkshires. Large, bold DESIGN
brushstrokes are used with few little strokes or details to slow down the movement Aesthetic E2C(16) ,
judgment ES.0 achieved in the watercolor: The subject of a barn is the same in both works, but how have the artists treated the media, spatial concepts (close and far) and light
History of art DK conditions to relay different expressions? Students explain why the two works, although b different in appearance, are judged to be, of essentially the same aestheticworth;Does the viewer respond to the sensory qualities of the works? Or is it the technical skill;
the subject appeal or the style of the work? pn
35 Activities Focusing onSubjects Other Features Goals Objectives
photographs of a variety of flowers. Thestudents are asked to MEDIA The students are shown Perceptual Al-ab PRODUCT home. Encourage the students todescribe how they recall flowers in their yards at A2.ac awareness Show a filmstrip DESIGN look, the things they do withflowers and how they feel but them. look for the colors, or slides of variousflowers and encourage the students to Production of Cl students are encouraged to create atempera painting and textures and shapes. The works of art C2 showing their own flowers or the onesviewed in the drawings with crayon and chalk suited reproductions. Experimentation with media mayhelp them find thetest media
for their flowers',
different laces. They are DESIGN Students write a paragraphdescribing their observations of Al.ab Perceptual people, their age, PRODUCT encouraged to use adjectiveswhich infer the personality of some A2.abcdfiklmn awareness MEDIA and any special features of theface, Students study the textures, shapes, coloring various expres- examples of art works with facescreated in different media and with Production of Cl advertisements, pnts, sions. (Personal photographs,paintings, ceramics, sculptures, works of art C2-abcd Compare the differences 'and cartoons), How does theartist create expressive faces? C3-c(n) and in works of art. Encouragethe students similarities in faces found in observations expressive character, to create a soft sculptureof a face showing a particular
Perceptual of the variety of fish DESIGN Using slides or prints, theteacher shows the Students examples Al .ab awareness textures and move. MEDIA found in nature. An aotiarium maybe observed and colors, shapes, ,A2abcd lazy? Can PRODUCT men! discussed, Are thefish fat or skinny? Do the fish seem nervous or Production of Where are the fish swimming?A you move like afish? What colors do you see? works of art Cl is placed over a light source togive the room piece of blue or green cellophane C2.abcd like a fish, The students are an underwaterfeeling. Ask the children to move C3.abc is encouraged to encouraged to create a collageusing colored tissue paper. Each Value en Other subjects? An show where a fish is swimming.Are the plants in the water? B2.a to view. exhibition of the student'scollages are displayed for other students Themes
Theme often refers specifically to a basic idea, mood or symbolic meaning which is expressed in an art work
Norris Ma The Unicorn's Mane Starter List of (pen and Ink drawing) Clayton County Schools Themes in Art Schoc Art 5ymposium
Human relationships
mcther and child
"Fairy tales and dreams often are shown caring for others in my art work. I like to make up the ways of working friendship
people and places:1 family relationships
people at play
Moods and flings
love=hale milemenkalm
leariecurity
iensionreliel
Concerns
conformity
ecology
TowY19,1; death
freedom
visual pollution
auestions and Issues
Who ern I?
Can we control the machine?
What is real?
How can I make my mark on the world?
Are the popular as really an?
Can a work of an use mundane subject matter? Henry Christopher See Is violence in an good or bad? Mother and Child How can I be honest in my art work? "Creit3 In Georgia" touring exhibition
Georgie Council for the Ms Major concepts
Atlanta visual order
beauty
"A JudaeoiChristian humanist by convic seeing relationships. tioni l prefer universal themes which "less is more" speak to the mind and heart of mankind."4
(Henry Setter)
72 73 37 Goals Objectives Activities Focusing on Themes Other Features
How do we note similarities and differences in works of an? Perceptual A1-abcdeil How do we personally respond to them? awareness A2.abcdfh Using two slide projectors, show the following sequence of slides by pairs,
Aesthetic E2-a Pair I Edvard Munch, The Scream. PRODUCTS judgment Lu Duble, Cain. DESIGN
Pair II Baugin, The Five Senses. SUBJECT
Melendez, Still-life. FUNCTION
Pair III El Greco, The Burial of Count Orgaz. MEDIA
Diego Rivera, Agrarian Leader Zapata.
Pair IV Wayne Thiebaud, Pie Counter.
Jose de Rivera, Construction Blue and Black.
Pair V Pablo Picasso, Guernica
Eugene Delacroix, Uberty Leading The People:
The students look at the slides in silence. The slides are presented again and the
students are asked to write brief responses to be used in class discussion: As the
students share various similarities and differences, the teacher writes them on the chalk .
board in columns according to whether they are related to media, subject design
function, product: style or theme. After the student discussion, the teacher identifies the
columns by category, thereby developing a vocabulary for criticism.
The students discuss themes they feel would tell future generations about our lives SUBJECT Perceptual Al -of today, such as friendship, ways of working, people at play, ecology, growing up and PRODUCTS awareness freedom: FUNCTION
Production of C2-abcd Students examine works of art to see how artists have expressed similar themes in
works of an the past, and how they present the main idea of the theme.
Students select a theme and create a visual illustration of it. These pictures, along History,of an D3.b with other things the students consider important, are sealed in a large glass container
and buried by the class as a Time Capsule.
4 Read an article in an art magazine about a contemporary artistWrite a review of the SUBJECT Perceptual Al-c article, reporting on the artist's choice of themes, subject matter, and style. PRODUCT awareness STYLE Create a work of an using one of the artist'sthemes and your own style. Valuing of art Bl-d
Production of Cl
works of art
74 .
Goals Objectives Activities Focusing on Themes Other Features
Perceptual Al-abode
awareness Read a book or chapter in a book about the life of a well4nown artist. Write or tape a
report highlighting the most imporlani life events. History of art Di.a
D2 Find reproductions of the &list's work done during these periods. Examine the work SUBJECT D4-a to determine the themes, subject matter and style:Compar them to see flow the STYLE
artist treated favorite themes: Discuss the question, "How Joes the artist transform an
idea to create arIT "What are some of the sources the artist uses tor ideas for ail works?" ...... SUBJECT Aesthetic E2-c(26) Students discuss different environments such as rural and farm communities, cities. FUNCTION judgment E2-d towns, suburban neighborhoods and how spaces are designed in WI:Emphasis
is placed on the following statements: Rural or farm communities need wide opn STYLE ;
Product in of C3-a space for raising food; therefor, the communities are spread out in areas:Metro- DESIGN politan communities often have limited space: therefore, tall buildings (skyscrapers) PRODUCTS works of E must be built to use little land space. Many towns are building shoppings centers and MEDIA
malls to bring stores together; relieve parking problems and provide a quieter environ-
ment. A city planner or architect are valuable resources to aid class discussion and to
present some problems and solutions in creating environments. Working in groups,
students create a model or a series of drawings of a particular environment such as a ..
shopping mall, a metropolitan area, the school and surrounding area, a sports complex
or an arts center.
Other cultures may be studied to learn bow various environments were planned to
provide living space. Examples may include older centers such as Egyptian, Greek
and Mayan as well as modern centers like Atlanta, Tokyo, New York and London: _..-._ Students view a film or television program that has a hero and a villain in itIf a SUBJECT Perceptual' Al-abcdelm night TV show is to be viewed, students could all watch the same show and be PRODUCTS awareness A2-dfjlmn ready to discuss it in the following day. Points to discuss might include these, FUNCTION ----.--, STYLE Who is the hero? The villain?
6 How can you tell the difference in the hero or heroine and thevillain?
Is it by looks, clothes worn, way of talking, actions?
How did the show end? Does the hero or heroine always win?
If you could change what happened in the program, what would it be? 4
. Who are your favorite heros or heroines and villains? Why?
77
1 39 Activities Focusing on Themes- Other Ratures-- Goals Objectives
Students collect pictures of their favorite heroes,heroines and villains to assemble on
a bulletin board: usingthe pictures on the bulletin board, discuss these points.
Symbols used to identify or depict the hero, heroine orvillain,
how the artist presented the expressivecharacter of the subjectts) through the use of
composition:
Allegories found in the themes of good and evil.
Media used to portray heroes or hnines incontemporary times.
Students may produce a project:
0 Paint a picture or do adrawing of a hero or heroine and a villain, creating a Valuing of art B1 .c particular mood; feeling or expressivecharacter.
Write a story about the hero Of heroine and yourvillain; drawcartoon strip Perceptual CI about the story using established or newsymbols TR-reale meaning; develop a awareness C2.abcd abode style to use throughout the strip,
history of art Students examine reproductions of works illustratinghow other artists have interpreted
the hero, heroine or villain, Examples mayinclude the following.
Albrecht borer, The Knig heath and the Devil.
Andrea del Verrocchio, Celleoni, a MilitaryLeader
4t' Andy Warhol, Marilyn:
Jack Levine, The Feast of Pure Reason,
Ben Shahn, The Passion of Sacco andVanzetti:
Perceptual Al=abce PRODUCT Students list actions or movements that occur onthe playground, such as running, A2-ad awareness MEN jumping rope, sliding down the slide,kicking a ball, throwing or batting a ball and SUBJECT playing hopscotch. Production of Cl
works of ad C2.bcd Students are invited to act cut motions that theyhave listed, As'a student acts otil
The motions listed, the class could point outdifferent movements such as how antis
and legs are bent and positions ofthe body during movements.
student selects an action to act out for Students divide into small groups and each
others who will try to guess the action(charades). This allows all students to experi-
ence actual body movements.
Students examine reproductions of representationalworks of an illustrating how artists
have shown people in movement.The students may assume the same body positions
as viewed in a work(s).Sample works may include these, 78 I
40 Early childhood student
(out paper)
Frank Wathowlak Collodion, Athens
.f3 r1:4:151we-tima-timmiimmemonimmw
Andy Warhol (American, b.1930)
MerItyri
fi (porttali6of 10 silkscreens, 1721250)
The High Museum of Art, Atlanta
) Other Features Objectives Activities Focusing onThemes
Auguste Renoir, Children Playing t3all,
Winslow Homer, Snap-the-Op:
Pieter Bruegel, Children's Games,
Ben Shahn, Handball.
Ask the questions, Have you played anyof these games?" Are the movements
familiar to you?" "Do you think the movements werefamiliar to the adists?"
practice drawing at least three or four Using a large piece of drawing paper, students
different actions:These can serve as a warm-up.Students can then pick one action to
for contribution to the mural or to make a small make a more detailed drawing
sculpture,
PRODUCT Students view a television program orfilm and decide whether or not it presents an Perceptual Al-acd MEDIA impartial view. They can read other sourcesof information or view other films awareness A2=abcdflit on the same idea tohelp them decide,
The TV Aesthetic El-ab Students keep a detailed recordof their television watching for a full week. for judgment E2-abc diary could include the title ofthe program, a synopsis, an evaluation, reasons
E3-abe selection and who selected the program.Al the end of the week, students should
analyze their own records and create apersonal Viewing Profile, Students swap
Viewing Profiles with other classmatesand spend a week watching TV from someone
else's viewpoint At the end0 the week, the students can discuss how changing
viewing habits affected them.
Students create a Classroom TVWatching Profile, Graphs and charts are used to
record such data as the following.
"Prime Time chart showing the most popularhours for watching TV on weekdays
F and weekends. A record of total hours spent watchingTV, plus an individual average, doing A A chart contrastingTV-watching with other activities (sleeping, eating
homework), chooses programming and who watches TV most An audience-graph indicating who
within a family.
0. A rating thanindicating the number of good, bad and mediocre programs.
Students examine reviews done bymovie and TV critics, especially reviews of movies those and TV programs the students haveSeen. They can compare their opinions with Reviews could of the critic, Students view afilm in4lass and write a review of it
be exchapged and compared, 82
42 Goals Objectives Activities Focusing on Themes Other Features
Some artists have made visual statements about the symbols ofpatriotism. The teacher PRODUCT Perceptual Al ,abcdefghijk and students select several to examine. These are examples: SUBJECT awareness
0 Emanuel Leutze, Washington Crossingthe Delaware,
Grant Wood, Daughters of the American Revolution,
Smithsonian Institution, StarSoangled Banner,
George Luks, Blue.Devils Marching Down Fifth Avenue,
Japer Johns, Flag,
Larry Rivers, Flag:
What is the one symbol prevalent in each work? Does the flag have asimilar or
different meaning in the Johns and Rivers works? What eventsstimulated the artist's
ideas? How do we display the flag today? How do you feel about a flagdecal
pasted,on a car window or used as a design in clothing? Havethe students list other
symbols of patriotism.
Artists have expressed persona" ezpiNtences with pole and the sea through works of PRODUCT Perceptual Al abcdef art showing the sea and rivers, rowboats, canoes, dugouts, rafts, clippers, schooners, MEDIA awareness A2=abcdefghiiklmn frigates and barks. Students view Winslow Homer's Breezing Up aid GeorgeCaleb STYLE
Bingham's Fur Traders on the Missouri, Students describe the feelings and moods of the DESIGN E2=abc two works, Are they similar or different in feelings?Students and teacher list the SUBJECT E3-abd responses on the chalkboard:, The students look atRembrandt's Christ in the Storm on
the Lake of Galilee and Winslow Homer's Fog Warning. How are the last two works
different in expression from the first Iwo? How has the artist used desigh to enhance
the expressive quality? Working in groups, students may use tracing paper or acetate
and diagram the major line directions and shapes of thefour works, Which work shows
more movement? More stability? The class describesorally and in writing what is
presented in each work, analyzes the relationship among sensory qualities and corm
positional features, and interprets the meaning of the work,
Music hos lways been clOsely related to art. Both are a 'means of personal, socialand MEDIA History of art DI an religious expression of innermost feelings. Students can prepare abook which contains D5 ac visual notations, student descriptions, newspaperclippings, critic reviews. 'photographs,
cartoons and poems'ehphasizing therelationship of the visual arts and music,
Recordings are selected which are the same periods as the art works. The class
listens to the music, They may read a brief history 'of the musicalperiod and write
notes in their books. The books may be exchanged amongthe class members, Hdw
has this theme been treated by artists throughout history?Examples of visuals to
reinforce the use of the theme include the following.
43 =
°SI II
On Shahn (American, b.1698)
Lute and Moloch/es
(silkscreen)
Ralph K. Uhry Collection
The High Museum of Ad, Atlanta
Jacques VIlion (French, 1875.1963)
The Concert on the Beach,1907
(etching and aquatint)
Ralph K. Uhry Collection
The HighMuseum of An, Atlanta
44 Other Features Goals Objectives Activities Focusing on Themes
Peter Bruegul the Elder, The Wedding Dance(1522 3).
William Harnett Old Models 1890.1892):
Henry Tanner, The Banjo Lesson (c. 1875),
Pablo Picasso, Three Musicians (1921),
0 Ben Shahn, Silent Music (1951),
What are some of the contemporary relationships among the visualat and music
(films, posters, album covers, light shows)? Have you ever seenfireworks on the 4h
of July while hearing an orchestra or band? The studentsselect an art work and a
musical recording which they feel are of the same expressive quality.
PRODUCT The teacher displays Mc) reproductions of Hans HolbeinThe Younger's Anne of History of arl D5 FUNCTION Cleves and Henry Wit The teacher or students read nursery rhymes,fairy tales and DESIGN poems about kings and queens. An examplefor older students is Herbert Parjeon's Perceptual r At -abceg SUBJECT , henry VIII. awareness A2-abc MEDIA
Bluff King Hal was full of beans; Production of 91 He married half a dozen queens; C2-abcd works of an For three named Kate they cried the banns, C3-abcc(1)d And one celled Jane, and a couple ofAnnes.5 O5ab Or an English jingle.
King Henry VIII to six wives was wedded,
One died, one survived,
Two divorced and 'No beheaded.
Who was Henry Will? Who was Anne of Cleves? What arethe visual cues which help us
to identify a king and a queen? What othersymbols represent royalty? Students may
pro 1e banners representativeof queens, kings and symbols of royalty in past and
conit.7porary times.
What do artists say about war and the suppression ofpeople? The teacher, and Perceptual Al-abcdrg students select and examine works of ari showing anadist's interpretation of this awareness A2-abcdfklmn B2bd theme. These are examples.
CI Rico Lebrun, Buchenwald Cad, PRODUCT C2-abcd FUNCTION Picasso, Guernica. Clabd Goya, The Executions of May 3, 1808, DESIGN D4-ad Bruegel,'The Massacre of the Innocents, MEDIA C5-ab George Grosz, A Piece of My World IL SUBJECT Dl-abcdn
J ) 4S Goals Objectives Activities Focusing on Themes Other Features
The students read writings by historians and critics relating the work to a period and
event in history.
What is Lebrun saying about war and the suppression of a group of people? View
Guernica and discuss the historical background of the painting and Picasso's state-
ment about the times. How does Picasso's form and imagery influence theviewer?
What is their function? Does force come from the artists conviction and passionate
expression? Is there validity of statement, truth and honesty of expression? Is Goya
expressing the same theme as Picasso, but from a 19th century view? Is the artist
a witness of the time? How does Goya 's conceptionof violence differ from Picasso's?
Discuss the rise of Nazism and its influence on the art world, What do you see in the
Gros painting? How does Grosz show his bitterness?
An artist makes social statements through art works: Let the students suggest and
discuss a theme for a film or photographic essay on a social issue.
Studehts view art works based on the themes of imagination fantasy or dreams. PRODUCTS Al -abc Perceptual Each student by writing or by talking about imaginations: dreams, or fantasies DESIGN A2-abcdIhi awareness explores the theme, SUBJECT B-bd
D4-e The students are shown Marc Chagall's I and Me Village and Joan Miro's Harlequins
Carnival. Read the following interpretive passages from H.W. Janson and Dora Jane
D l-a Janson's The Story of Painting. History of art
"Marc Chagall's I and the Village, in contrast enchants us Ify its gaiety. In this Cl Production of 'Cubist fairy tale, dreamlike memories of Russian folk stoma 4 and of theRussian C2 works of ad countryside have been woven into a glowing vision. Chagall here relives the
experiences of his childhood, experiences so important to him thathis imagination
shaped and reshaped them for years without ever getting ridof their memories.
His (Joan Miro 5) Harlequin's Carnival looks like something onemight see under a
fairy tale microscope lively and colorful miniature stage whereeverybody and
everything is full of magic tricks,However, Miro also had been a Cubist before he
discovered his own world of fantasy, and the effortless gaiety of ourpicture is
actually the result of painstaking care in the design of every detail
Each student creates a painting expressing a personal interpretation of adream, fantasy
or imagination.
Students visit an area of the community that is saturatedwith advertising.A grocery PRODUCT Perceptual Al ,abcgi tore that covers all the front windows with instate sales ads or abusigese street FUNCTION awareness. A2-abc could then STYLE B3-d mat is saturated with neon signs and billboards may be selected. Stuenfs visit an area of the community where advertising is more carefully displayed and comr MEDIA
FV Goals Objectives Activities Focusing on Themes Other Features
Aesthetic El-ab feelings.frerTI viewin_g both areas,
judgment E2eabcd Students discuss the meaning of saturation and ciie other examples in their environ- E3-abe meet in which advertising has been overdone or is not in harmony with the natural
beauty of the area: What do we mean by the term "viEual pollution? Does vie of the
areas exemplify this term?
Working as a class, students create a "Saturation Box," The teacher will obtain a
box large enough for students to enter (washing machine box) and students will cover
every inch of this box inside and out with advertisements cut out from newspap2rs,
magazines and flyers. One end of the box should be left open: Tape recordingis of
advertisements can also be played while students are in the box: 'Nter taking urn
in the "Saturation Box," students can be encouraged to discuss !o you
think the created environment is pleasant or unpleasant? Students collect examples of
advertisements which they consider good and some they regard as poor, The advertise-
ments are mounted with a written description of the reasons for their decisions: Corn-
pare the choices and discuss why some were chosen, Invite an advertising designer
to visit thelass with examples. Discuss and develop adequpe criteria for making
Judgments of-adverlising designs:
Perceptual dabcdf Students view slides of contemporary ceramics which are done in a free or abstract PRODUCT
awareness manner bry artists such as Peter Voulkos and Rudy Ado, Discuss with students the MEDIA
transition of ceramics from a functional art form to an expressive statement in art
History 0 ad 04c media. Discuss the statement, 'Function has been the leaping-off point for Pacific
D3.g (1 )i Northwest ceramics into the pool of meaning, not use."7 Invite potters to class for
discussion of their work, Are their ceramic works functional and utilitarian or examples
of "defunctionalization" of pots?
Perceptual At -abc Students collect examples of types of clothing worn by their age group from personal SUBJECT
awareness A2-abcdtki photographs; magazines and catalogs. The collection is displayed and discussed to FUNCTION
B3-d discern the factors considered in designing clothing, A fashion merchandizer, illu- DESIGN
strator or designer invited to class could assist in the discussion, How does gm- STYLE
History of art Di -ac graphical area and climate affect clothing design? How do life styles in different MEDIA
D2.abcde- cultures determine the type of clothing? Show examples of clothing produced by other PRODUCT
M-efghlipo cultures, such as Chinese, African, Indian and Arabian, Technology has changed the
04icde fashion market.
E1ab What factors have molded these changes? Discuss the design factors a fashion E2ibd designer must consider in developing new fashions. Interview other students, in the E3.abe school about their views on fashion: What is your favorite type of clothing? Why?
47 Activities Focusing onThemes Other Features Goals Objectives
such as the urban, western look? Mountseveral Who do you think deteimines fads, 81,2 x 11 cards: photographs of male and femaleclothing by wellknown designers on their likes and Ask your friends, parents andother teachers to respond according to The responses are categorized and reportedto dislikes and record their reasnns,
the class.
Bob Owens Mary Ann Clayton Covered jar Double weave coat Crafts in Georgie" touring exhibition "cram in Georgia", touring exhibition Georgia Council for the Arts, Atlanta Georgie Coimell lor the Arts; Manta
. Jerry Chapelle
Teapot
'Traits In Georgia" touring exhibition , Gqra Council for the Am Atlanta
"V.
A ! k !
Q;7o
.T Products.
Products are works of art such as IA pottery, architecture, sculpturiand painting,
"I like to watch the mobile move," Starter List of Art Products
Advenlaing art Metal products
billboard coins
magazine advertisement modals
poster weapons
armor Architecture
houses Jewelry products
churches .rings
office buildings pendants
crowns Cloy products costume ornaments vases
bowls Paint products
jars welercolOrs
cups oil paintings
murals Clothing products
vestments Stone products
The High Museum of Art, Atlanta crowns sculpture
uniforms statuary
Glass products wood products
stained glass windows furniture
bottles buildings
bowls weapons
goblets masks
paperweights sculpture
Alexander Calder
Title unknown, 1940 De High Museum of M
Atlanta
It remained for the American sculptor Alexander Calder to create in the 1930s an artformmobileswhich successfully integrates motion into art without ahan . cloning any of the essential traits of sculp. ture."8
(Edmund B. Feldman, Varieties of Visual Exp- Owes) #E.444imffm--
49 Activities Focusing onProducts Other Features Goals Objectives
FUNCTION Students examine reproductions of chairsfrom various periods of history to identify the Perceptual Al -ab SUBJECT functions associated With the chair. Can a chair,such as a throne, symbolize power? awareness A2. abcegh DESIGN Or a profession, such as a dentist's chair? Or apersonal function, such as lounging students compare styles of chairs from various STYLE and dining? Using the reproductions, the History Dl-abcd include styles such as Queen Anne, 02-ab periods and by different designers, Examples may Chippendale and Bentwood and designers such asVan der Rohe, Thonet, Breuer and D3-efg(1,2)kl Eames, The students study the ideaoriginated by Louis Sullivan, Chicago architect
(1855.1924), stating the first principal ofmodern design, h FM follows function," influenced chair design? Review life styles during Haw has advancement in technology
the different periods in which the desigo,originated. Students develop criteria for
fudging the aesthetic quality of a chairdesign;
SUBJECT Students examine murals created in past culturessuch :as primitive cave paintings and Perceptual At.ab MEDIA" frescoes such as Michaelangelo's SistineChapel and Diego Rivera's Enslavement of awareness A2.abcdim DESIGN the Indians, Emphasis is placed on howthese murals were produced, what they
commenicate to the viewer and ways they make theenvironment more visualII FUNCTION History of art Dl.abce THEME possible, students should visit a mural inthe community and compere this mural to D3-g(21k those of other cultures. Students and teachercollect reproductions of murals existing D5-b in cities of the United Stales, such as Atlantaand Cincinnati', Examples may include
these. Production of rt
works of art C2 Edward Laning, The Role of the Irani grantin the Industrial Development of C3.de America. C5-ab Health Center I Donald Benjamin,James Padgett, Wendy Wilson, Shaw Community
Mural,ProjecLWashingtom
Students create a wall mural at a public site orwithin the school. The mural should
be planned to be not only decorativebut also to communicate something about the within that building. ,building and the activities that take place
DESIGN Each student develops personal criteriafor selecting clothing, such as the .best Aesthete E2-abc(I-b)d MEDIA design for his or her body type, coloringand personality; The class members may judgment FUNCTION bring in examples of clothing anddiscuss aspects of the designs such as which SUBJECT colors make one look s.maller? Bigger?They should hold various colors up to their Production of C1 skin and examine themselves in the mirror to observewhich colors look complementary STYLE works of ad C2 suitable. C3ig next to the skin and which are not
C5.ab Students design and illustrate a specific costume oroutfit that expresses their
individuality; Accompanying the illustrationtould be colorchoices, fabric swatches and
43 3 50 Side chair Armchair SIde chair American (New York City) Italian, Umbrian, 16th century American (New York City) cka 1190.1800 (walnut) circa NOR century (mahogany) The Nigh Museum of Art, Atlanta (rosewood, lameneted, bent and carved) The High Museum of Art, Atlanta The nigh Museum of Art, Atlanta
51 Other Features Goals Objectives Activities Fpcusing on Product
illustrations of accessories. Students can presenttheir ideas in different ways, using a
clothes hanger device, a cardboard manikin or sketched figure.
Students create an accessory to be used with an outfit they enjoy wearing(woven
bag, macrame bag, headband, belt, slippers, hat,jewelry and tie). Students should
consider size, shape, function and construction in carrying outtheir designs.
Teacher and students select examples of fl/ms to explore motionpicture terms, devices. DESIGN Perceptual Ai.abcdgi MEDIA and techniques. The students discuss therole of critics and reviewers who write awareness opinions and who offer comparisons, analysesand interpretations of films, The class STYLE
members make plans to attend the same movieand become critics by writing reviews FUNCTION Aesthetic El .ab of the film based on criteria previously staled andagreed upon by the class as a whole. SUBJECT judgment ENbc such as Gene Shalit, THEME Elabe The class can agree to listen to the review of a movie critic, or read reviews found in newspapers anmagazines.
Value ait Bi-c
1321bd wairirismerga%
Baskets were originally made to be used. The students andteacher list and discuss FUNCTION History of art ,D341mno some of IN functions of basketry, such as molds for claycooking utensils and STYLE D5.13 containers for cooking, gathering andshoring materials, Examine how basketry DESIGN
techniques were used for building, clothing and ceremonialobjects. How were basketry MEDIA Aesthetic E2.abc(1.6)d forms influenced by function aqd restricted by the Materialsavailable? Securing original judger ent Elbe works Or photographs, assemble examplesof traditional and contemporary baskets.
Compare the various styles of baskets. Today basketry;whether functional or not, is Production of C2bcd appreciated for its aesthetic value, The studentslist and discuss reasons the examples works of an C3.1 shown previously are of a palicular aestheticquality, List a number of materials 05.ab found in the manmade and natural environmentwhich can be used to produce baskets,
Read books and articles on basketrytechniques, Select a technique and appropriate Value art E2-cd materials and create a basket of traditional or contemporarystyle..
FUNCTION In its 4,000.year history art glass was as prominentin ornamenting religious and regal Perceptual Al.ab objects as gems, gold and silver, Ili historyincludes vessels and windows (useful as STYLE awareness AZabccilhiji MEDIA well as decorative); architectural monuments ofaesthelic.design and physical strength,
Students study the development of art glass, Whatimpact did the Industrial Revolution DESIGN Value arty B2-bcd have on the function of glass objects? Discuss thediffereece between studio glass
created from an individual hand and glass producedfrom the assembly line. Encourage History of art 01ac List on the chalkboard: Dlcdg(1,2)kim the students to name glass products in their environments Have the students organize the list liate categoriesof Functional and Decorative. Can
some glass products be in bothcategories? Using slides, teacher and students view
52 zs
, 1
. ..q . Goal Objectives Activities Focusing on Products Other.Features
Aesthetic El-ab and discuss examples of glass produced in other periods 01 history, such as the
judgment E2.abcd Venetian glass of the Renaissance, Study the colorful windows in churchei and
E3.bcde synagogues by Marc Chagall and Henri Matisse, Read in crafts magazines about the
philosophy and techniques of modern glass adisti. Some examples include Mary .
Shaffer, Joel Phillip Myers, Hugh Jenkins and Dale Chihuly, Place examples of glass
art along a time line, Examine Tiffany and Steuben glass
Production of C2.cd Students prodhe line drawings of a figure in motion, The. model takes a stationary, DESIGN
works of art OH upright pose and the students complete a quick sketch (1.2 minutes). The model then MEDIA
C4 bcd moves one arm up slightly and the students draw the change of the arm on their SUBJECT
, C5 ab original drawing. Every minute the model raises the arm slightly and 'the students ,
record the change on the original drawing, (Through the use of overlapping lines and
Perceptual Al lbc shapes, the drawings begin to show,motion).
'awareness A2.abdeg The students and teacher may select reproductions of prints, drawings and paintings
which imply motion, such as Glacomo.Baila's Dynamism of a Dog on a Leash; The
class may discuss implied and actual motion. '' r
Students create a time,lapse movie, A fast growing bean plant or narcissus bulb can
be planted, Each day one class member shoots about 10.15 frames, using a movie
camera, When the film is projected, motion of the growing plant will be seen. Are.
motion pictures implied or actual?
Perceptual Al abcdghij As a class the students create' a list of different types of advertising, such as FUNCTION
awareness A2 abcdeghi newspaper ads, magazine ads, travel posters, TV commercials, store signs, billboards, DESIGN
posters and telephone book Yellow Pages, The leacher examples of the advertise-, MEDIA
Value ad mde merits in the classroom for students to examine, A discussion of the term graphic SUBJECT
arts leads to the understanding of the role of a graphic designer in visual communication STYLE
fields, A graphic designer may be invited to class to present examples of work and
to discuss the development of ideas and formals.
StOdents collect oni cite examples of a product that is advertised in more than one : Historydart 03.fghk form. For example, an advertisement for a new cosmetic product on the market might
Aesthetic El ab be found in a magazine ad, a store flyer, a newspaper sale caper and in a television
judgment E2.abcd commercial. Students can compafe the different formats and styles and the 'effective.
E3abcde ness of each. Other Features Goals Objectives Activities Focusing on Products
MEDIA Assembling objects so that the it original identityis still apparent, yet they are changed Perceptual DESIGN in a new context, is a type of a tied sculpture or assemblage; Studentsexamine awareness A2=abcdtilmn STYLE' examples of type of sculpture, FUNCTION Di.abcde History of art Pablo Picasso, Bull's dead, D2:atj Louise. Neyelson, Royarridell; 03tdefgijk Christo, Package 'on a Wheellotow. 04de is the abandonment of 05abc The students and teacher diScuss how sculptural assemblage carving, castingand modeling, traditionallyteIeChniqueS of the sculptor, Outstanding
painters, such as Picasso and Braque,have created assemblages, Artists have used
the actual objects. instead of using paintand brush to represent the objects, The, Marcel Ducharnp, Kurt SchwitterS and Jean Arp, works of the Dada artists, such as
are studied and examined,The tudentsread and discuss the statement by Edmun
Feldman from Vallejo of VidaExpetience:9
."Today artists do not seem to be pec'ularlyinhibited about workingtip; any
dimensionf y.can penetrate'
)Ge innEining,1908 John Sloan (American, 1871.1951), The Making of an Actress . v,\ (pencil, Ink and crayon), The High Museum of Aril Atlanta \
14 George Groat wet, 1924
(reed, pen and India ink)
The High Museum of Ait, Atlanta
I I
lr
11
54 Media
Media refers to the physical substances out of which art is made, such as stone, glass, clay and metal;
Medium is a means, such as stenciling; chiseling and glazing, by which media are transformed into an art product.
Charles Bowen untitled Starter List of (pencil drawing) Westminster Moo:, School Ari Symposium Media Used in Art
"I like to use pencil to study everyday, Materials Tools Processes common objects,"
clay hands coil building
potter's wheel slab construction
modeling
Throwing
linoleum block cutting tools printing
wood block found objects
ink
paper
found objects hands constructing
nails weaving
collage making
film camera developing
tempera paint brushes direct
paper indirect
Johnsdn pewter Bowl "Ciefts-in Georgia" touring exhibition
Georgia Council for the Arts
Atlanta
"Each of my pewter pieces is formed by 0I
!land from a fiat sheet using a minimum of 'qt. pewter tools? (R. E. Johnson) A8 55. . . t. - Activities Focusing on Media Other Features Goals Objectives
PRODUCT Students use ink wash and ink line (brush lines, penlines and tines made by une Value ad B4 DESIGN conventional tools such as sticks and cardboardedges). Comparison should be made FUNCTION on how this medium is similar toand different from watercolor. The student experi- Production of Q2-cd met with ink wash and ink line using thefollowing procedures: SUBJECT works of ad C5-ab
Apply various shades of ink wash to white paper,leaving certain areas white, Perceptual Al=ab Draw in contour three or more figures both inthe wash areas and the white areas awareness so the ink contour unitesthe white and the wash areas:
0 Use ink washes to indicate segmentsof posed models. When dry, apply ink lines History of art D3-k to identify the models,
Draw a still life or landscape using ink wash and lineto create various textures,
Use different paper surfaces forexperiments,
The teacher shows several reproductions and, wherepossible, original 0 works
using ink wash and ink line, Some examples include
Rembrandt van Rijn, Saskia Asleep (brush andwash).
Saul Steinberg, gird and Insects (inkdrawing),
o Leonardo da Vinci, FiveGrotesque Reads (pen and brown ink),
Charles White, Preacher (ink on cardboard).
o Jean Dubutfet, Landscapewith Jellied Sky (pen and india ink).
What different marks are made by the tools the artistsused? Describe the different
techniques used to create tones or values,Which drawings record what is seen?
Select those that visualize what is imagined,Which drawings symbolize ideas and
concepts?
DESIGN The students use tempera to paint a random orfree design: They are encouraged to Value art 04 disregard subject matter and to experimentusing the paint to create different lines and
shapes, to paint on top of an already painted area(both while it's wet and while it's dry); Perceptual A2-adf When the paintings to try thick and thin paint, and toenjoy the,interaction of colors. awareness are dry. the teacher should selectcertain ones and display one at a time, The students
and teacher discuss feelings andmoods in the painting,
What kind of feeling does this one have?Why? How do you feel when you look
al it?
Are some colors sad? Happy?
Does this picture make you feel hot,cold, wet?
Does this picture look busy or calm?Do the lines in the picture create the feeling?
56 Goals Objectives Activities Focusing on Media Other Features
The teacher secures examples of original prints produced by different processes and PRCDUC1S History of art 03-g reproductions of art works. With a magnifying glass. the student examines the surfaces FUNCTION
of the originals and the reproductions. Which of the print examples reveal a regular
part emof small dots? Do any of the prints have a layer of ink that looks like
paint,r to be on top of, rather than absorbed by, the paper? Do any
prints Si lysical impression on the paper? Discuss the terms, print and reordiati. Discuss the four basic printmaking methods: relief, intaglio; lithography
and silk screen. How have photochemical methods of reproduction changed the image-
making procedures? Students collect other examples of reproductions found in their
daily environment,
Using powdered tempera, students mix as many new colors as they can by combining DESIGN Value art B4 the three primary colors (red, yellow and blue) plus black and white.Students should be
encouraged to find secondary colors (green, orange and purple), shades (mixed with Perceptual A2-ac black), and tints (mixed with white). Older students can be challenged to find unusual awareness colors with familiar names such as sienna, magenta lime green and peach:
The students make paint samples from their experiments. The teacher places repro-
ductions on display. in the classroom; The students try to match the paintsamples
to the same colors found in reproductions such as these.
Piet Mondrian, Composition with Red, Yellow and Blue.
VVassily Kandinsky; Blue Mountain,
Frank Stella; Sinjerli Variation!,
Paul Klee, Castle in the Sun.
At home the students go on a scavenger hunt for materials that canbe used in PRODUCT Production of C5-ab fabric design. Students can assist in naming and listing materials that can be used for a works of art fabric design. Each is encouraged to ask for assistance in locating these materials
Example of materials to be found are scrap thread, embroidery thread, sequins; Perceptual Al -ab bullons, jewels and beads, jute, lace, braid, zippers; fell; burlap and any other awareness A2.ab materials that could be used in fabric design.
When the materials are assembled in the clasSroom, the students are asked to sod
these by types; Younger students might soq.their materials into cloth, yarn and
decorative objects (buttons, and beads). Older students might sort different patterns of
cloth such as polka-dotted, striped; checked, plaid; flowered, and solids. This activity
could also be used to sort cloth by its texture, suchis smooth, velvety, rough or .
bristly, bumpy or furry. Discussion can follow on how different materials might
be used Which materials could be used to make lines? Whenchoosing different kinds
57 (below)
Purvis De Chavennes (French, 10244898)
La Normandie, 189a
(lithograph on paper)
The High Museum of Ad, Atlanta
(for right)
Richard Lindner (American, 111901)
Banner, 1971
(hanging, from an edition of 18)
The High museum of Ad, Atlanta
(righf)
rldget Riley (Canadian, 111921)
Coloured Greys Ill 1972
(screenprint, 21125)
The High Museum of Art, Atlanta
L _i Goals Objectives A_ctivities FocusingFocusing on Media Other Features
and colors of cloth, should the choice be many different kinds? Can pieces be matched
that go together?
. The class looks for examples of materials used to create a fabric oesign or 1 decorative design on clothing: -....
History of art DR Students examine an original watercolor or reproductions of watercolors by such artists PRODUCT
B3-g as Andrew Wyeth, John Mann and Wassily Kandinsky. Comparison can be made of STYLE
different techniques used in watercolor such as washes (wet-on-wet, wet-Mr?) and DESIGN
Value art B4 dry brush: The students experiment with watercolors using wet=on-wet technique,
wek-on-dry technique and dry brush. Emphasis should be placed on leaving areas of the
Production of C5-ab paper white. using layers of wash tobuild up shapes, starting with lightest color, 'irst
works of ad and then adding darker colors and using dry brush to define lines and shapes.
The students and teacher can discuss the selected examples of watercolors and discuss Perceptual A2-ab the relationship between media and style. , . . awareness
Students and teacher view cave paintings. Students are led to recognize the importance PRODUCT History of an Dl .a
D3 ik of the discovery of fire which allowed people to live in caves free from dangerous SUBJECT animals and to draw on the cave walls with burnt sticks.
Value an 132=d Students create a bumpy drawing surface by putting papier.mache strips over wadsof B4 newspapers. Stitks are burnt and used as drawing tools onthe simulated cave wail.
Stylized animals and figures are drawn on the bumpy sunace. Note that placement of
the animals and figures over the bumps is critical to the design: Did the hungry ,
cave dwellers imagine the bumps onthe walls resembled pads of certain animals and
did they fill in from the suggestions? Did this technique help them learn how to draw
the animals? Look at examples of cave paintings.
c id Animals, Cave of Lascaux, France,
Buffalo, from Cave of lont de Guame,` Paris,
Read on the subject of cave painting to learn what historians say about the works and the
cave artists.
Students use building blocks, wood scraps and wood spools to create architectural PRODUCT Value art B4 r, structures. Students are encouraged to experiment with various arrangements to create DESIGN
structures with interior spaces and to build towers without concern for permanent FUNCTION Perceptual Al -ab
awareness A2.and structures.
.
117
59 Activities Focusing onMedia Other Features Goals. Objectives
their classroom and schoolbuilding: How does it The teacher and students talk about C5-ab function of the building, Why were specific rooms Production of feel? How does it look? Discuss the
leacher may show several examplesof shelters works of art built? Who is an architect? The
found in the community:
materials used in building shelters, Ifpossible, Students make a collection of various actual building site to collect thesematerials: These the students may take a trip to an further experiments, materials are placed on a table,labeled and used for
be purchased PRODUCT Students construct and createtheir own slides. Empty slide mounts can Production of Ci acetate can be placed inside the mount,When DESIGN from a photo shop and a piece of clear works of art 02-cd produced. Students FUNCTION ironed the mount will adhere to theacetate and a workable slide is (1-3) inks or any other material that can use acetate markers,permanent markers, Pelikan C5-abd be encouraged to use will adhere to the acetate to draworrtheir slide,. Students should
-interesting shapes, texturesInesandcoMposillonsWith.egifirneolOop.the students Perc-epitial A4-abd- can create slides with someof the following, awareness
colored gelatins and tissue paper canbe Vaseline, food coloring, salt granules, 0349hi and then sealed in a slide mountInteresting History of art placed between two pieces of acetate when such materials are meshed betweenthe colors, textures and designs result
acetate: each one: When both pieces are put Take two pieces of acetate and draw on
together in the slide mount,interesting color overlays result: small feathers: Try placing found objects betweentwo pieces of acetate such as floor dust, Observe the results screen, netting, hairs:rub.on letters fine grass and
when the image is magnified .roughthe slide projector: of the emulfon with a cotton tipand diluted Take an old slide and remove some
bleach,
slides made The students experiment with the effectsof light, motion and sound. Using light, motion and sound show, Arrangethe slides by the students, the class creates a these fast and in the projector in g unique sequenceand project these. Try showing the path of the light creating out offocus projection then slow, moving opaque objects in projectors. Music may be added usingrecords and combinirig images from two or more projections. The slide and tapes, Allow students io dance ormove in front of the wearing ponchos made from sheets,Does the images can be projected on students, mask an the figures? The teacher canprovide a projection of the image create a "light" themselves. Discuss how thetheatre ads and dance mirror for the students to view the ad of making create specific effects using light,sound and motion. Cinematography is discover its pictures appear to move: Read aboutthe history of cinematography to
119 Esdy dtlidlud shrient (tempere psintIng), _Court.' Rho*
vr, illininsii
LarryCs:nattier
(mural)
Decatur MARIA Station Detatur
Terry White
Old Mill
1 (pencil drawing) i Jones County chtle,ehool AWS plum
121 Media Other Features Goals Objectives Activities Focusing on
color and photographic basis, the newdimension of sound and the introduction of motion make motion: Discuss how thephotographic image, plus sound, color and In reviewing its history, note howtechnology was cinema a highly persuasive medium:
developed to implement the ideas offilmmakers. Do only advanced technological
societies produce films?
forms created by PRODUCT Natural and synthetic fibers arebasic materials for a variety of Production of C5-ab (knotting): The students DESIGN processes sid as weaving,stitching, crocheting and macrame works of art FUNCTION and teacher collect samplesof fibers for display and examination, of the fibers and the processes used to create STYLE Discuss the textures ancfcolors History of art 03fghikl traditional objects. Collect examples of the fiberarts which are functional in the the students to find other sense as well asaesthetically appealing. Also encourage Perceptual Al-ab direction in this area. Divide the class in groups examples of fiber sculpture, a new awareness A2.abc of 4.5 participants and assign each group afiber process to explore historically might include these, .and technically: Questions to explore
the people using e Did the origin of the processresins from the specific needs of
the product? processes? I Hastechnology brought changes in materials and Are the functions I What are the functionsof fiber arts in our contemporary society?
different in other societies?
well as from the When working with clay I take pleasurefrom the processes 'Production of CS.-ab finished piece: Toshiko Takaezu11 works of art PRODUCT Takaezu uses a potter's wheel and gas-fueledkiln to produce sculptural ceramic D3-gh DESIGN History of art forms which become the foundationfor rich paintings of glue and oxides, Discuss FUNCTION 03.Im the processes used to produce ceramic wares,such as pinched, coils, slab and throwing. STYLE Examine examples of original ceramic potteryand selected reproductions. Are there SUBJECT Aesthetic Ela visual clues to assist the viewer in identifying the process?Discuss the types of E2lbcd surface judgment clay which are used to produceceramics, How has each Mist treated the E3.bc decoratiqp? Did the works originate in differentcultures? Have the.students write their
interpretation of.the Takeezu quote. The studentsshould orally or in writing state
and justify reasons why the ceramic potteryexamples have a particular aesthetic
quality.
23 -Q2
62 Function function refers to the specific purposes for which works of art are created, such asworship, communication and commemoration. Function Involves both the aesthetic and theutilitarian.
Mike corn Enameled box Starter List of (brass and enamel) DeKaib County Schools, School Al Symposium Function in Art
The supernatural "The metal container was created to store symbols IA affillatiOn
smaller treasures as well as to be viewed symbols of beliefs
fertility charms as an object of beauty."
Communication Seal-positit
symbols of Zoe or prmssion
symbols of status
Symbols of power
symbols of rank
symbols of degrees or honors
symbols of sexuality
Personal function
adornment
mourning
celebration
emotional expression
utensils
habitation
f maintenance of political institutions
symbols of nationhood (flags, emblems)
symbols of power (the crown, the Kremlin, the White House
symbols of political:parties or doctrine
symbols of labor unions
symbols of heroism
Social movements and social criticism
symbols of social movements, Or example, ecology and peace
Charles cute political cartons stoneware Nee Contribution to play and recreation "Crete in Georgia" touring exhibition objects used in chess, cards, dolls, puppets, and toys, Georgia Council for the Arts
Atlanta
"As a designer, and craftsman I aim to make objects that people can use. Inside my whole person Ifeel a bursting forth of
IDEA that I fry to put in real FORK"12
(Charles Colt)
63 Activities Focusing onFunction Other Features Goals Objectives
including PRODUCT The students select an artist andread to discover facts about the artist's life, Perceptual A1-abcd Calder, born August 22, 1898, Plan abirthday THEME birthday: An example might be Alexander awareness A2.abcdf colors, shapes and subjects depicted in hiswork, DESIGN celebration to honor Calder, using the We celebrate birthdays? What are some of the ways MEDIA his circus art and mobila Why do Production of C1 and excitement? The we celebratebirthdays? How do we create a mood of gaiety works of an C2-abcd the classroom using murals, mobiles,reproductions students create an environment in 03-bc(2) associated__ and music. What other events do wecelebrate? What visual images are Day? Fourth of July? Mardi Gras?Festivals? Weddings? with Christmas? Valentine's Di eabc celebrations? Here are two What artists have recorded such Da-hi
0 Steen, TheEve of Saint Nicholas. Wedding, a Pieter Brun the Elder, Peasant
of a business, a profession or The students collect examples of logos, symbols PRODUCT History of ad Dl -dkIn client? What DESIGN group. What is the purposePf a logo? Who designs the logos for the 02-abe in order to must a designer know about theclients business; group or profession D3-fg(1 )h their create the design? How have businessesand professionals communicated reproductions of past and contemporary service or product historically? Examine Production of C1 technological advances influenced the styleof the logo Cnbcd symbols: Have cultural and works of ad class, each and is use The teacher andstudents select a group or business, As a adegh based on student contributes a design for thelogo. The class votes on the best logo C5-ab an understanding of thecriteria for making an aesthetic judgment,
Aesthetic El=ab
judgment E2-abc g3abd
the teacher PRODUCTS Religiops ad is an expression ofbelief in a deity. Using the slide projector, Al -ablg Perceptual Lippi's DESIGN shows an example ofChristian art such as Fra Angelico's and Fra Filippo A2-abcdf awareness of MEDIA The Adoration of the mg (painting).The second slide shows an example the beliefs of STYLES Buddhist art, such as BuddhaTread, Japan (sculpture), Read about B2-bd Valuing of art symbols and objects the two religions symbolized in theen works. Point out different B4 different from those of the Buddhist religion?What for Christianity. How are they and its liturgical art objects? Look atobjects and Onbc are the !unctions of religious al History of art function symbols created to enhance andfacilitate worship in other Seets, Does the D3elklmn objectrdetermine the choiceof media? Do some :styles reflect the period of D5.b of history in which the work wascreated?
127 (tar right) illrran Riemensehnelder (German, 111)
St. Andrew, The Apostle
(wood sculpture)
Kress Collection
The High Museum of Art; Atlanta
(right) Niccolo De Ana
St. CaliterinO of Alexandria
(oil on wood) ';
The High Museum'tifli, Atlanta Activities Focusing onFunction Other Features Goals Objectives
SUBJECT Before the students arrive at school theteacher can remove all decoration, displays, Al-a Perceptual At DESIGN bulletin board material and curtainsthat make the room aesthetically pleasing, awareness A2-abd discuss feelings too a room limited invisual the end of the day, the class can
stimuli. Students can discuss planning a roomfor aesthetic as well as functional Aesthetic El-ab viewer? Is the designer purposes. How does theinterior designe; please the eye of a judgment E2abcd which singly or in combination are an investigator ofcolors, shapes and textures beautiful appealing? Can the room be designedwith objects and space which are
and useful?
forms to communicate and to DESIGN Students recognize that peopledesign shapes and At-a Perceptual shapes and PRODUCT decorate the environment inwhich to live, Students. discuss and name awareness *abed mail boxes, SUBJECT forms found in their environment(signs, telephone poles, garbage cans, THEME houses, cars, streets). Aesthetic E2=d communicate, such as safety signs, streetsigns, judgment They should designate those which shrubbery, and advertising signs, and thosewhich decorate the environment such as ithages used for convoka . flowers, and shutters on houses.How are the forms and with verbal language? How do theseforms and images ion organized in conjunction formation to-social groups? ' call attention to the crucial function ofa0 in conveying be aesthetic as well as useful? Can the medium of communication
live, DESIGN Students name different architectualforms in the environment in.which people Perceptual M libraries, schools, SUBJECT work or play such as houses,trailers, apartment houses, banks, awareness AZabcdefghik and students select visual PRODUCT post offices, restaurantsand grocery stores. The teaches a physical MEDIA examples of architecture inthe community, How do these buildings serve History of art 03=e1g buildings? How does this function affectits function? What do people do in the evidenced in the newer buildings in the design? What changes in design are Aesthetic EZabcd developments have changed architectural community? Discuss how technological judgment vehicle for ideas and emotions? Readthis excerpt structures. Is architecture also a
from ArchitecturalRecord,13
of °Against the light buff of the concrete;the architect has projected a rainbow strips, vibrant red or rich green for carpets,purple for interior colors '. red and blue for many certain casework, royal blue for somedesks and wall areas, bright red else And yet even with seating units, and combinationsof these for eve
such a broad, bright palette, there is no senseof color run riot What lingers, or feelings of gaiety, of celebration, of youth carries over train space to space, are symbol What better feelings for a buildingthat by ifs function is both a primary
and a seat of learning," 131 30
66 11 Goals Objectives Activities-Focusing on Function Other Features
History of art D2.ab The teacher and students survey the class citing'examples of jewelry worn by each PRODUCT
D2.gjklmn person. Why do we wear jewelry? The teacier lists the responses on the chalkboard. MEDIA
B2-bd The responses are categorized by [unctions such as symbolizing marriage status, STYLE
E2-abc economic status: association, cultural status and religion. Read about India which has DESIGN
the oldest uninterrupted cultural 'development in the art olOwqtry-making. How does
the use of jewelry in India differ from the use in WesAlrn cultures? An example may
be the indispensable ceremonial use of jewelry which adorns almost every part of
the-bodrsuctrarattinkthelayal-namelving-and-lberarri-ageteremonyrDiverse---
religions, geography and the availability of natural resources express the way of life
and customs of the Indian wearer, The students view examples of Indian jewelry
through books and magazines. Does the jewelry reflect a specific style of design?
Perceptual A1abcdeghijk The students and teacher select examples of political cartoons from the twentieth PRODUCT
awareness A2-abcdef century, such as those by CIM Baldowski (Baldy) of the Atlanta Constitution and DESIGN
David Low, formerly of the London Evening News, Are political cartoons intended to MEDIA
THEME History of art DIfIn ridicule people and institutions so that they will change? Is the humor sometimes
bitter as well as in fun? How does the editorial cartoonist develop a pictorial formula STYLE
Production of C.1 for the portrayal of personalities? Are political cartoons published only in democratic
works of an C2.abcd societies? The students create their own cartoon characters and cartoon based
C3.abcde upon a political personality Of issue
Students select fashion illustrations that are appropriate for various occasions using PRODUCT Perceptual A1-ab
awareness A2-abc clothing catalogs pattern books and magazine. Students choose one occasion and MEDIA
select illustrations to fit. Some examples mayinclude clothing for school, church, DESIGN,
games and panies. Students are encouraged to bring in examples of the clothing. STYLE Valuing art B3-bd How does the material and design vary according to the function of Ile clothing? SUBJECT
History of art D3-klmno How do weather conditions, such as cold, hot or rainy, make a difference in the
clothing selection?
Students place two samples of cloth, one white and one black, in direct sunlight and
observe the way heat is abso d or reflected. Reasons for thit variation in temperature
can be discussed and stunts can cite colors and fabrics that would be appropriate Li for warm or cold weather Lvear ;
Various people involved i the fashion market; such as designer's and illustrators,
models and buyers; may be invited to speak to the class on their roles in fashion.
If such people are not available in the community, books and films can be used by
students to find out more about these professions: What are some of the factors t each much consider in marketing and designing clothing?
133 61 OtherFeature's Goals Objectives Activities Focusing on Function
PRODUCT Students are asked to bring to classtheir favorite toy and game. Each student Perceptual At-ab DESIGN comments on the reasons for theirchoice. Why do we have toys and games? awareness A2abc MEDIA Are there games and toys for adults?Can you identify some objects used in the
games or on the toy? Name someof the colors that you see. Who made the toys Valuing art 63e and games? Do you ever make your own toys or gamesfor play? The teacher and
students look at examples of toys and gamesmade in other contemporary cultures History of art D-fg and in other periods of history. The classdiscusses the differences between the toys.
An example may be the electronic toys and gamesmade for today's market which Production of Cl primitive cultures can employ light, sound andmovement because of batteries while works of art C2-abod C3fg use natural resources.
C5=ab Older students may examine the technologicaland cultural advances which occurred examine the in order to make the modern toysand games available. They may also
economic factor by comparing costs of gamesand toys purchased at a store and those
handmade, The class is divided into groups,Each group creates a toy or game based The finished on the criteria the classhas established for a quality game or toy.
products are judged according to thecriteria. The toys and games are glen to
younger children.
$econdery student (jewelry), Fulton County Sake
Secondary student
qewelry)
Fulton County Schools
i' 68 Design
Design refers to the structure of art, It is the organization of visual elements such as line, color, shape, form and texture, and the principles by which the elements are organized, such as balance, rhythm, unity and emphasis. It is a means for an artist to shape an idea into a visual form.
Chris Schneider
untitled Starter List of Design
(pencil drawing) IMO County Sohools, School Art symposium in Art
Elemente
.tine "Everything is drawn in simple shapes. shape
Most of the shapes are geometric and have color
texture sharp edges." space
volume
movement
Organizing principles
rhythm
emphasis
balance
proportion
variety
monotony
symmetry
asymmetry
unity_
ligure-ground
Expressive qualities happysad
strongweak
excitedcalm
thinthick .
geometric-freeform
intensesubdued darklight
gloomybright Frank Stella (American, b, 1936) warmcool Mantene la I, 1968 advancingreceding From the ."Protractor Series" smontrough (acrylic on canvas)
The High Museum of Art
Atlanta Oi "Stella, about 1967; turned to brilliantly colored shapes, interrelating semicircles with rectangular or diamond effects." 14
(H, H, Amason, History Of Modern Air)
1 7 6_9 Activities Focusing onDesign Other Features Goals Objectives
PRODUCT Students can experience objects by feelingrather than seeing, Construct a box in Al-ab Perceptual the MEDIA which students cannot see but can puttheir hand. Students place hands into awareness A2ack object should be distinguishable by itstexture STYLE box and carefully feel the object, The discuss how SUBJECT (such as sponge, driftwood, fur,crushed paper). Students and teacher E2-ac Aesthetic STYLE and what design elements (such asline, shape, E3c they responded to the objects felt judgement the value, color) might be used to depict thetexture: What color did they imagine
object to be Was it a hard texture or asoft one Was the object rough or smooth?
Did the surface feel warm or cool?Which colors are warm and which are cool? History of art DI ac (craggy, Students might list words which bestdescribe the textures experienced Older students an discuss how texture canbe heavy, light, jagged slick, pebbly). 031(1 represented the same textures differently. real or implied and how artists have
Students can view reproductions or slidesof artists work and the use of implied and Production of Cl real texture. works of ad 02-ab
C5 Vincent van Gogh, Drawings.
Marino Marini, Man and Horse,
Value art 82-d Claude Monet: Cathedral at Sunrise.
53 Pablo Picasso, Green StillVe.
.Following the discussion students might create apainting which emphasizes texture
with media such as watercolor, teMpera, ormixed media. Others might write down
descriptions of observed textures (artificial ornatural) and make a small sketch next the differences to the description. OtherS could research, analyze and characterize
and similarities in the styles of two or moreselected artists and present these
findings to the class,
experience two kinds of textureteal SUBJECT In our erivirorment, as viewer or as artists, we Al b Perceptual PRODUCT and implied. Real textures are those I canactually see and touch, Implied A2,acdfgk awareness simulated MEDIA textures are,those which have the appearanceof texture. However, they are throughout centuries STYLE. or invented, Real orimplied textures have been-used by man Si c Value art available and can be used to express anidea through the multitude of materials 55 to today's society.
the characteristics and sensory qualifies Production of Cl Students and teacher might begin discovering
works of ad C2abcd of implied and real texture in 'someof the following ways.
reproductions the works of Vincent van Gogh. Students might view through slides or 05 View several examples of vanGogh's early work (paintings and drawing) and compare
,138 a
70 Goals Objectives .Activities Focusing on Design Other Features _ __,...... them to later work. How does his attitude toward texture change? History of ad DI -acd
D2-bcde 0 Digging Woman, 1885 0 Promenande at Aries IF 03-g 0 Boots with Laces, 1886: 1 Boots, 1887,
0 Van Gogh's Family Home at crag11,td). Aesthetic S2 -c(1, ,3,5) Nuenen, 1884, I P)rthiii or Dr. 1-J, met; 1890. judgment Head of a Peasant Smoking Pipe,
1884,
How are these works different or similar in style? Are the textures van Gogh
produced characteristic of all of his works? What are the diff erences or similarities?
Do these heavy textures of a later period lead to feelings of pleasure or.displeasure?
How does the medium van Gogh used affect the visual impact? When students and
teacher have terminated the discussion, present students with another selection
of early and later reproductions of van Gogh's work and ask them to list these as
early or later.
Students might discuss the textural qualities in the medium used How does a
particular texture (implied or actual) add to or detract from the visual impact? How
well was it controlled? What tool or technique is best suited for applying and
controlling the desired result? Have the students experiment with a variety of
media to solve these two problems. .
0 Create a new painting medium which has somethingadded to it that gives the
paint a different texture.
Examples are glue, sand; sawdust, papier-mache, did and coffee added to
tempera paint. .
Create a new painting surface which has something added to it that gives the
surface a different texture.
Exampleare sand glued onto cardboard, tissue paper glued to paper, tinfoil
glued to paper, scrap cardboard built up on a large piece of cardboad
Line, in ad. may be thought of as a path made by a pencil; pen; brush; crayon SUBJECT Perceptual Al 'abf awareness A2=acdelkh or any other drawingimplement, It can be found in the artificial and natural environment. MEDIA Students can compare natural objects such as tree branches, seed pods; seashells; PRODUCT
: leaves; and artificial objects such as a saw, toothbrush, nail, knife, chair. They can Value ad B2=cf compare and categorize by the kinds of tines observed,
Production of Cl Students could begin to identify and define the more common types of line such as works of art C2 abdc outline, contour, blind contour, gesture (movement), implied, blocking-in, sketching; Clch Once students are able to identify kinds of line, investigation into how IAIIA calligraphy..
71 Other Features Goals Objectives Activities Focusing on Design
individuals interpret and use line in art might be pursued.
History of art 01-a reproductions an lead to D2b A comparison and discussion of the following slides or greater awareness of line in the human and naturalenvironments. D3-g
D4-d Natural Human
Edward Hicks, Peaceable Kingdom, a Stuart Davis, Premiere, Aesthetic E2-c An Max Ernst; The Joy of Vying, a Vincent van Gogh, View of judgment E2-cd Henri Rousseau, The Dream, Industrial City.
James Fuller, Dappled Things a Wayne Thiebaud, Pie Counter, Production of Cl Edward Hopper; Early Sunday Series #44. C2-abcd works of art a Phil Dike, Sea Structure #15, Morning. C3-abc a Richard Estes, Drugstore.
As students view slides or reproductions they areasked to observe and discuss the
differences and similarities in the characteristics of theline used in the anist's
visual image. What kinds of lines were used? Curved orstraight strong or weak,
dark or light, blurred or fuzzy? Do the blurred and fuzzy seemfarther away while the
bold ones seem closer? Does the quality of the line suggest amood or play on the
viewers emotions? Is the artistsvaried use of line important to the work? How
or why? The teacher can lead the class to greater awarenessthrough questioning
and observation about the use of line, both inviewing M works as well as in --conveying/eaninporeiffediwtylltheiLown,aiwork_Dependlun the ability
and interests of the students, they might follow upthe above investigations with
some activities involving line.
Do a small nonobjective drawing using only vertical,horizontal or diagonal lines, How
does the direction of the lines change the senseof mood or character?
Do three drawings of the same thing using a slow contourline, a Iasi, sketchy line,
bold thick lines.
Create a drawing where animals are found in a naturaleilVirariMeni with curved
flowing lines (leaves, vines, plants). Do a second drawingwhere the animals are in a
human environMent such as zoo, city, room oryard,
Experiment using different drawing tools, conventional(pencil, pen, felt-tipped pen,
crayon, chalk) and ulnconventional(a finger in sane, a stick dipped in paint, an edge
of a piece of cardbrd, a fork), Tools may beused to create differentkinds of lines,
Emphasis. should be'placed on concepts, lAO 143 Stuart Davis (American, 1854.1984)
ivy League; 1953
(silkscreen)
The High Museum of Ad, Atlanta
Al Held (American, bl 978)
Flemish IX
(acrylic on canvs)
The High Museum of Art; Atlanta
Revel Tche !nohow (Russian born American, 18981957) neon
(pastel on black paper)
The High Museum of Art, Atlanta
Den Shim (American, 1898.1969)
Love
ui(ink on paper)
The High Museum of Art, Atlanta Other Features Goals Objectives Activities Focusing on Design
1. Which tool made the best thinline? thick line? wide line?
2. Which tool made a soft line? scratchyline? hard line?
3. Which tool makes repeated lines? (fork dippedin paint)
Students are given choices of drawing media in creating variousline drawings.
Locate in he room examples of repealed linessuch as the grill on the radiator,
stripes on a shirt, brick walls, the slats in theblinds. Discuss how patterns are
created by repeating lines and shapes.Students can practice different repeating lines,
such as curved lines to create a pattern,Students break up the space of a piece of
paper by tracing around differentshapes, Overlapping should be encouraged. In each
shape a different pattern of line will beused
After any of the above activities thework should be displayed and discussed by the
students and teacher.
SUBJECT The tense of space is often discussed in such terms asforward, back, around, Perceptual Alt PRODUCT under, behind, over, into, out from. All of these terms indicateaction in space. We can awareness A2.abcdghkki in images. Introduce the terms FUNCTION extend these terms to a vocabular describing space
two dimensional space and threedimensional space, Ask students to identify two- History of an Diac dimensional space and three-dimensionalobjects in the room. Describe aspects of
two dimensional objects. Use terms such asflat, positive and negative space,
picture plane, illusion and depth (higher andlower on picture plane), overlapping,
Talk aboutthree:dimensionatspice in termsof space around, flowing space, deep and
shallow space, congested space, inside space, one andtwo point perspective, How are--
these kinds of devices employed by theanist to make a particular kind of compo-
sition or represent a particular spatialccncept? Students might compare, contrast
and identify methods the followingadists have used to suggest space in their corn.
positions. Reproductions or slides may beItudied,
$M. C. Esher, Hand with Reflecting Globe.
Paul Klee, Uncomposed Objects in Space.
Paul Ce2anne, The Turning Road,
Rornare Bearden, On Such a Night As This
Yves Tang* Furniture of Time.
each Mist has employed one or more of Ask students to describe and analyze how
the spacial devices on a two dimensionalsudace.
146
147
74 Goals Objectives Activities Focusing on Design 'Other Features,
Perceptual Al Study the following reproductions, slides, or study sculpture found in the community.
awareness A2-abcdefghl Henry Moore, King and Queen, PRODUCT
Max Ernst, LE Cooricome. MEDIA Production of C1 Marisol, The Bicycle Race. STYLE works.of art C2.abcd $ Michelangelo, The Rebellious Slave: FUNCTION C3-a
C4-a Teacher and students discuss spacial concepts ad how they are similar or different
C5-ab when working in three-dimensional media, When discussion ends students might select
three or more approaches to reesenting space in either a two-dimensional or three..
dimensional media. When this has been completed, ask the students to trarAlate the
same subject, theme, or design into the opposite media: When the student has com-
pleted products in a two-dimensional and in a three-dimensional form; display and
compare differences, similarities and changes which have occurred in transferring the
idea from one technique to the other.
Examine two-dimensional art such as Sunday Afternoon on La Grande datte by
Georges Seurat, The Disquieting Muses by Giorgio de Chit; and The Sleeping
Gypsy by Henri Rousseau to see how the artists placed objects higher on the plane
and used overlapping shapes to create the illusion of depth.
The term horizon line is introduced. Students produce a line drawing of a crowd of
people. One-half of the class models while the other half draw's the subject. Students
modeling are positioned with some in front and some behind.
Produdion of C2-cd Using their names or large printed letters, students might draw in various ways: PRODUCT
works of art Ch thick and blackened in, just outlined with empty space inside, outlined with fuzzy edges, MEDIA
C4ra outlined with rubbed and blurred edges, or textured and patterned. Place them in STYLE
C5-ab row (in appropriate order) and observe the visual sense of advancing or receding FUNCTION
space.
Perceptual A2.ab How have these techniques affected he sense of depth? awareness
Production of C4-d Students could draw the same object from different eye levels. Students select a simple
works of art C5-ab object such as a cup, a can or a flower pot and draw it on eye level and then below eye level (placed on the floor) and then above eye level (placed on a high shelf),
Perceptual Al-ab Students are encouraged to see whieh parts of the object are visible from different awareness A2-abc eye levels:
148 119
75 Activities Focusing onDesigd Other Features Goals Objectives
and analyze Students create a landscape paintingfrom a different viewpoint. Describe different viewpoints, such as over, under,overlapping, works of art showing images from
higher, lower: Examples mayinclude these:
Midnight Ride of Paul Revere, OrantWood.
Rooftops of Montmagny, MauriceUtrillo:
I LondonBudge, Andre Derain. I Hunters in theSnow, Pieter Bruegel.
Armin Lsndeck (American,h,1905)
Matihann Vista (drpoint)
William Bradford (American, la 11392) The High Museum of Art, Atlanta
Coast of Labrador
(oil on canvas)
The High Museum of Art, Atlanta
A44 Style,
Style is the combination of distinctive features of artistic expression and execution characterizing an
artist, a culture, a school of artists or an era of history (Gothic, Renaissance).
David Roper Starter List of Art Styles The Ginger Jar
(colored pencil drawing)
Gainesville City Schools, School Art Symposium
Regional examples
Egyptian
Greek 1 drew the still life in a realistic style. I Roman
wanted to show the decorative aspects of A-ztec
Indian the objects." Period examples
Romanesque
Gothic
Renaissance
Baroque
Styles labeled by shared attributes
Cubism
Hard edge
Nonobjective
Surrealist
Superrealism
Labels used to distinguish developments
in a single artist's style
Picasso
Blue period
Rose period
Cubist period
Mondrian
Expressionist period
Nonobjective period
Amphora (Greek circa 460450 B,C,)
(terracotta)
The High Museum of Art
: Atlanta
"They (Greeks) mastered the problem of foreshortening, imparted volume to their
figures, and introduced spatial relations
into their compositions this is especially the case in the Attic pottery of the sixth and
fifth centuries:45
(Gisela M. A,Ritchierit4 handbook of Greek An.) a152 Goals Objectives Activities Focusing on Style Other Features
Using an an reproduction or slide, the teacher shows Shame by Paul Klee,Paul PRODUCT Perceptual Al -ab Klee sought a childlike sole for his paintings. One of the wayshe achieved this style MEDIA awareness A2-adt was to paint with his left hand, He was righthanded: therefore painting with his left hand SUBJECT
resulted in a less controlled line which added to thechildlike character, Production of C2-bcd
works of art C54) Each student selects objects or events from childhood, such as games, toys or parties,
and draws a symbolic picture of that object or eventwith the nondominant hand: Display Value art 85 the drawings.
Discuss childlike art and look at other artist's work such as that of Grandma Moses, History of art Dl -abcd Karel Appel and Joan Miro. Do work by these artistsreflect impulses to communicate D2-abc ideas, effectively, intensely and vividly? Do any ofthe students have personal biases D4-a about childlike art? Does this bias affect their judgment ofKlee's paintings?
Aesthetic El -ab
judgment
The students and teacher view and discuss the works of KatheKollwitz who lived in THEME Perceptual Al -abcef Germany during the first half of this century: Some examples mayinclude The Prisoners, PRODUCT awareness A2-abdfhjklmn Death Seizing A Woman, and War Cycle: The Patents. The threeprints were produced MEDIA
over a period of 26 years, yet they areconsistent in mood What feelings and dis . DESIGN History of art D1 ibc positions are aroused from viewing each work? Is emotional responsecaused by subject SUBJECT D2=abcde matter or theme? How is Kollwitz's deep, concern forhumanity reflected in her works? D3-djkrrin Read about the history of Europe, especially Germany,during the first half of the D4-de century Compare Kollwitz's drawings and prints withWerner Bischors Hungerin India,
a photograph showing a majorproblem of humanity. Are the styles similar ordifferent Value art 84 in visual organization? Ho does design assist in the portrayalof emotions? Discuss
how some works appear to have been created largelyin response to an ands
strong emotion. Ask the students to writeanonymously or discuss openly an emotional
experience, such as terror, despair, love, joyand hope. How are emotional experiences
shown in other art forms such as dance, drama, musicand creative writing?
Additive color technique was developed in the late1.9th century f011owing discoveries in PRODUCT History of art DI abc the field of optics, Artists learned from the scientiststhatrtiny dots of two or more MEDIA D2,ebcde. pure colors could be placed sideby side and at a.distance these colors would mix DESIGN 03-bf in the eye to create another color, Pointillism is the nameof the style that employs.the
use of additive color, Perceptual A2-ab
awareness Study small areas of leveral Pointillistic works such as ASunday Afternoon on the
78 Goals Objectives Activities Focusingon Style Other Features
Grande Jane by Seurat. Identify all the colors that were used to make up one color Value an 84 such as the green in the grass. 85
Experiment with additive color in a painting, Point out that small areas can be rendered
in this technique and other areas painted in another technique
History of an Dl -abode The Italian Futurists were excited by the beauty of speed made possible by tech- PRODUCT
D2-abcde nology: They added motion to the ideas of cubism. How dd these artists treat tradi-. DESIGN
D3ebefjkn tional subject matter, such as animals, human figures and still life objtcts? The students MEDIA
D4ebd view three selected reproductions or slides of 80 works bringing the idea of motion to SUBJECT
Cubism, Three examples are these FUNCTION
Perceptual Marcel Duchamp, Nude Descending A Staircase. awareness A2-abdegkIn Thomas Eakins, Multiple Exposure Photograph of George Reynolds Pole Vaulting,
Gino Severini, Dynamic Hieroglyphic of the Pal Tabarin,
Discuss the color, line and shape repetitions and progressions which stimulate the eye
and create rhythm. What developments in technology influenced the Futurists. Compare
Duchamp"s figure painting with the Cubist painting, The clarinet Player, by Pablo
Picasso. How did the art style of Cubism influence the subsequent style of Futurism?
What Cubist concepts were expanded? Discuss the media of film and television and
their suitability to showing motion, Compare examples of movement created by artists
in film, sculpture, painting and still photograph.
History of art D2be Working individually or in small groups, the students select a society and trace through FUNCTION
D3-hi reading the history of its art, A specific e form within a culture may be emphasized, DESIGN
D5bc such as the ancient Nigerian sculptures of Africa's artistic traditions, Students view SUBJECT
sculptures of animals; figures and heads. How are the sculptures similar or different? THEME
Discuss the meaning of primitive art. How does the style of the art relate to the
culture that produced them? Read articles and books on the Nigerian culture; especially
the political and religious aspects. Each student group presents the information of the
chosen society through slides, tapes, films and filmstrips; bulletin board displays,
posters; guest speakers, reproductions, and original works collected or produced by
students, The reports may be shared with other classes invited to the presentations: moi=mEIM . .
History of art D2-abcde The students and teacher choose several buildings in the school area or community with PRODUCT
D3=bdeg different and distinctive architectural styles. The students sketch or photograph MEDIA
the buildings. Using media and human resources, identify the styles, record their history DESIGN
and prepare a visual representation of other buildings past and contemporary which FUNCTION
reflect elements of the style. One example may be the Greek Classical style which
79 15 Activities Focusing on Style Other Features Goals Objectives
has over the centuries been the typeof building most imitated. Students may Mi
reproductions of this style in its originalform, the Padhenon (447432 EC), and proceed
through the visual and writtenrecords observing examples.
a The Pantheon, Rome,
The White House, Washington, 1).C.
What are the characteristics of this style?How are the aesthetic and scientific
principles integrated in the Parthenon? Why do youthink our Western cultures have
always looked back to ClassicalGreek style for design inspiration? Are the materials
used in the buildings similar? Why?
ISO (Federation of Nigeria) !bib 10 (Nigeria) Janus headdress Mask (wood) (wood) The High Museum of Art, Atlanta The Capital, Washington, RC: The High Museum of Art, Atlanta 7ft
I111171.1![:
158
80 Dorothy Berge (American, b.1923) Will Gutman (Swiss, b.1921) Carlton Omar Thompson
Two-form Sculpture, 1968 Atlanta Block At vh IV
(sled) (aluminum) "Crafts in Georgia" touring exhibaian
The High Museum of Art, Atlanta The High Museum of Art, Atlanta Georgia Council for the kris, Atlanta
7 Matthew Kangas, "Rudy Autio: Massive Narra. Notes Vans." Amman Craft, Vol. 40, No 5, October.
November 1980, p. 12.
8 Edmund B. Feldman, Varieties of Visual Expe=
hence. New York: Harry N, Abrams, 1972, p. 507 1 Laura Chapman, "Curriculum Planning in An Ed.
ucation.' Newsletter, Ohio Arl Education Associa- 9 Edmund B. Feldman, op. Gil:, p. 422, tion, Vol. VIII, No. 1 (Winter 1970) p. 6. 10 Crafts in Georgia, op. cit. 2 Arthur Ef land, editor, Planning An Education in the
Middle/Secondary Schools of Ohio. Columbus, 11 John Coyne, °Handcrafts," Today's Education,
Ohio: Department of Education, 1977: Noventer.December 1976, p. 75.
3 Grafts in Georgia, touring exhibition catalog, At 12 Crafts in Georgia, op, cit.
lenta: Georgia Council for the As 1980. 13 Barclay Gordon, "Vigorous Fauns and Vibrant Colors
0 4 Crafts in Georgia, op: cit. Enrich a Sedate Quadrangle at St. Lawrence University." Architectural Record, Vol: 168, No: 5, 5 From Kings and Queens by Herbert and Eleanor October 1980, p. 70-71. Faleon, copyright 1933 by E. F. Dutton, copyright
1961 by Eleanor Falleon. 14 H, H. Amason, History of Modern Art New York:' Harry N. Abrams, 1972, p. 625. 6 H. W. JansOn and Dora Jane Janson, The Story of
Painting, New YorK Harry N. Abrams, 1957, 15 Gisela M. A. Richter, A HaVhdok of Greek Art
p, 156.159, New York! Phddon Press, 1959, p7292,;
61 81. , 4
1
_i 7 _,:nt Zligk A t'ail '45Vigirrd"1.-f.4 9 SOPkruto ,__AN two ,,
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Middle vade students, painting less
82 16 Chapter DevelopingaPlan for Teaching Art
ly childhood student, piper centemn
In order to fulfill the general goalS of education as well cours of study, It provides a perpclive ueOliJul in the
as the goals of visual arts education, planning by the development of a comprehensimit progimm To
school system and the community is required, (see complete a conient analysis, the leacher my tdo the
Appendices), Visual Ms Education Guidelines, K-12,, following.
was designed to assist those involved in planning a Recall each student activity in M present Dcurricu. visual arts curriculum for local school systems, schools lum and indicate to which of itgue art Oda lucation or the individual classroom, goals each may be referenced,1 lhe 5fip !dent is
A planned program in art should be provided at all involved in some form of art prctlion, Ink goal of
educational levels from kindergarten through highschool; "Production of works of Art" rOaybidenlifitord. If the
At each level experiences should be organized with student is involved in artcriticism,the Roal of
different emphases and different degrees of intensity "Aesthetic Judgment" need's to Indicate,
and complexity to broaden understanding in arl. 6identify features of content rocs eepha5i2a,-,-4d. Are
A teacher planning or revising a visual arts curriculum the content features of media addosign pfledorni.
has numerous options from which to develop new nail!? Does the activity focus c 41e or (Ovine?
approaches and broaden content, Planning o visual Chart the entries on the Conreillkialysis rzmart in
arts program cannot be done quickly: Adequate time the appropriate box. Entries my 2 plakd in more
must be allowed for study and discussion of changes in than one box. Some activities ifa,locus or several
visual arts education and for an analysis of the curricu- content features,
lum. The content features and five major goas of art Study the chart to arrive at coeclis abmtrt areAS education should be included, of concentration in the curniculu Ate sere goals
A rumple content analysis chart' is provided. The too lightly concentrated? SomeloliaviO
content analysis serves as an evaluation of the present
83 I in ContentAnalysis(Each dot reptesents one activrty)
Features of Content Features of Content Goals and Objectives of 4311 and Objectives of Visual Arts Education Vihaal Art Education 0 0 a E 0 0 w a I- 3 (I 0. LL 0
Affective orientation toward an. Production of orighal and imaginative works
of art Participation in activities related to art:
toward an and Fluent expres$00 c:Df ideas. Expression of positive attitudes
artists. Production of vrAale works of an with speci toward tie criteria; Demonstration of pen-mindedness
different forms and styles of an, fullitIniont of ace and shape demands, Demonstration of open-mindedness towardartIc specified sut]rt matter; experimentation._ .0E. expressive Ammeter: Justification of judgments Pout aestheticmerit.
C10011011 Of r and established symbols: Justification of judgments aboutaesthetic e 0 type of order o or varietymodification 0 quality: forms of an ksject: Knowledge and understanding ofcriteria for making 171 0 aesthetic judgments: 0. panicular eofrimosition:
Recognition of major figures and worksin the Production of Walks of an that contain various history of an and understandingtheir significance. visual concepts.
Recognition of styles of an understandingthe Knowledge and Pp;_plicarion of media, tools. techni- analysis of works of art on concept of style, and goes and forMing t=rocesses: the basis of style,
Recognition and Owscription of the subjectmatter Knowledge of history of an activityand understanding
Of MN of an the relation 0 one style orperiod to other siyies or
Perception aN.clecription of formalqualities periods,
and expressive 67.1: lent (thecombined effect of Knowledge of distinguishable factorsin a work of an and the specific visual form the subject Mader that relate to the personal styleof the Mists and work 0 an). that characterize az particular factors That relate to the stylisticperiod or the
entire age,
Recognition of the relationshipsthat existed between
an ern the other disciplines ofthe humanities
(literature, music, dance andparticularly the
of ideas and philosophy) during a given
period fierly childhood *dont, chilk drawing
Exemplary Units
Having completed the content analysis, the leacher medium, subject, design idea, ad practice idea,
can new use itin redesigning the art curliculurn to visual element, art criticism or ad history/concept).
improve those areas in greatest need of development. 7.It makes use of various strategies to allow for Thb teacher can review Chapter Two, focusing on the individual differences. For example, a single unit content features and identifying the five goals of art would use several of the following: games, discov- educationA review of the starter lists may motivate ery, careful observation, empathy (putting them- new ideas. ) selves in place of an object), films, food, sound,
For all but the most creative andexiiencedteacher, dramatics, costumes, teacher as artistmodel, guest
sketchy lesson plans can lead to wasted time and artists, guest art collectors, special events and
unnecessary problems. A master plan for each course exhibitions, field trips, visually exciting pictures and
and for daily activities is needed. It should go beyond reproductions, question and answer sessions, brain. A -1r mere technical instruction, The new ideas for content storming, self.evaluation, written reports, Integra=
can be organized into a theme for a unit of study in art. lion of student work into the community, use of
Some criteria for a good unit plan follow. students as teachers and self.instruction learning
packages. 1,It follows through on major ideas. A concept (con=
cern, key issue, question) is reflected in the 'objec. 8.It contains a series of connected concepts that
lives section and in descriptions of procedures. move from the very basic to the more complex and
advanced, and usually from the more structured to 2, The unit plan contains only activities that the the less structured in assignments. teacher has already tried. A sample unit is presented for each of the three 3:It includes a list of materials, visual aids, concepts, instructional levels arly childhood (KA), middle grade objectivec and procedures, and it provides for re= (5-8) and secondary (9.12), Each unit exemplifies the view of concepts. theory of ad curriculum presented in this guide and
4:it includes daily plans each with only a few major embodies the goals of art education. Specific charac.
ideas. These concepts, written in complete senten= teristics of the units are as follows.
ces, are logically approached and clearly illustrated: 6 Unit title
5.It includes a range of art concepts including state. Unit overview and theme
merits about the elements and principles of design, 6 Unit objectives
objects in the human and natural environment, art Lessons on subthemes
styles, art criticism, art history, artmaking, creativity Lesson objectives
attitudes and practices, and techniques. Activities
Resources 6,It contains a series of lessons connected by repel',
lion of concepts from one area (use of one major
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During M-= he next several days, as individuals or groups =omplete their assignments in reading or n-math- from hoe one or two small emetics. theycould be encouraged to create additkional main at school for a week, such drawing s and tempera palings of the same animal. or rabbi Encoutige the children telly lo improve theirabilt lilies ether to 'Oat and talk about the to shON,-.,- the ways the pal looks from different vview. hold and touch it. Ask questions points. Encourage theist also to be sensitive 10 any on the animal's unique qualities, changes in the pet's personality, and to their changing e and the way it moves. -Is it fat feeling&* toward it on differenIdays. "Does he still -s,aeem y or Slick? Ask the children to lazy?' -- Are you still afraid ol him?" Encourage We ern to sonality ttlthe animal. "Does it show Ihese changes in theinvork. us?" ';goes if seem funny or To stirow_ilate the childrehisimaginations about tile. o pet, ve like the animal? Show us." suggest= that they also try imaginary pictures ShoWiting it will be ablelo look at the animal with cliff erent kinds of personalities. "Imagine that It he is vings and paintings for several very low-fable." 'Imagine thil he is furious," "Hevw will they willall be able to make a your CD 11ors and shapes bo [hen?" in crayon. Prepares an exhibition of theohildren's work in the r -, nom agine howlhair drawing is going and halfway display case,Invile the other rooms litlo see to tell how They feel about the it. Might show their feelings with hapes and textures. -How would afraid of theanimal, that you like Make the animal large or small you going loptil anything else in -Early thIldhood student *grade three) Birds, Animalsand CLIonds it going.tobe.dbing?" etc. Froothchowlak Collection, AVrthens 1 72 Lesson 2 Show other paintings of animals which emphasize the Visual Materials
contrasting ideas and feelings artists have about ani. How Mists and Critics See Animals Chagall, Marc, I and the Village. Museum of Modern mats: Marc Chagall's land the Village could be shown An, New York to help children see the, way love,for animals looks, Objectives Dubuffet, Jean. The COW With the Subtile Nose. Mu-- Chagall loved his animal friends so much when he was To help children seum of Modern Art, New York a child living in a small Russian village that he dreams Graves, Morns,. Blind Bird. Museum of Modern An, 1: understand that artists interpret their ideas and he married one of them in this painting. New York, feelings about animals by exaggerating their shape, In contrast with this feeling of loving gentleness, Tamayo Hicks, Edward. The Peaceable Kingdom. Philadelphia color and texture in paintings; shows us a different feeling about animals in his paint- Museum of An 2. describe the qualifies of color, texture and shape in ing entitled Animals. He makes us feel the savage bru- Tamayo, Rufino, Animals. Museum of Modern Art, paintings of animals; tality and violence of which some animals are capable. New York. 3. understand that art critics and historians help peo-
ple perceive qualities in works of art. Another artist's feelings toward animals is expressed in Library Materials
Morris Gravesjlind,Bird,_Eoceurage the children to 'Gracza, Margaret Young, The Bird in A. Lerner describe their own perceptions of Ihg feelings in these Publications, Minneapolis, Minn., 1966, p. 51. paintings. Activities
Children's awaress. of how language helps them to When the children have completed Lesson 1, show see qualities in works of art can be increased by them several reproductions of paintings by mature art- reading to them short pieces of art criticism, For ists who have used pets, or animals as subjects. example, read Margaret Gracza's interpretation of Examplesiof two that could be selected are The Black Gves Blind Bird. Ask the children if they agree with Beast by Austin and The Peaceable Kingdom by her interpretation. "We could say a blind bird might as Hicks, Explain that these paintings illustrate that artists well not have wings, He has no radar like a bat. He hive expressed different ideas and feelings about needs eyes to fly. Morris Graves painted him dark, He 4imals: One artist presents animalsas sociable, made him shivering and alone with only black holes for friendly and gentle; the other shows animals to be eyes. This is a haunting picture, fullof hurt. fierce and brutal.
°Even the bird's songfails him: It falls to the ground, Encourage the children to talk about the different ideas white and tangled around his feel The picture gives an and feelings about animals they see in these two impacta c5/ of terror, loneliness, helplessness, There painting. Ask questions. is no way out A bird of the air must have sight if he is
Can anyone tell us what they see in these two going to fly," Invite the children to give their own paintings? interpretations of these or other paintings of animals.
Which painting has a feeling of friendliness and which a feeling of wildness?.
What did each artist do with color, texture and Morris Graves (American, h.1910) shape to make you feel that way? 'Owl
What features of thienimals did each Mist exag (drawing) 55 gerate? The High Museum of An, Atlanta
88 1,41 Lesson Art Materials and Tools Lesson 4
Exploring Media to find Ideas About Pets Children as Art Critics cream manila paper
colored construction paper
Objectives collage materials such as yarn, cloth and paper scraps, Objectives
To help children buttons, etc. To help children
colored chalk 1, recall the shape, color; texture and movement of 1. describe the qualities of line, color, texture, shape paste or glue their pets as sources of their ideas and feelings; and movement in their own collages, drawings and scissors 2, interpret their ideas and feelings about pets by paintings. tempera paint, varied colors attending to the quality of line, color, texture and 2. account for their feelings about works of art in terms brushes, bristle; watercolor shape as they create collages, drawings and paint of the visual qualities they find.
ings; Activities 3, explore various qualities of media to make appro.
priate selections for expressing ideas. Display the children's completed drawings and paint.
ings of their pets. Invite them to become art critics by
looking at and talking with one another about the Activities 4 qualities they see in the pictures,
Start a discussion of pets by showing photographs of By asking questions, help them to verbalize thez,
dogs, cats, monkeys, fish, etc. Use this to stimulate the feelings they see embodied in their pictures and to
children to recall their own pets. Encourage them to point out the different ways they are shown through
describe how they look, the things they do with their qualities of texture, line, color, shape and movement;
pets and how they feel about them. "What feelings do you see 'in the pictures?" "Which
pictures make the pets look fat and slowmoving?" Show a film about pets. Encourage them to look for "Which look scary ? :"What did the children do to make the characteristic ways animals stand and move, their them took that way?" 'What kind of colors?" Etc. colors, textures and shapes,
Lead them to recognize that their pictures, like those Invite the children to create collages, tempera paint- created by artists, reveal the uniqueness of each ings, and drawings with crayon and chalk showing their animal and the feelings the children have about them. own pets or those seen in the films,
Children practice describing the visual qualities they 0 Encourageeach child to explore several of these see in their classmates' work as a way of sharing their media to find the ones best suited to showing her or his perceptions with one another, pet's unique features,
0 Encourage them to show their pets involved in some characteristic activity.
Visual Materials Early childhood student (grade two) Animals films and film ,itrips of pets (all 'poste') photographs of pets 176 Frank Wachowlak Collection, Athens M Materials and Tools Lesson 5
Animals in Three.Dimensional Forms found objects
tempera paint
glue Objectives .
To help children stapler
tape 1,recall the personalities ol animals described in
books and use them as sources for their ideas and Visual Materials
feelings; Face Mask. New Guinea ,Columbus Gallery ofFine interpret their ideas and feelings by studying ways Arts, Columbus, Ohio. to present them in three dimensional forms: Guardian Lion China, Cleveland Museumof FineArts As, 3. understand that artists interpret their ideas and Cleveland, Ohio, feelings of animals by developing different ways of
presenting them in threimensional forms.
activities
Discuss with the children the stories of animals
which they have been reading. Encourage them to
reflect on the animals personalities fe g, their shy-
ness, strength, loneliness, etc.),
0 Invite eachchild to select one of These animals and
interpret its personality through a three-dimensional
form created from found objects (e.g, small boxes,
buttons, pipe cleaners, steel wool, etc.).Suggest that
they design them as puppets to be used laterin their
own original plays:
0Prepare a display of three.dimensional animal forms
created by adult artists such as masks and sculpture.
lnvitthe children to speculate on theanimals' Early childhood student,' animal sculpture personalities.
0Encourage them to point out what the artists did to
give the animals their unique personalities.
178
90 d inqs, drawings, sculpture, masks and environmental 12. understand that critics try to account for their Middle Grades Unit (5-8) designs: feelings about works of art in terms of the qualities Major Emphases of they have perceived: It :l.so deals with the different ways artists express their 13: compare some of the differences in viewpoints feelings, some through real subject matter (such as the Instructional Level held by critics and historians and how these human form) and others through emphasizing the influence their perception of art. elements of design such as lines, colors and shapes in One of the challenges facing teachers at this level is to
reinforce the student's interest in learning: Without nonrepresentational products. overly structuring the art program, itis necessary to Six lessons make up this unit, It would require approx- George Rouault (French,107119) respond to the student's changing need for relevant imately ten to twelve 45-minute periods to complete. Plate 41, 1925 information and skills while nurturing creative and From-the Maui serlOS expressive responses. (Intaglio print, 24/25)
Objectives of the Unit The High Museum of Art; Atlanta Throughout the middle grades, students should con- To help students tinue to have experiences that promote visual respon- siveness, Abilities to distinguish visual qualities should 1. find sources of subject and themes in their per- increase, moving from simple to more complex percep- sonal experiences with objects and events in the !lot natural and human environment;
2. use their inner feelings as sources of subjects and Throughout the intermediate grades students should themes: improve their abilities in drawing, painting, sculpture: 3, interpret their feelings by studying different ways graphics and other forms of expression selected by the of presenting them in visual form; teacher and by the student. The sense of satisfaction 4: develop control of various media to enable them 10 and control of media should increase: along with produce intended effects; expressive quality in the work. 5, voice descriptions of the qualities they see in
Students at the middle grades level should continue to works of art and the environment; improve their understanding of historical developments 6. account for their feelings about works of ad and in at and they should recognize art produced in the environment in terms of the visual qualities various cultures: they find;
7, interpret works of art from more than a single point By the end of the eighth grade students will be able to of view; view ad and other things in an aesthetic light. 8. compare and contrast styles of art produced by
people in different cultures:
9. understand the different sources that artists draw
Overview of the Unit upon for their, ideas;
Theme, Expressing Feelings in Art3 10. understand that artists interpret their feelings by developing different ways of presenting them in
This is a sample unit for the middle grape students, It is visual form; designed to help students gain cifidehce in using 11, understand that ad critics and historians help their feelings as sources for creating their own paint.- people to perceive qualities in works of art; 1k!) 181 91 sketches. Involve them Art Materials Display the students' finished Lesson 1 different qualities of the facial fea- India ink in a discussion of Seeing and Sketching Faces pens or swab sticks tures they see and the waysthese have been exag- newsprint paper gerated to dramatize thefeeling. Objectives Invite the students to usethe opaque projector to To help students
project their sketches for discussion. Early childhood student their per 1. find sources of subjects and themes in (tempro painting)
oat experiences with humanfaces; Cobb County Schools
2. use their inner feelings as sourcesof subjects and
themes: a interpret their feelings aboutfaces by studying ways
of exaggerating expressive features;
4, describe the qualities they ,ee in facesand in their
own work.
Activities
Invite the students to guess howpeople feel on the inside by looking carefully at theirfacial expressions,
Ask individuals or small groups to expressfeeling through their faces. Ask the restof the class to speculate on those inner feelings. Encouragethe class to describe the qualitiesthey see in the different features of the face. "She's feelingmad because her r eyes get real round andall white," "Her chin gets pointed."'
Ask the students to organizethemselves into several
small groups. Ask the students ineach group to take
turns as models while theothers make sketches of
their faces. Ask them to imaginehow the model is
feeling:
Encourage them to study the model'sface carefully,
looking for its most expressive featuresand exaggerat and intensifythe inthese in the sketch to heighten
particular feeling they see.
Encourage each student to makeseveral sketches of
different classmates faces, tryingto improve the ability
to see and interpretexpressive qualities.
92 121' Ben Shute (American, b,1505) Edward Stelchen
Circus Girl Oskar Kokosehka (Austrian, b,1586) Self Ponta 011 on mg. Page from King Lear, 1963 (photograph) The High Museum of Art, Atlanta The High Museum of Art Mott The High Museum of Aft Atlanta
4
r t
4
Activities Ask the students to compare and contrast the possible Lesson 2 purposes of expressionist artists of differentcultures, The Style of Expressionism Prepare a display of portraits and masks created by For example, ask them to speculate on the functions of artists in different cultures in the styles of realism and masks to primitive people and of portraits to twentieth expressionism. Without identifying the styles by name, century painters. ''Why do you suppose artists exag. challenge the students to sod the display into two Objectives gerate the shapes and colors in their works?" them To help students groups according to their stylistic features, Lead to perceive shape and color distortions as the perva- Visual Materials 1. understand that artists draw upon their feelings as a sive features of expressionism. Healing Mask, Tonawanda Reservation, Seneca In. source for their ideas:
2. understand that artists interpret their feelings by dian Arts Project, 193g. Courtesy Rochester Museum
exaggerating the expressive features of faces in Ask them to point out the different ways expressionistic of Ads and Sciences, Rochester, NY, Self Potttait With Hat by Karl Schmidt-Roilluff. Oil,. portraits and Masks; artists have exaggerated the shapes and colors of 1919, Courtesy Cleveland Museum of At Bequest of 3, compare and contrast the style of expressionism faces to heighten and intensify the feelings and moods William R,alentiner, produced by people in different cultures. of their portraits and masks. Georgio Depanment of Eficalion photograph Student portrait drawing, pastels Lesson 3
Portraits and Landscapes
Objectives
To help students t find sources of subjects and themes in their per-
sonal experiences with faces and views of the
environment:
2. use their feelings as sources of subjects and
themes:
3; interpret Their feelings by studying different ways of
exaggerating shapes, colors ard messes in two.and
three-nimensional forms:
4: account for their feelings about works of art in terms
of the visuarqualities they find:
5. compare some of the differences in points of view
about art hold by critics and historians and how
the'se views influence their perception of art. I
Activities Ask them to identify the feelings specific works create Encourage the sludentslo exaggerate the shape, color invite the students to make two and three.dimensional and mass of facial features as they explore the way and to point out the visual qualities which seem to portraits in different products such as masks, sculp particular feelings might look to them. cause them. prints, drawings, paintings and stifchery, Students can be helped to talk about their own work by As the students complete the portraits, invitethem to Discuss several options for finding ideas. For example, comparing the differences in points of view held by art extend their abilities in expressing their feelingsto students could use their sketches made in Lesson I as other subjects such as landscapes. critics and historians, the beginnings (If ideas for new paintings and draw- their Ask them to read tor read to them) descriptionsof a ings. Also, they could choose to work from posed Invite them to find ideas by sketching views in single work of art by different historians, For example, models or think of imaginary feces or famous people. neighborhood or thinking of imaginary landscapes. Meyer Schapiro and Kenneth Clark have described Ask each student to identity the expressive purpose or Encourage them to exaggerate and distortshapes and Van Gogh's Road with Cypresses. Schapiro directs function of her or his RINI!. Will it be a sculpture colors to heighten and intensify the feelings they are attention to the painting's organization of visual ele or drawing io either hailer orsatirize the subject? Will r trying to create through their work. met, Clark, on the other hand, directs attention more its purposes be to communicate a feeling of love orfear to the feelings or expressive content of the painting, Ask the students to display their portraits andlandscapes. or hate, etc.?
differences AA the students to discuss what they think the differe Encourage ach student to try different media, compar- Invite them to discuss or write about the eni& are in thee two points of view and how they between faces add landscapes as subjectsthrough ing the effectiveness of eaci in helpingdevelop ideas cause the viewer to see different things in thepainting. and achieve the intended runclion of the portrait. which to express their feelings. t,
94 1 S Meyer Schapiro: "(For Van Gogh), a real landscape Gogh rising to a scream of rapture, pity or de- Art Materials
requires an unearthly character. The cypress is a spair.-- for masks and sculpture shaggy straining form, a vertical forest formed of Library Materials papier-mache two trees indistinguishably merged, a tormented sawdust and wheal paste mix living spire ascending with abrupt shifts from side to 'Schapiro, Meyer,ncent Van Gogh. Toronto, Thomas clay and wax se out of the picture. above the sun and moon. Allen Publishers, 1952, 22. 6 for painting and drawing The earth is invested with similar writhing shapes, in Clark, Sir Kenneth. Landscape into Art,Boston, colored chalk and crayons The yellow field and the cascading stream of The Beacon Press: 1961, p: 109. tempera paint and brushes road,,But so powerful is the contrast of the central manila and newsprint paper vertical cypress and the unstable diagonals of the Visual Materials for stitchery HO that the picture wavers between these oppo- Van Gogh, Vincent. Road with Cypresses. Oil, 1890. burlap site pulls. The artist strains to unite them, moon, sun Museum of Modern Art, New York. yarn and needles and evening star lie on a strong diagonal slightly
bent like the edge of the road below, and a great Middle grades student (grade 14), Plants and Sails, Frank Wachowiak Collection, Athens cloud inclines to the earth from the star. the
common tempo of strokes throughout the work, helps to fuse the antagonistic paris. In a world of sharply opposed and crossing objects with pointed
forms there is a compelling continuity in the varied
paths of the brush strokes concentric in the sky,
parallel, wavy and convergent on the earth, flame.
ilkin the trees.
Sir Ke;neth Clark: "Throughout all his work there runs a restless, flowing line, curling and uncurling in
endless, agitated spirals.. We are dazzled by the colour and saturation of light which he s able to cony .y by a hailstorm of 'dots and dashes. As for particular images, we find in Van Gogh the enor- mous suns, the gnarled and hollow trees,the pierced and twisted rocks...
"Expressionistart involves a dangerous tension of
the spirit.,Sut the frenzied writ hings. of Van
Gogh..,are in fact painfully similar to the paintings of actual madmen. The assault they make on our feelings is so violent that people who are not nor-- orally moved recognize that something unusual is going on, (They) cannot fail to hear the voice of Van J Visual Materials Encourage the students to group theworks according Lesson 4 contrasting feelings, Reproductions to either similar or Baskin, Leonard, Seated Man withOwl. Smith College The Human Form of a photograph of sculpture and topaintings might Museum of Art Northampton; Mass, entitled °Artists Feelings be included in their display Bellows, George. Stag at Sharkey's:Cleveland Mu-' Objectives of Power," They are Seated ManWith Owl by Leonard scum ofAn" Cleveland, Ohio, To help students George Bellows: and Baskin; Stag at Sharkey's by Kirchner. Ernst Ludwig, ...Wrestlers in aCircus. Cleve-
!heir per- Wrestlers in a Circus by Ernst LudwigKirchner, 1,find sources of subjects and themes in land Museum of Art. Cleveland,Ohio. form; sone! experiences with the'human Munch, Edward. The Ciy,Lithograph, National Gallen] of subjects and 2, use their feelings as sources of An, Washington, D.C. Encourage the students to includein their displays themes: the works they have se= brief written descriptions of Art Materials 3: interpret their feelings ofthe human form by study= each lecled. Help them clarify their own feelings about India ink oig ways to exaggerate its expressivefeatures:. (such as shapes, lines work and identify visual qualities pens or swab sticks 4, develop control of drawing,painting and sculpture feelings, The following and colors) to account for their tempera paint and brushes media to produce intended effects, description of Bellows' is an excerpt from one boy's cojored chalk 5: account for their feelings aboutworks of art in terms compares to the feelings Stage at Sharkey's which he clay of the visual qualities they find, Wrestlers in a Circus: "Theres he gels from Kirchner's stovepipe wire in both these paintings; It's different Activities. a feeling of power Sharkey's, I have the in each, though. In Stage at di41 die grades student, prIntmoking This lesson could beintroduced with an activity similar feeling of slick speed, everything movingfast There's .4_ to one used in Lesson1. The leacher or a student a feeling, too; ofloudness. I think the artist gets this could try to coMmunicate aninner feeling: through a feeling by making the boxers skinny andshiny, They of class tries to guess The body action while the rest black are light coloredand stand out sharp against the reeling expressed. backgroundoThe 141retleis in a Circus shows adiffer-
feeling of heaviness. Help the students to empathize(or feel along) with the ent feeling of power. There's a don'tleve fast: actions of the model as a way to"gel the message." The wrestlers' are strong, but they Everything seems slow and Of.Thri is because the Invite The students to sketchthe .model in many ex- artist made. the wrestlers havereally wide shoulders. lifer pressivq poses, Encouragethem to empathize with All the shapes are big, too; The curves aresmooth all explore ways to exagger . feelings of the model as they over." ale forms to dramatizetheir feelings, Encourage each I student to create manysketches
Invite the students to select theirbest sketches corn= Make available to the studentsreproduction s of art pleted at the beginning of this lesson,Encourage each work by professionalartists in which the shapes and student to translate these sketchesinto a medium of colors of the humanform have been exaggerated to his or her choice (e.g., paint,chalk, clay, Wire, etc.) feeings, Ask film to form into small groupsto express study in which works Explain that 'the pur. Allow several periods of independent design displays of the each student is able to develop anumber of works in school pose of the displayswill be to help others in media. feelingsvembodiediin the works one or several become aware of the
1 (t)(1.' L..
96 Lesson 5 ings they want without reliance on ordinary deyices sounds with the visual images. Also, dances could be spontaneously invented by the students as related Environmental Design such as spooky skeletons etc., but primarily through the quality of the colors, shapes and spaces they parts of the total environmental design.
invent. Objectives Visit local commercial buildings and private dwellings,
To help-students Discuss with the students possible materials to use, Or show films and photographs of architecture and
such as colored construction paper, tissue paper, ingots such as the Gothic cathedral of Chartres, the 1, use their inner feelings as sources of subjects and colored cellophane or gelatins, burlap, yarn and varied Cadet Chapter at the Air Force Academy and the TWA themes; found objects (e.g., straws, toothpicks, elo.). Terminal building at Kennedy International Airport, interpret their feelings by organizing colors, spaces
and shapes to create moods in environmental de. In a subsequent activity invite the students to explore Discuss with ihe students the different moods and signs; ways to alter the mood of their real classroom envi . feelings the architects and designers have created, :
3i understand that artists interpret their feelings by ronment through creating their own light shows. Ask them to point out the ways colors, spaces and
developing different ways of creating moods in shapes have been designed to create feelings, Demonstrate ways they can create their own 2.inch by environmental designs; 2.inch slides which, when projected on surfaces in the Art Materials 4. account for their feelings about environmental de, room, will change the mood and influence the feelings boxes signs in terms of the visual qualities they find, of individuals. colored construction paper
a colored cellophane or gelatins Activities Provide each student wi1h several 2,1nch by 2.inch colored tissue paper pieces of clear slide plastic (treated acetate) and Invite the studentso create models of environmental clear treated acetate cardboard slide holders. Encourage them to experi. designs in small boxes. Rather than having them slide holders ment freely by painting directly on the plastic with design a typical room with furniture, ask them to India ink and Burgess ink 6 colored India ink, magic markers and Burgess ink. Also imagine the size of the space to be that of their magic MOON encourage them to try Out the effects of overlapping gymnasium and their task is to create mood spaces yarn and wire colors and shapes.by sandwiching between two sheets through which people will walk, plastic pellets of plastic such materials as colored gelatins, tissue rubber cement Discuss with the students ways they can control the paper, yarn, plastic pellets, etc,
qualities of colors, Shapes and spaces to cause people Encourage the students to search for the unique moving through their designs to feel specific emotions, Visual Materials qualities of these materials by pwesses such as Help them find visual answers to questions. "How can l Films of photographs of The Chartres Cathedral, scratching, gluing and even burning the plastic sheets, create a feeling of tenseness or boldness or crisp- Chartres, France; The Air Force Academy Chapel, Encourage each student to create a number of slides. ness?" 'As people walk through my design, what kinds Colorado, by Skidmore, Owings and Merrill; The TWA
of colors and shapes will make them sense moods Ask them to form into small teamto prepare and Terminal Building at Kennedy International Airport,
such as peacefulness, joyfulness or excitement?" "Should present their own light shows to the class. Using New York by Eero Saarinen,
the shapes be sharp and angular or soft and round. several projectors simultaneously, they could combine
ed?" "Should the colors be quiet and subllp or harsh and overlap slides on the watl, floor and ceiling to
and jarring?" "Viihat mood do I want and how can I get create specific moods. Library Materials'
Suggest that they try to intensify the feelings of the Hillyer, V. M and Huey, E. GE Young People's Story of
\Challenge the students to create the moods and feel, audience by integrating music and other recorded Architecture, Meredithiress, New York, 1966, '193 '19 1;; Visual Materials Lesson 6 and adverbs,
Brooks, James. Rasalus. Oil, 1959. Whitney Museum Nonrepresentational M She says, The modern American painter StuartDavis
catches the excitement of a moment of jazz in the vivid of American Art, New York, Davis, Stuart. Owh! In San Pao, Whitney Museum of Objectives painting that is called tantalizingly Otehl In San Pao,
To help students American Art, New York, "This is a painting of startling contrasts. We see Kelly, Ellsworth. Red Blue: Cleveland Museum of Art, I, understandThatartistsinterprettheirfeelings contrasts of shape, size, direction, light anddark, and Cleveland, Ohio, through nonrepresentational forms; dazzling contrasts of color, Circles are contrasted with Kline, Franz New York Albright Know Aft Gallery,
2: understand that art critics and historians help peo- rectangles Shapes point up, down,sideways, in every . = Buffalo, N.Y. ple to perceive qualities in works of art; direction, planes tilt at all angles, interestingly, exciting, Vasarely, Victor, Composition. Oil. Columbus' Gallen] 3. interpret their feelings by studying ways of present. ly: of Fine At ing 111%1 in nonrepresentational forms; 'tight shapes btrasted withdark shapes, and dark 4, describe the qualities they see in works of art, Library Materials shapes contrasted with light shapes seem to move *Baker, Rachael, "Shapes that Say Owh! In San Pao," Activities restlessly, incessantly before our eyes, Artists J, Vol. 7, No, 3, Jan., 1966. Explain to the students that some artists express their "Vivid, intense color contrasts' startle us, bright yellow, feelings in paintings with no realistic subject matter and brilliant blue, intense green, burning orange, hot glar- that these are referred to as nonrepresentational paint- ing violent purple: ings. "Unexpected shapes jolt us, a circle slashed, a reeler',
Prepare a display of nonrepresentational paintings. gle flaring strangely, a bile taken out of a triangle, No
Encourage the students to study the paintings to sense matter where we look, the eye has no rest: We feel the feelings they see. Ask them to compare paintings change and excitement, which have decidedly different feelings, such asFranz "Though this painting pictures no girls in beaded dress, Kline's New York and Ellsworth Kelly's Red Blue: Help no couples dancing theCharleston, though it portrays them create simple descriptions of the paintingsquail. no wail of saxophones, nohot heal of drums, still with lies like this by a fourth grade child, "One painting has shapes alone it makes us feel the excitement in some smooth and clean shapes: The other has raggedand nameless night spot of a thrilling moment of ja2z." rough shapes,"
Invite the students to create their own nonrepresenta To help students increase their awareness ofhow the tional paintings as ways to express their feelings. language of art critics can help them see the qualities in a work of art more sensitively, ask them toread for Encourage them to use qualitative language to share read to them) the writings of critics. Onecritic who with one another the feelings they see in their own Her description of could be read is Pachael Baker, work. Stuart Davis' painting, .0whl In San Pao CMlead children to see how feelings are created byshapes and Frank Stella (American, b.1936) colors in a nonrepresentationalpairiting. Direct their Double pm)) Scramble attention to her use of Pqualitative language" consist (color alikacreen) well-chosen adjectives ing of suggestive analogies and The High MUNN of Art, Atlanta -..:&T --I titti.IM.t. ".V4-811.
t 4, understand how artists communicate ideas, cone (9012) family, ethnic group, church organization or the busk ness. world. Public and personal expression of social cams and beliefs through visual symbols in their Majo# Of commentary can be presented through art, art forms. 5. express their feelings,beliefs and ideas as This is a sample unit designed to focus oh function, Instra tot;) Level sources of themes and subjects for works of The unit consists of lour lessons, Eight to ten 50.minute art At the otor IMO iktri,17.:on is provided in greater periods Would be required to complete the unit. 8. interpret their ideas by creating meaning based on depth a;:i. an is possible in earlier Objectives of the Unit the use of new or established symbols, grades I the secondary student Will To help students 7, select accurate statements about the functions of study ur r nature of anwith greater 1, understand the different social issues artists re . padicular works of art attention J 0! Ileopportunities for directed spond to for ideas. 8, judge a work of art on the basis of how well it viewing scn criaation and evaluation provided 2. identify social concerns, as sources of subjects and functions or fits a context. at this is 43ctivities continue to encourage themes, 9, develop or identify criteria for judging works of art, learning, ?I ev.,is thiti development of the concepts and 3 explain why particular social concerns and issues 1 a know and Po* media, tools; techniques and generefilatioil51.101 provide broad understanding of had to occur before a certain work of art could be forming processes for expressing ideas. art. produced.
By the end of the secondary grades students should be Mi Beckmann (German, 1841954 Ittenhaus, t 118 (etching with 400, The High Museum otAfl Atlanta able to see with a sense of inner enjoyment and
responsiveness. Perception is largely an affective,
response skilL
The studentshold experience deeply the artistic
process and know firsthand what it means to immerse
themselves in the creation of art .
The secondary student should develop attitudes to ward art that will help in learning relevant facts and in studying art with a sense of inquiry and enjoyment: The secondary art program should also develop the analyt- ical competence of students in viewing and discussing works of ad.
Overview of the Unit
Theme, Art as Social Commentary
Works of art may evoke a social response from viewk ers, This response is stimulated by works of ad depict, ing political expression, humanitarian comern,satirical
ommentrlireirgineral. The viewer may individually witness the work of art, but responls member of a I Richard Rites (American, b.1935) Linoleum Store or Miry Tile
From "Urban Landscapes" series
(serigraph
The High Museum of Art, Onto
students to recall their responses to the visual and Lesson 1 auditory imagery built info the television news program, Looking At Social Concerns for Ideas
Discuss with the students ways:these issues can
Objectives stimulate their ideas for different art products, Lead
To help students them to think about forms for interpreting theselected
social issue. For example, urban centerscontain a identili . , 1. find sources of subjects and themes in their variety of subjects to consider Amongthese are cation of social concerns; panoramic city scapes emphasizing large.scale struc . 2. express their feeling, beliefs and ideas as sources iures; transportation lanes;people of diverse races, of ideas and themes for works of al: occupations and interests, massive areasof commer- 3, interpret their ideas by creating meaning based on cial .development Tho students may use avisual the use of new or established symbols; combination of the above subjects to expressproblems 4, explore media, tools and techniques for expressing of overpopulation in urban centers. ideas;
5 judge a work of art on the basis of howwell it Discuss with the students the unique qualitiesof differ .
. functions or fits a context. ent art media they might use (e.g., clay, paint,film, ink),
Encourage individual students to experiment with sev . Activities eral media and processes to find the mostappropriate
Ask the students to bring magazines such asTime or for interpreting, their ideas, U.S. News and World Repo rl and state andlocal Ask the students to talk about their completedworks. newspapers Listen to atelevision news program, Encourage them to share the reasons for their choices especially IfV cable news service. Examine how me of media and their selections of a social concern.The sages of social concern areconveyed by visual and students identify the values and beliefs theirimages auditory messages, symbolize and describe the visual qualitieswhich give
Encourage the students to thudy the media fo; social them impact. concerns such as changing patternsof leisure and I work, urban life, minority groups, the effects of mass I culture, supply of natural resources and theimpact of I Art Materials list their topics on the I technology: Invite the students to film chalkboard, Discuss with the classthe different types photography supplies the iponses. For of social concerns and categorize video tape under Land, example, stip mining may be classified paint Technology. Both urban life under Human Culture and drawing media reported to the public through are environmental OAS printmaking supplies
Invite the students to design adisplay of the articles,
especially the ones with visuals: Discussthe function LibraryMaterials Periodicals, newspapers, magazines and television, of the visual in relationship to the narrative,Ask the
100 John Steuart Curry (American, 1898.1946
John Brown
(lithogreph)
The f11011Mutourn of Ad, Atlente
.4. Leeson 2 Another-social concern is recorded by Isaac Soyer.
Artists Express Social Concerns Employment Agency (1937) portrays the anxiety of individuals who are out of work; In the American
economy, the thousands of new workers monthly, the Objectives continuously ganging technology and varied economic To help students policies make the experience of uiiemploymenf a real= 1, understand the different social issues artists re- ity for millions; Discuss the feelings and mood of the spond to for ideas; people conveyed through the painting., Point put that 2, explain why particular social concerns and issues artists find ideas by making visual studies of people in
had to occur before a certain work of art could be various social circumstances, produced; The rapid advancement of electronic technolpgy has 3. understand how artists comMunicate ideas, con.
enabled the computer to perform operations in bil= 1- cerns and beliefs through visual symbols in their art llonths of a second and to provide access to vasfitores forms. of knowledge. EdwarduKIenholz's The Friendly Grey
Computer presents a direct experience with the corn= Activities puter. How has the artist created a computer, usually
View a slide or reproduction of Frandsco Goya's Third the epitome of the impersonal, in a personalized and
of May 1808 in Madrid (Prado Museum, Madrid), Goya even rumpled way?
(Spanish, 1746 -1828) progressed in his art from spir, The artist's operating instrurtons, attached to this lied scenes of Spanish life to dark portrayals of the time work, also, personalize it. andplace in which he lived. The source of hiS art works
were experiences with everyday reality including cruel- "C6inputers sometimes get fatigued and have net=
lies, self-deceit, perversity and madness, When Napo- yeas breakdowns.,if you know your computer
leon's invasion of Spain in 1808 resulted in unspeak- well, you can tell when it's tired and sort of blue and
able brutality and suffering, not liberation, Goya was in a funky mood. If such a condition seems immi= and other forms of technology. Compare traditional art terribly disillusioned. His images reflect the inhumanity neat, turn rocker switch on for 10 to 20 minutes. forms with new forms developed through modern tech. of the times, Ask questions about the painting. Is the Your computer will love it and work all the harder for nology, Discuss hoi some artists use the technologi- artist a witness of his time? What is represented by this you, Remember that if you treat your computer well cal advancement of 'heir society for an aesihetic end.4 work of art? How does structural organiption, detail it will treat you well,"
and light patterns convey the meaning of the work? Visual Materials r. View a slide or reproduction of Guerilla by Pablo What characteristics does this work have that are Goya, Francisco. Third of May 1808 in Madrid, Oil,
Picasso, Read an account of the event which inspired never found in real machines? In what ways does this 1814. Prado Museum. Madrid, Spain.
Picassolo create what is in many ways. the greatest of suggest that our relationship to the work is entirely Picassb; Pablo, Guernica, 1937, Museum of Modern
all_social.protesipiCiuies, Discuss the structure.or the different from our usual relationship to computers? Art, NeW York,
compcisition and the meaning conveyed 'through its Read information on the use of computers with graphic foyer, Isaac, Employment Agency, 1937; Whitney:
images and symbolism, Compare the style of the two display screens. Learn about their impact on commu- Museum of American Art, NeW York.,
: works, Goya's and Picasso's. Discuss hoW artists often nication and personal enrichment from recreation to Kienholz, Edward, The Friendly Grey Computer, 1965.
respond lo social events as sources of ideas. fine arts, Artists are now experimenting with computers Museum of Modern Art, New York,
ip Georgia Departiliev of Education t rochure
their diSplays accordingio categories such aspackage Lesson 3 design, magazines, flyers and newspapers,Television Advertising Design commercials may also be included,
OblectIves Discuss the various functions of the advertising de=
To help signs in ihe display. Ask,lhe students to explain' how
the design andsymbols seem to conveyeivisual awl 1, understande how desgner&ommunicateideas and verbal message, Discuss- thedesigns based on the information through advertising designs; criteria Slated previously, Ask the students to identify 2, develop or identify criteria for judging advertising the portion of the public to which theadvertising design design; is directed. 3, select. accurate statements aboutthe functibns of
advertising design As students, teachers and additionalschool person,
net to'respond to four or five examples,Ask what each
advertisement or package design conveys to then Activities Keep a record of the responses by chartingindividual Advertising design orgaqizes forms, images and Ian- remarks, Summarize the results to determine how persuasively: It is an example guage to communicate people react to the designs, Do ;he responses or communication medi. of the sociallunction,of art as a interpretations depend on age, sex and occupation? designs convey visual messages seen um, Advertising Do the majority of people receive the same messages a variety by millions of pebple, The design may serve from the examplesIDifferzt experiences lead to of information and communication purposes, such as different perceptions ofmeartfk. Visual images and record album cnvers, book jackets, packagedesigns symbols may lead to sirnilar interpretations.Ask the
and billboards, students to summarize their discoveries aboutthe 4 function of advertising design and howthe public Discuss the role of the designer as aspecialized
professional working with other professionals to pro- interprets its visual messages.
duce the final product, The designer mustbona problem Visual References solver in carry_ ing out the socialfunctions of this art Examples of advertising designs form, Present the followinggeneral criteria which cdn=
fronts the designer, References
the public Appeal to the attention of a portion of Edmund 8, Feldman, Varieties of Visual&zperrence. Identification of a particular group and knowledgeof Harry N. Abrams, New York, 1972, p3.6.93, , its interests and motivation. Presentation :of a new idea or product with quick
viewing. ljmitation
Content and quantity of verbal material
Work with the students to collect and createdisplays of
profeSsional work ofart which demonstrate the varies
lies of advertising design. Ask the:studentsto organize Fa
102 Points of Entry into Planning5
In this chapter four major components have been Art Curriculum Components Teacher's Planning Activities identified for assisting the art teacher in the develop ment of a curriculum plan: units, subthemes, activities Units Brainstorm for themes.
:,, and resources. These are itemized below with oroce. Think about goals, content, issues and concerns dutes for involving teachers in the planning process. Subihemes ' Refine themes into subthemes.
For the purposes at this guide, the identification of unit Activities Identify content and study methods, themes was the entry point with the identification of re-
Resources ,., ., Identify materials, tools, visual resources, and student readings, sources concluding the curriculum components. There is Review the selected readings about art for student not a best procedure. The order could be reversed and . one of the other components could become the point of entry into the process.
Art Curriculum
Notes Planning Process SUBTHEMES Enter At Any
Point 1, Arthur Efland, op, cit., p. 116117,
2, Arthur Efland, editor, Guidelines for Planning M
Insttuction in the Elementary Schools of Ohio.
Ohio Department of Education, Columbus, Ohio,
1970, p, 58-66,
3, Arthur Efland i op. oil, p. 67-81.t
4, Sara Jenkins, Images of Change/Art, Science and
Technology, St. Louis, Mo.: Milliken Publishing
Company, 1974,
B. Arthur Efland, op, cit p, 128-129,
04 103 Mr-
yr
Georgia Depailment of
Education photograph Chapter IVResources
In studio, ad history and criticism activities, access to production, and programs, services and additional viewing, reading and inquiry skills: Georgia Board of
good print and visual materials is a primary concern: If resources available through state, community and other Education Instructional Media and Equipment policy
students are to become vltually literate, diverse sources educational agencies. requires that media committees be involved in select-
of images should be available for classroom use ing materials and establishing procedures for effective Innovative media committees are seeking to facilitate use Visual ads content area representatives should Communication technology offers many choices in access to inform; L services in the production of contact their media specialist to become involved in dealing with visual images and information. Full use of locally designed L.: materials. They can ensure this planning process. instructional media makes it possible to provide alter- effective use of mat rials to foster growth of listening;
native patterns and relationships in the ,visual ad
program that assure a more comprehensive approach
to its design. Visual as curriculum design and media
utilization are inextricably interwoven. The report, Com-
ing to Our Senses, David Rockefeller Jr., chairperson,
states that technology has created new and flexible
media for artistic expression.
"Where they do not already do so, educatOrs should
recognize as ad forms radio, video, film, and still
photography, each of which has a technology and vocabulary that must be understood before ite artis- Visual Arts Teachers tic and educational potential can be realized. At all
levels of American education these media should be an integral part of as programming both as and Media Specialists:
resource and subject matter." Partners in Planning Instruction To the art student, visual and verbal media held to
identify the problem a: id supply information and meth- at line drawings of figures to determine what form and ods to solve it. Purposeful integration of the ad curicue The primary responsibility for visual ads instruction line communicate together." It is important that before lung and media is ongoing and open ended, with stu- rests with the ad teachers. Planning for instruction, this objective is accepted the visual as teacher should dents, art teachers, media specialists and curriculum however, involves other professionals. The media spe- know about available resources and facilities;If the consultants jointly selecting and designing instructional cialist can be of value in providing information needed collections of materials showing line drawings of fig . resources. for planning visual ads instructional strategies, in giv- ures is limited or nonexistent, the ad teacher, with ing information about current resources, and in advise Educational media programs in Georgia public schools assistance from the media specialist, can plan to ing on the suitability of a given resource. If the resource focus not only on the provision of instructional re- secure reproductions for the class activity. The dry is not available, the media specialist may know tech . sources to suppod the curriculum, but also on the mount press and rotary laminator are usually found in a nlques of production or adaptation to meet specific effective use of those resources in teaching strategies school or district media center and each can be used to visual ads instructional needs. and learning activities. A combination of resources is mount magazine photographs, post card reproductions
necessary for effective support of instructional pro. For example, a learning goal might be to create an or other visual images. Cooperation in planning be grams. Examples of such resources include print 'and awareness in students of the expressive qualities of tween the teacher and the specialist reinforces instruc . nonprint materials, equipment essential or their use or form and line, Then a specific objective might be, "look tonal strategies and use of resources:
20S 2U2 105 F
Art Teacher, National ArtEducation Association, 1916 available on request frorn itr Systerri lUledia Contact
Instructional Association Dr., Reston,Va. 22091 Person io also coorclitta1ttder5 for RF_,eded teacher manuals, Although reconaded vievvirfng audiences Art Education, National Art Education Association, Resources to Support are indicated, the Schedule rid rnanols should be 1916 Association Dr,, ston, Va. 22091, examined for potential 14seol a progrorrrn or series to the Visual Arts Studies In Art Education, National Art Education Asso- introduce, develop or reirhe visual arts concepts. ciation, 1916 AssoCiatirm Dr., Reston, Va, 22091. Images and Things isth regularly cheduled art series available for 6eotOthook Programs The Georgia Department of Education provides re- sources and services to lwachers andstudents through Educational Resouros lirmatiorl Center (ERIC),
media centers. Georgia Department of won, Twip Towers East,
Atlanta 30334. Information about available resources should be cen- Instructional Media Division, Georgia Department of Research service is providtd la Georgia public school trally located 11 ensure that teachers and students Education, Twin TowersEast, Atlanta 30334, administrators and treir colel office OW. Computer have access and to prevent unnecessary duplication. Georgie Tapes for Tea=hing: Catalog of Classroom and manual names of Elnlionl fEources Infor. This refers to all resources supporting the visual as Teaching Tapes for 6-orgia Schools (and supple- mation Center (ERIC) Ouse, whicm includes over program. In some systams an additional resource ments). Arranged by subjects, this catalog lists the 325,000 references to eduollon docmoents related to service, designed to augment the building media pro- lilies of audio tapes whiti on request will be duplicat. exemplary projects and rn011eaching s.;lrategies, can gram, is provided at system level for all schools.A ed. Recommended listening audiences are indicated, be requested by the medl3ff throtIglit the System community resources file, developed about local peo- A One time school registraton is required. The request- ple, places, activities and unique resources, will en- Media Contact Person, ing media center must pwvide the blank reel-to.reel or hance the visual as program, cassette tape; return portage is provided by the Geor. '11Readers Services, rublicLtrary Servitioes, Georgia
Department of Educatiorl, Allarita Many professionally prepared and commercially pub- gia Department of Education. lished reviewing sources, available in school and sys- Books, pamphlets an petols ebOol the teaching Catalog of Classroom reaching Films for Georgia tem media collections and in libraries, are listed. of visual arts and the various fields of vii-isual arts are Schools (and supplements), The 16mm films listed and available for workshops andlr,servie ietivities as well "Selected Sources of Information on Educational annotated are arranged tiy titles, but indexed by sub- as individual use Media," available from Division of instructional Media, jects, Recorrimended viewing audiences are indicated, Georgia Department of Education, Twin Towers Registration (annual beftining in September or semi- "Selected List of Bop feacherir' I (and supple- East, Atlanta, Ga. 30334. annual beginning in Janua)() requires a minimal fee. ments) and "Periodicals Leland supplments) iden . tifying titles in the Folic Lilirt7Service$ wIlection can "Aids. to Media Selection for Students and Teach, Each registration provictes a specified weekly film be obtained by the school miR spci4.1it on request, ars,available from US, Department of Education, quota, but multiple registrations are accepted. Many .Georgia Library IntonatiOetwork (OLEIN), another Bureau. of Elementary and Secondary Education, films are broadcast over tale Georgia Educational Tele. reference and bibliographicorvice, proves access to Office of Libraries aild Learning Resources, Wash. vision Network and some may be duplicated on video . publications in the collecIla of 4pprctotimately 150 ington, D, C. tapes for later uSe, Information about this service and the broadcast schedule is provided annually to the participating public, special and amerunic libraries. Reviews and bibliographies of recommended visual System Media Contact Puerson. Requests for these sarvicEd resourcces should be at resources and descriptions of innovative programs made through the local pvc librarie4 briy the school regulaiW4umals and periodicals, Th e Instructional Television S=hedule. Copies of the Sched- are published media stag, following are recommended, ule with series descriptiws and broadcast times are
106 210 Categories of Ashurst, Elizabeth. Children Are Centers for Understanding Media. Asso-
Collage. London: ciation for Childhood Educarion international, 3615 Resources Marshall Cavendish Publications, 1976. Wisconsin Ave., NW Washington, D.C. 20016, copy- (Collage techniques for middle grade and high school.) right 1973.
Decisions concerning materials, format and quantities (K-12; photography, television, film making,) Bland, Jane Cooper. are made on the basis of the visual as program and An of the Yong Child New York: Churchill, Angiola, the needs identified by the teachers and students. The Simon & Schuster, 1957, An for Preadolescents. New York: collection of visual as media in each school is planned (Art for children ages 3-5.) McGraw-Hill, 1970. to include breadth and depth of content and represents .(Ages 10-13; Nature of the learner, two-dimensional varied types of materials, points of view and forms of Boughner, Howard. expression, three-dimensional construction, assent- expression. The selection of visual arts media accom- Posters, New York: blages, theater, film making.) modates diverse learning skills and styles of users at Pitman Publishing, 1962, varying maturity and ability levels. (Small paper back that outlines rulesfor poster Cohen, Elaine Pair and Gainer, Ruth Straus.
making. Can be used directly by middle and secondary An, Another Language for Learning. New York: In a media collection numerous categories are sped-, students in planning posters.) Citation Press, 1976. fled to denote the range of visual and verbal media (Elementary program. Clear suggestions for setting up available. For the purposes of the Visual Art Guide- Bourdon, David, the program.) lines, K-12, each category and its subdivisions is listed Calder, Mobilist, Ringmaster, Innovator. New York: with specific examples of visual arts media. The pur- MacMillan 1980 Colter, Lynn R. J.A.M. pose is to illustrate the different categories within the (Story of Calder's life: 90 photographs of mobiles and Junior An Museurn.Cincinnati, Ohio: total collection and within each subdivision and to stabiles; written for young readers.) J.A.M. Printing Co., 1977, assist and inform the teacher by presenting "starter' (Elementary school students: fakes each culture and Bruandet, Pierre, lists of sources available for the acquisition of media, gives suggested art activities related to that culture.) Photo grains. New York:
Watson-Guptill 1973. Cooke, Robert,
(K-12, making pictures without a camera.) Designing with Light On Paper and Film. Worcester,
Print Materials Mass.: Chaet, Bernard. Books Davis Publications, 1969. The An of Drawing. New York: (Photograms - all ages.) Following is a selected bibliography of books related to Holt, Rinehard & Winston, 1970: visual arts education. The list is by no means complete. (Introduction to drawing, secondary students.) DeFrancesco, nab. e
is intended to stimulate teacher and student investi- An Education, Its Means and Ends. New York: Chapman, Laura. gation of the, range and type of publication in this Harper and Brothers, 1968. Approaches to An in Education. New York: category. (K-12 art program.) Harcourt; Brace, Jovanovich, 1978.
Anderson, Yvonne, (Preschool through grade nine, emphasis on personal Erdt, Margaret H.
Teaching Film Animation to Children, expression, art heritage and art in society; drawing, Teaching Art in the Etementaty School. New York:
New York: Van Nostrand painting, graphics, photography, television, film, sculp- Holt, Rinehart and Winston, 1954,
Reinhold, 1970. ture, crafts, architecture and environmental design, (Art activities that integrate with the academics.)
(Ages 6-18, film animation.) and ceremonial arts) 213
107 Lark-torowitz, Be Lewis, Hilda Present; and Luca, Feldman, Edmund Burke. Howell-Koehler, Nancy, Mark, Becoming Haman Through Art Englewood Cliffs, N.J.: Soft Jewelry: Design, Techniques and Materials. Understanding Children's Art for Better Teaching. Prentice-Haii. 1970. Engle-wood Cliffs, N.J.: Columbus, Ohio: (Curriculum approach for teachers, K-12, functions of Premice-Hall; 1977, Charles I Merrill Books, 1967. art structure of art, painting, sculpture, architecture; (Middle grade and secondary jewelry program.) (Development stages in children's ad.) film making, television, art criticism.) HuRvitz, Al and Madeja, Stanley 5,
The Joyous Vision. New Jersey: Laury, Jean Ray and Aiken, Joyce; Glubok, Shirley. Creating Body Coverings. New York: The Art of Ancient Egypt. New York: PrenticeeHall, 1977. (Source for activities, teaching strategies; subject mat- Van Nostrand Reinhold, 1973. Antheneum Publishers, 1963. ter, and curriculum designing for teaching art apprecia- (Costume design.) (Elementary appreciation.) tion.) Lidslone, John. Greenberg; Pearl, Self Expression in Classroom Al Worcester, Mass.: Art and Ideas for Young People. New York: Kay, Alan, Photography in Art Teaching, London: Davis Publications, 1967. , Vart Nostrand Reinhold; 1970. (Grades 1-6; collage, construction, printing, poster- (Elementary and middle grade students; drawing, paint- Satsford, 1973. making, jewelry making.) ing, photography, filmmaking, graphics, textiles, sculp- (Middle grade and secondary photography program.) ture, ceramics.) Janson, H. W, and Dora Jane, Linderman, Earl W. and Herberholz, Donald W, Developing Artistic and Perceptual Awareness, Du- Haffer, Virna The Story of Painting for Young People: From Cave
Making Photograms, New York: Fainting to Modern Times. New York: buque, Iowa; Wm, C. Brown Co., 1969. Hastings House, 1969 Harry Abrams, 1962, (Ages 2-12; developing awareness) (Photograms, all ages.) (History of painting for middle grades.)
Linderman, Earl W. and Linderman, Marlene M. Herberhotz, Barbara. Janson, H. W. Crafts for the Classroom. Dubuque; Iowa: Early Childhood Art. Dubuque;lok: History of Art for Young People, New York: Wm. C. Brown Co., 1969. Wm, C. Brown Co.; 1974. American Book Co., 1971, (Ages 5-12; all crafts plus drawing, painting, print- (Early Childhood Ad; art appreciation,photography, (History of an for middle grades.) making; photography, and filmmaking,) drawing, painting, printmaking, construction,puppets, Jenkins, Sarah.' textiles.) Lowndes, Douglas, Images of Change, St. Louis, Mo,: Film Making in Schools. New York: Hochman, Shirley. Milliken Publishing Company, 1974.
Identifying ArtNew York: (Series on art and culture with a thematic approach, Walson-Guptill Publications, 1968. (Middle grade and secondary filmmaking program) Sterling Publishing Co,, 1974. transparencies, dittos and narrative description.) (Identifies eight paintings and the artists; Gives suge Madeja, Stanley with Sheila Onuska. Kinsey; Anthony. gestions for study and activities related to middlegrade Through the Arts To The Aesthetic, St Louis: How to Make Animated Movies, New York: and secondary.) CEMREL, 1977, The Viking Press, 1970, Hoover, F. Lewis. (Middle grade and secondary film animation) (An aesthetic education curriculum for elementary Mass,: Art Activities for the Very Young, Worcester, programs)
Davis Publications, 1961.
(Art activities for ages 14 108 Mc Fee, June King and Degge, Rogera M. Schultz, Larry T. Wachowiak, Frank and Ramsay, Theodore.
Art, Culture and Environment, A Catalyst for Teaching. Studio Art A Resource for Mists-Teachers. New Emphasis! Art: SCranton, Pa.:
Belmont, Calif:; York: International Textbook. Co., 1971.
Wadsworth Publishing Company, 1977. Van Nostrand Reinhold, 1973. (Art program for the elementary student)
(Visual Arts education: K.12; concerned with ad and its (Drawing, painting, printmaking and three-dimensional
relationship to the environment.) activities for middle grade and high school.)
Mendelowitz, Daniel M. Scott, Guy.
A Guide to Droving. New York: Transfer Printing. Newton Center, Mass.: Periodicals and Newspapers.
Holt, Rinehart & Winston, 1976. Charles T. pradford,1977. Maga-zines and newspapers are valuable in the study (Introduction to matirials, skills and techniques; step-by- (Direct transfer printing on polyester cloth, all ages.) of ad Criticism and contemporary visual ads issues, step program for beginning artists.) Sommer, Elyse. Professional journals provide varied viewpoints on
Nelson, George. Contemporary Costurne Jewelry, New York: teaching art. Articles found in each offer a broad range
How To See. Boston; Crown Publishers, 1974. of subjects for intellectual and aesthetic stimulation.
Little, Brown, 1977. (Middle grade and secondary jewelry program.) African Ms (Perception, excellent photographs of the world we live African Studies Center in.) Sparkes, Roy, University of California Teaching Art Basics. New York: Pattemore, Arnel W. Los Angeles, Calif. 90024 Watson-Guptill Publications, 1973. An and Environnient. New York: (Aimed at teaching the elements of design to ages 6-9; American Mist VarOostrand Reinhold, 1974. Offers basic information pertinent to any age.) Subscription Dept. (Ad Education; elementary and middle grade students; 1 Color Court costume design, drawing, interior design, architecture, Sproul, Adelaide. Marion, Ohio 43302 community planning, communication.) With A Free Hand. New York: Reinhold, 1968, American Crafts (formerly Crafts Horizon) Pattemore, Arnel W. (Primary and middle grade students; painting, drawing, American Crafts Council Printmaking Activities for the Classroom, Worcester, graphics, ceramics, and sculpture.) P.O. Box 561 Mass: Martinsville, NJ. 08836 Davis Publications, 1966. Tuck, Barbara and Judy, Harriett.
(Early childhood through middle grade; printmaking.) How to Tech Children to Draw, Paint, and Use Color. Architectural Record New York?\ P.O. Box 564 Plummer, Gordon S. Parker Publishing Co, 1975. Highstown, N.J. 08520 Children's Art, Judgement. Dubuque, Iowa: (Drawing, and mixed media activities for Ali-Education Wm. C. Brown Co., 1974. elementary students; activities that integrate with aca . (Grades 1-6, art appreciation.). National Art Education Association demic subjects.) 1916 Association Rosenberg, Lill' Ann Killen. Wachowiak, Frank and Hodge, David. Reston, Va. 22091 Children Make Or orals and Sculpture. New York: Art in Depth. Scranton, Pa.: M Forum Reinhold Book Corporation, 1968, Internafional Textbook Co., 1970: (Group sculpture and mural making for elementary and P.O,Box 980 (Art program for-the young adolescent.) middle grade students.) Farmington, N,Y: 11737
1 217 109 Art in America Pamphlets The Georgia Council for Arts and Humanities
150 E. 58th SI Suite 210 This collection may include state, national and Interna- Newliork, N.Y. 10022 1627 Peachtree Si., NE tional documents representing important sources of Atlanta, Ga. 30309 An News information. "Georgia Art Bus Program" Subscription Snipe The National Art Education Association P.O. Box 969 Union of Independent College of Art 1916 Associatioh Dr, Famtingdale, NY, 11737 4340 Oak Street Reston, Va. Kansas City, Mo. 6411,1 Art Teacher "Careers in Art" "Career Resouces List for Visual Artists National Art Education Association "The Essentials Of a C11-10 School An Program: A
915 Association Dr, Position Statement"
Reston, Va, 22091 The Georgia Department of Education
Newsweek Ms EducatiOn Unit
The Newsweek Bldg, 1958 Twin Towers East
Livingston, N.J. 07039 Atlanta, Ga, 30034 "Ms in Fundamental Education" Pod° lio Georgia Department of Education resource materials
Subscription Service Bureau
P.O,Box 2714
Boulder, Colorado 80322 School Ads it 50 Portland St. Worcester, Mass. 01608 iittitekitt
Smithsonian institution
Smithsonian Association
P.O. Box 404 Flushing, N.Y. 11478 TheOs'
Time 0
Time.Life Bldg. 6 1 Plan tfor Chicago, Illinois 60611 jr 1i
6 ducation
Georgia Depadment of Education booklets 218 110 Visual Materials: Still Images Budek Films and Slides National Gallery of Art 1023 Waterman Ave. Constitution Ave. and 6th St., N.W.
East Providence, RI. 02906 Washington, D.C. 20001
Filmstrips, art reproductions and slides over a broad Center for Humanities, Inc. Dr. Konrad Prothmann scope of conceit and organization, A visual arts prof 2 Holland Ave: 2378 Soper Ave;
gram is definitely enhanced by the flexibility and ac. White Plains, .N.Y.10603 Baldwin, N.Y. 11510 cessibility of this media. Fidelity of reproduction to Colonial Films Sandak, Inc: original artwork, including sharp focus and accurate 71 Walton St. 4 East 48th St color, is essential in collections of posters and art Atlanta, Ga. 30303 New York, N.Y. 10017 reproductions.
Educational Dimensions Corporation Society for Visual Education, Inc.
Box 488 1345 Dlversey P
Slides and Filmstrips Great Neck, N.Y. 11022 Chicago., Ill, 60614
American Council on Education Educational Audio Visual, Inc. University Prints
1785 Massachusetts Ave,, Pleasantville, KY. 10570 15 BraRle St.
Washington, D.C. 20063 Harvard Square Grolier Educational Corp. Cambridge, Mass. 02138 American Library Color Slide Co. 845 Third Avenue
P.O. Box, 5810 New York, N.Y. 10022 Van Nostrand Reinhold Co;
New Yak-Id:10017- 450 West 33rd St. Hester and Associates New York, N.Y. 10001 American Crafts Council, Research and Education 11422 Harry Hines Blvd.
.Department Dallas, Texas 75229 Warren Schloat Productions, Inc,
29 West 53rd St Pleasantville, NY: 10570 Image Color Slides New York, N.Y. 10019 P.O. Box 811 Graphics: Posters and Art Reproductions Art Institute of Chicago Chapel Hill, N.C. 27514
S. Michigan Ave, and E. Adams St. Harry Abrams international Film Bureau, Inc. Chicago, Ill: 60603 110 E. 59th St. 332 S: Michigan Ave:, New York, N.Y. 10022 Audio Visual Center Chicago, Ill, 60604
Indiana University American Book Company Life Filmstrips Bloomington, Ind. 47401 450 West 33rd St TimeeLife Building New York, N.Y; 10001 Bailey Film Associates Rockefeller Center
11559 Santa Monica Blvd: New York, N.Y. 10020 Art Education, Inc.
Los AngelekCalif_90025.- Blauvelt, N.Y. 10913 McGraw-Hill
Dr. Black Color Productions 1121-Avenue of the Americas Metropolitan Museum of Art
1309 N. Genese Avenue New York, N.Y. 10038 Fifth Avenue & 82nd St. 221
Los Angeles, Calif, 90046 New York, N.Y, 10028 University Prints Museum of Modern M Shorewood Reproductions, Inc. 15 Brattle St 11 West 53rd St, Department 2 Harvard Square 724 Fifth Avenue New York, RY, 1-019 Cambridge; Mass. 02138 Jon Eric RIIS New York, N,Y, 10019 Cetemontal sttlit My Weekly Reader-Art Gallery Van Nostrand Reinhold Co, "Crafts In Georgia" Skira Art Books Education Center 450 West 33rd St touring exhibition Distributed by World Publishing Co, Columbus, Ohio 43216 Georgia Council for the New York, N.Y. 10001 2231 West 110 Street Arts, Atiants National M Education Association Cleveland, Ohio 44102 1915 Association Dr.
_Donald Penny Reston, Va. 22091 Dept SA Stoneware Platter National Gallery of M "Crafts in Georgia" 520 Fifth Avenue Constitution Ave. and 6th $t, N,W. touring exhibition New York, N.Y, 10036 Georgia Council for the Washington, D,C; 20001 Arls, Atlanta
New York Graphic Society
140 Greenwich Avenue
Greenwich, Connecticut 06830
Penn Print Co.
572 Fifth Avenue
New York, N,Y, 10036 1304
(Republic of Upper Volta)
Dr. Konrad Prothmann Kob meek
2378 Soper Ave, (wood)
Baldwin, N.Y, 11510 The High Museum of Art, Atlanta
, N.I.T. Bureau of Audio Visual Education Visual Materials: Moving Contemporary films, Inc, 330 West 42nd Si School of Education Images New York, N.Y, 10036 Indiana University Bloomington, Ind. 47401 Contemporary Films/McGraw Hill
Princeton Rd, Pyramid Films
Films Box 1048 Highstown, N,J, 08520 Santa Monica, Calif. 90406 Sound film (16mm or Super 8mm) and video are Encylopedia Britannia Rims, Inc. available commercially for purchase or rental. Go Dec . 425 N, Michigan Ave. Sterling Movies tons of these materials are available in some school Chicago, III, 60611 375 Park Avenue systems and at the Georgia Department of Education New York, N.Y. 10022 Film Library (16mm), Hester & Associates
11422 Hari Hines Blvd, Time-Life Films AC1 Films Inc. 43 West 18th St, Dallas, Texas 75229 16 West 46th St, New York, N.Y. 10011 New York, N.Y. 10036 International Film Bureau, Inc, Universal Education Visual Ms 332 S. Michigan Ave. American Crafts Council Chicago, IlL 60604 221 Park Ave., S.
Research & Education Dept. New York, N,Y, 10003 29 West 53rd Si Janus Films University of Southern California New York, N,Y. 10019 745 Fifth Avenue Film Distribution Section New York, N.Y. 10022 American Federation of Ms University Park McGraw.Hill Films 41:East 65th St Los Angeles, Calif. 90007 New York, N.Y. 10021 1121 Avenue of the Americas
New York, KY, 10036 Warren Schloat Productions, inc. Bailey Film Associates Pleasantville, NY, 10570
11559 Santa Monica Blvd. Monument Film Corporation
Los Angeles, Calif. 90025 267 West 25th St.
New York, N,Y. 10001 B.F.A. Educational Media
(Columbia Broadcasting System) Museum of Modem Art
211 Michigan Ave, 11 West 53rd St
Santa Monica, 90404 New York, N,Yp10019
Brandon Films, Inc. Museum Without Walls
221 West 57th St. Universal City Studios, Inc.
Nevi York, N.Y. 10019 221 Park Avenue So,
New York, N.Y, 10003 Center for Mass Communication of
Columbia,University Press NBC Educational Enterprises
562 West 113th St, 30 Rockefeller Plaza New York, NY, 10025 New York, N,Y, 10020 225 published by An Education, Inc. The Concept ofDe- and is allotted to each school system: The Georgia Textbook List sign Part I Elements by Davis Publications, Inc., The following information concerning textbookatop . represents books in the print materials category. tion will assist a visual arts curriculum committeein This publication includes a complete list of textbooks developing a planning schedule of acquisition of mate- adopted by the Georgia Board of Eaucation. This list rials on the Georgia Textbook List. has been prepared for the use of superintendents, principals and teachers and has been arranged alpha, Textbook allotments The next academic year for the Fine As Adoption, betically by publishers under the subject headingS, The local school system textbook adoption policy, Each year a specific amount of money isappropriated
by the General Assembly for InstructionalMaterials The amount of funds allocated. In order that the instructional material used as basic text in schools be of the highest quality, theGeorgia Gaorgio Depanmentof Education photograph Board of Education, through the Georgia Department of Education, carries on a continuous review and study of altAexibooksgesented by publishers. The Georgia Board of Education appoints a committee to see in an Lhi .= advisory capacity. The Textbook AdvisoryCommittee consists of 17 professional educators and six lay members: two members are appointed from each congressional district and three committeemembers represent the state at large. TheTextbook Advisory
Commitee reviews all titles submitted and recommends to the State Board those titles found tobe of high quality and desirable for use in the publicschools of
Georgia. Titles accepted and approved by theState
Board are considered adopted for purchase with state textbook funds,
;.
Adoption Cycle
Textbooks are adopted for a period of five years, Each
year one or more subjects areconsidered for adoption
During the school year. following the state adoption,
each school system should make plansfor adopting
textbooks in that subject. During the fine arts adoption
period, the Textbook Advisory Committee reviewsand
studies print and visual media submitted forthe content fir area of visual arts, An example ofthe visual media .. -7: . represented is The Art AppreciationPrint Program
6%..? 114 . 0' Community Resources Whether in a rural, surburban or urban area, communi- Georgia Congress for Parents and Teachers ties consist of many elements which have a part in 114 Bake Street NE
creating a livinglorking environment. Sore of the Atlanta, Ga. 30308
elemen $ are groups of people, houses, streets, stores, "Learning is not confined to the classroom_ .Supe- Georgia Museum of Art shrub: signals and signs. A unit designed to develop nor instruction may occur in a variety of settings, The University of Georgia student awareness of the visual environment can in- both on and off the school campus, As the sponsor Athens, Ga. 30602 volve study of artists, architecture, organizations and and caretaker of the educational needs of youth, institutions which effect changes in a community, Re . schools will necessarily develop a broader defini . Telfair Museum search procedures may lead students to discover the tin of education than commonly is applied today: Barnard Street visual records of their community (individual and family The community as well as the school affords splen- Savannah, Ga. 31401 photographs, newspapers, portraits, film clips) and the did opportunities to learn," Sears-Roebuck Foundation values of the community as expressed in the visual Film Library Statement by the National Association of Secondary School arts. Senior citizens, government and business leaders Principals This We Wen, 1915: clo Association Sterling Films may be asked to talk about the community's history 5797 Peachtree Road Community resources otter a range of programs and and the political and social changes which have af- Atlanta, Ga. 30340 services for use in implementing a visual RS program. fected its environment, The messages can be recorded
These human and cultural resources provide a link on tape as an example of how people describe and interpret changes in the visual environment, Students between the community and the schools, Community
can select aspects of the community as studio subjects: resources include art institutions, museums, local arts
councils, historical societies, libraries, private an schools, The possibilities for cooperation among the visual art churches, business groups, parks and recreation de teacher, the school and the larger community are Museum Resources partments and artists, Cooperation between schools extensive. The energy and time spent is extremely National Gallery of Art =ant othednstitutions provides new ways of learning; NNW in establng a program that increases Extension Service -- student knowledge and appreciation of community, To accomplish the goals of the art education program, Washington, D,C, 20565 state and national an resources. both school and nonschool staff are essential in uric . Color slide lectures with recordings, 16mm films,
ulurn planning and development: To make students special publications and travel exhibits.
aware that artists are individuals involved with every. Hirshhorn Museum and Sculpture Garden day human concerns, and to involve them in the Museum Shop creative process, the identification of an artist or artists ,State and Community Resources Smithsonian Institution' in the community is important. Within a school setting The Georgia Council for the Arts and Humanities Washington, D,C, 20560 or at the artist's studio, interviews with the artist can Suite 210 Postcards and reproductions., publications and slides; help the students to borne better acquainted with the 1827 Peachtree Street, NE comprehensive catalogue of the entire collection, creative process, where artists get their ideas, how Atlanta, Ga, 30309 they go about making decisions. Artists working in a Freer Gallery of Art
variety of styles and media live in all areas of Georgia The Department of Education Smithsonian Institution
and are a valuable community resource. The visual High Museum of Art Washington, D.C. 20560
artist and the teacher can plavreparatory and follow-up 1280 Peachtree Street, NE Middle,Eastem and Eastern art and American art,
activitioMich help integrate the visits into the unit Atlanta, Ga. 30309 slides and reproductions of Allection,
115 Museum of Contemporary Crafts
29 West 53rd Street
New York, N.Y. 10019
Illustrated catalogs and sets of slides from shows.
The M Institute of Chicago fa%
Michigan At Adams
Chicago, Ill. 60603
Postcards arid reproductions publications and slides.
7'1
A
. . .
Students touring High Museum of Ar!, Montt
Notes
David Rockefeller, Jr Chairman, Coming to Our Sens- es, The Ms, Education andAmericans Panel, New 231 York: McGraw Hill, p. 257. ;
0 116 Chapter VEvaluation
Change and growth in an education occur mostsapidly consider this in evaluating advanced courses. In the second objective, the student may or may not when planners, teachers and students make it a habit use negative areas for repetition of shape and unity, A second task is to review the individual lessons to see to step back from their enterprise to see what is But composition is still a focus and its recognition is if they help achieve selected goals and objectives. For actually happening. Even the most carefully planned ad expected from even the most creative student. As with example, the goal of developing discrimination and program occasionally misses its mark. Teachers and the first objective, additional discoveries and solutions Oriental skills would be difficult to reach without students sometimes lose direction or fail to see what is can and should:be recognized and discussed: studying criteria for judging art and making compari. being accomplished The purpose of this section of the sons. Teaching ad awareness would be very difficult if curriculum guide is to encourage teachers to expand the teacher does not plan to display examples of ad both the quality and range of their current evaluation from today's culture. practice. ItII present criteria and valuation afferna. Student Viewpoint tivet. These include assessing written progranulans, Identifying goals ahead of time can help make the talking to students about work in process, leading purpose of lessons clearer to both teacher and student, Being aware of student attitudes and feelings helps the, group criticism sessions, constructing tests, grading Consequently, behavioral objectives will be consid teacher evaluate how well the lesson. is proceeding and presenting a program's accomplishments to the ered. Developing objectives is probably the best exer- and how much the student is learning. Simple observa- cominuoity, cise for helping a teacher think through a lesson to tion of noise level, number of students working, num-
achieve a central 'focus. Granted, ad teachers pride ber of questions asked, how long the project is taking, This discussion will present only a brief outline of themselves on offering an experience that is different and similar factors, will tell the teacher quickly how evaluation strategies for day-to-day classroom interne- from academic subjects. Instead of "correct answers," interested the students are and how the lesson might lion. Interested teachers should consult more detailed they encourage invention, personal statement and be changed. literature, recognizing that any major assessment of ad originality: However, even the most open-ended as- programs will need to consider such factors as working Asking direct questions will also yield important infor- signment has a purpose: The students should he facilities, funding, teacher preparation, and support of mation. Typical questions may be kept on a form with expected at the very least to be able to discuss the art by school officials and the community. the student's portfolio. results of personal exploration. Such discussion can te-expressedirrbetraimrahtjectivelorm;-- 17Compared -to-otherclasrevelemayouli
this one more, about the same or less? Here are two examples of behavioral objectives. The Teacher's Program first describes a highly structured lesson while in the 2. Is there another related problem that you would like second, the limitations and choices have been left up to Work on next or later? If so, describe it briefly.
to the student. 1*.)t#he. and Lessons 3. What extra, nonassigned work did you do? 1. The student will cut silhouettes of chairs from dark 4.If you were asked to do something like this again, If, the curriculum goals listed in this guide reflect the paper and rearrange the chair shapes and the cut how would you change the assignment to help you general concerns of most art teachers, then the range scraps of paper on a light peice of paper so that the learn more? and depth of expectations are indeed large. The first chair motif is repeated in both the foregrOund and task in evaluating a program is to select goals that are background areas. Informal discussion helps the teacher to understand appropriate to the teacher's skill, student abilities and the student's viewpoint and to encourage evaluation by 2. Selecting from a wide range of papers, students will interests and the learning environnient. A check should the student: Her are some strategies. cut, tear and arrange paper shapes in a collage, then be made to see if the actual program, is planned and discuss the writ including comments on how 1. Point oUt fa s without opinions. Keep the situation tomeet theseneeds. Far example, the teacher whose unity of effect ft? achieved, nonjudgmtal, "I see you used a different subject" special skill is in twcdimensional areas will. need to 232 33 117 1. Ask students to write or discuss what NTlearned (from that discussed in class).Is there something from the exercise. Encourage some talk houl the that interests you more?" Helping Students focus of the lesson. 2: Avoid the use of "why?" It implies negativejudg- Evaluate Their Work 2. While work is in process, havethe students hold ment "How?" or "What were youthinking?" are up their two.dimerisionalprojects for quick eval- better for keeping the situation nonjudgmental. others, students To judge their own work and that of uation by the teacher. Is it on the right track or fairly organized 3. Another way to gel students to talk about feelings need to talk and write about an in a does it demise exhibit desired behavini? discriminating differ-. and ideas is to ask them a question before respond- fashion, This requires practice in 3. Have a student stand back fromhis or ter work ing to their question, or, to repeat what they say to ences of form and feeling, and with a small group of students and Iteteacher you: For example, in answer to, "Ican't do it," say, that can be A detailed account of exercises and games analyze strengths in the work so far, You can't do if?" To the statement, "I can't make used to teach an appreciationand criticism skills will this work," reply, "What seems to be the problem?" 4. During a group critique the teacher candscuss or not be given here. One good sourceof exercises is The invite Students to discuss the strength of each 4. To break down barriers, let the student teach the joyous Vision by Hurwitz andMadeja,1 This discussion work displayed, reinforcing lesson concepts when- teacher. Use such phrases as "Tell me about, . ,(your will outline criteria that often come upin criticism of ever possible: sculpture, how you got that effect, how you feet class work and suggest how theteacher might discuss the criteria about ,)" or, I don't know, but perhaps the studio art of students. Here are some of 5. Have each student discuss his or herwork in arlijildrent, derived we could find out" that can be used as a focus lor terms of specift concepts aroundwhich lhe les-
largely from Monroe Beardsley(I05k2 son was based. 5. To break down barriers and to reinforcebehavior at
the same time, praise student work or work habits Aesthetic; object-bound reasons such as unity, come 6. The teacher can ask the class topick onlinvoritee
often, but praise specifically. After time is spent plexity or intensity of expression in particular categories such as the "rrostorigar
discussing strengths, it is easier for some students idea" or the "best crafted." But continuaith 4 Moralsignificance reasons such as providing night to discuss problems freely. categories until all the works can besinginOof for that is uplifting or socially relevant recognition, 6.. If possible, get the student to point out strengths or Novelty and originality reasonssuch as presenting pans of the assignment that seem tobe working 7.It the class has spent a great deal of time iscuss- an idea new to the creator orto the larger an and urge the student to get into thehabit of working ing work as it was being made; asirnon Niletin community from strengths rather than focusing ondifficulties. board display of all the work headed wit akey of Craftsmanship reasons such as complex handling concept from the lesson may 0-Sulliolent re, 7, Often the teacher's presence disrupts animportant a difficult material view, train of thought Before leaving a conference about by a well- student work if is a good idea to ask,"Is there Economic reasons such as being dope 8. To exaggerate qualities andmoods ponied in anything we haven't discussed?" known Mist works, add drama or poetry as the majecrilicisni
aSocio-cullial reasons such as acceptance of the 'exercise: This works especially welt with poppets, question for review. 8. End with a summary or a style by one'S triends masks and three-dimensional work intjeneral. if the Students can forget what wr said earlier Have students make up stories about lie origins In discussions of criteria, students need tobe cau- discussion has been long, Say something of their creatures, using personificationIRO anal for realism, per "Now that tioned about relying on preferences "What are you going to work on first?" or ogy with abstract works. Usemood not; spot- soul taste or the irrelevant: Here aresludioviented we've looked at it, what are themain ideas you want lights, a islowly(toing sculptqre Dign and criticism strategies which can belled bythe teacher, to keep in mind? 235 118 Steie Coltd untitled
(peo end lAtItintog) %am chnt.)1t4t, Se litglkl Syvmiurn
other effects to make the occasion special.
9, Exchange projects trtween two classes doing the
same probler xi it becomes apparent that stu4Prt are liffiqitant to talk about their friend's
Nave doss members criticize each o.th r's work in
Livritqlg; insisting that they include positive as well
as negative comment Be sure the students see the criticism of their work and perhaps have a
chance to respond. .
Gillen Assessment
My teachers feel that tests are somehow out of place
in the creative environment of the an classroom, Ad is
generally viewed, perhaps correctly, as a subject less
accu.. rately evaluated by tests requiring pre-estahliShed
answers. Nevedheless, there are benefits in testing,
the most important being objectivity and efficiency in
rnonEloring student understanding of "key concepts, On
a pragmatic note, for teachers who find themselves in a-
scho.ol where art study has been viewed by students
and counselors alike as a frivolous "play" subject, the
use izif tests, a familiar tool in academic subjects, can
lendcredibility to the art program.
Heel- are some general principles for test construction folioed by a brief description, with examples, of
several standard test question forms, Throughout this
section the teacher srpuld keep in mind that tests do
.,/ not Iways have to be dreaded tasks for the students,
As gornes or pans of learning packages, tests can be
taken when students are ready, and can be taken wftreTt.- repeatedly until material is mastered: They can be
used as interim review exercises with scores not
cooled; or used only tci clin individual progress,
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aJP 01 au e 66opuled saouaiemp) (pale!! siemsue pied ioj 'aq!iusap iso5ns01 esn AI di OIeAOp'd fly Nina Quo o eqj pokidsip s6uqu!ed edeqs sesn 1" 4isegl0 luieldxs 'ssnosp eV) ! eq UOIlIIGdOJ odltim luo!idave saldwex3) aluate. To aid reliability and fair- During a critique, students can be given grades On the positive side, the superintendent c=f school, grade one item at a time across similar to those above for being able to discuss their impressed by the quality of work displayedout in the and have students sign tests in- work in terms of key concepts. community and by parental irvolvement, may find with a number instead of a name, money to supped a needed sec.-, nd art teao='_ner. A teacher can use a student's analysis of what has been learned. This helps in assigning a grade that Positive perception of a School's art prograrui must be goes beyond the finished studio product to include cultivated by the leacher at every turn. Ithis public ir next door neighbor says she knowledge gained, progress and effort. relations oriented assessment can take riaLrly forms. :h of the work of Picasso because Here are a few. Vrite your response to her, COM- Universally disliked by both teachers and students, the er "realism" and what you know grading process can be made less unpleasant and Display student art work throughout the s=hool. t. perhaps more educational by use of the following Volunteer to give talks on the value of ad in educa- best ceramic sculpture is better strategies. tion. In preparation for this save the woffk of stu- ding at least two different reasons Make the criteria for grades very clear. dents who made striking progress over year or ithspecific examples from the Accompany any grade, especially on studio art quarter and show it as part of the talk. work, with a written evaluation of strengths and Send home with all art students a quartrly news- weaknesses. letter telling of he program's activities. To help focus on the content instead of on grades, Offer shed classes and workshops for parents,- use nontraditional number systems. For example, teachers and local clubs. rate work on 12-point scale broken down into three -- point categories like craftsmanship, complexity and Stage special events (openings, dernerstrations, unity of design, risks and experiments conducted, visiting artists, field trips). ministrative purposes, grades cer- and use of the issues of that particular lesson. Evaluation procedures can be used to put teachers achievement for the official record, and administrators in touch with program gcpals, con- )c) often they provide a primary tent, quality of instruction, student progross_amrdschooL_ nts who work hard but may harm environment. iers. Whenever the system allows Id opt for a written rather than a Reporting on the mat. Program to School Notes st assign grades can use all of the 1. Al Hurwitz and Stanley Madeja, Joyous Vion, En- systems by simply assigning a glewood Cliffs, NI: Prentice-Hall, 1977. -ado to responses. Here are some and Community s could be done. 2. Monroe Beardsley, Aesthetics: Problenws in the Philosophy of Criticism. New York Harcorl, Brace checked against the behavioral Outside perception of an art program by students, the and .World, 1955. lesson and given an A for going principal and the community can result in its flowering yes, a B for meeting all objectives, or its demise. Indifferent students will not sign up for 3. Benjamin Bloch and Others, Taxonomy cif Educa- , ding at least one objective, and so art; the school counselor and other teachers may view tional Objectives: Co gitiveDomain. Izngmans, 24 art as a less challenging nonacademic subject. Green, 1956. 241 21 I
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I
14
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_ Nair And Student
Stephens County Schools 213 Chanter VI. Administering the Visual Arts Program
Whenever a meaningful, vital ad program is found, a programs. An important factor in the teaching of the This approach to planning instruction places. an within
close look will reveal a well-informed, supportive school visual ads is an intelligent, sensitive and creative the school's curriculum core, not out on the periphery.
administration along with an enthusiastic, well.trained teacher with aesthetic con ctions; Frank Wachowiak
teacher who is sensitive to the aesthetic and expres- and. Theodore Ramsey in Emphasis M1 state that
sive needs of the students; This is augmented by an every good art teacher combines the qualities of com- Visual Arts Teachers/ instructional program based on established objectives petency and dedication.
and a curriculum guide adopted by the local school "As a competent instructor he has developed as Specialists system; Next in importance to a qualified staff and broad a background as possible in the history and curriculum are provisions for scheduling and financing theory of art and can clarify for students the relation- In elementary, middle, and secondary 'schools ad of ad instruction. ships between the contemporary and traditional teacheralspecialists are necessary for teaching the
Development and adoption of ad programs are the forms inman's cultural heritage; he also performs in total discipline of art instead of merely a project-and-
responsibilities of county superintendents and school some area of arts and crafts to achieve personal process curriculum, Teaching ad through a variety of
boards. However, the administration of art programs aesthetic satisfaction; he understands the basic media activities limits understanding. Perceptual aware .
involves many professionals. Visual ads teachers, problems and techniques of the we've processes ness, ad criticism and ad history should also be taught,
classroom teachers, media specialists, principals and he teaches; he knows how to organize materials, In achieving goals and objectives, 4n art teacher has
central system instructional staff and administrators tools, space, and time schedules to produce the the responsibility to make the program appeal to a
should be involved in developing and implementing art best possible working conditions in the classroom; broad range of students through suitable content and
curricula; he is aware of the new and important findings in teaching strategies.
child psychology and mental therapy; and he bases A curriculum guide identifies goals, content and 'ap . Visual ads teachers/specialists are professionally pre- the art program on tho present needs and future proaches in ad study. Based on the courses, decisions pared for teaching the content of art education (ad demands of his students," concerning staff, physical facilities and schedules of history, art criticism, studio skills). Their knowledge of
classes can be activated; The diversity of curriculum curriculum design, teachingltrategies, classroom man- design and instructional unit formatreinforces the Elementary Classroom agement techniques and instructional resources en . statement that decisions for administering the ad pro- ables then to design and teach a program to achieve
gram are largely based on the needs of individual Teacher the broader goals now defined on national, state and
--system and schooisff-- The elementary clasvoom teaeris critical in reinforc- 400ai-levels,--The an-leacher/specialist can be -the primary catalyst for development, of a well.planned, ing positive attitudes toward an and knowledge of ad. !nformation on administering the visual ads program is In a self-contained elementary classroom where in stimu'ing school visual arts program reaching beyond not a set of exact requirements or regulations, but struction is the responsibility of each teacher, consulta. the vialls of a classroom to affect the total visual rather a basis for developing adequate facilities and lion with ad resource personnel, access to resource environment of the school and to involve other school efficient management practices that assure a qualita- -staff and students. materials and staff development are essential, Some- tive program in ad, one qualified in art education should be responsible for The responsibilities of visual ads teachirispecialist coordinating the elementary ad program. The class- may include room teacher often needs assistance in planning and Staffing teaching, art lessons. In an elementary program where teaching, planning, revising and interpreting alse. art is taught by the classroom teacher and an ad quential ad curriculum to assure a quality program
Art teachers and leachers in the elementary grades. specialist, it is the responsibility.of both to plan instruc- from grade to grade, school to school and from year I. have the primary responsibility for implementing the ad tion combining related concepts and skills into units, to year;
244 123 printmaking working from a flexible schedule which allowstime development. commercial ad (i.e.advertising design, fashion for planning the instructional needs of the school ad relationship of the product and package de . Demonstrate knowledge of the graphics,illustration, program with otherteachersi and principals and visual arts to other disciplines of study. sign, typography) central curriculum personnel, painting Demonstrate knowledge of assessment proceduresfor design) planning with other members: of the schcolstafi fibers (stitcher, weaving, surface evaluating visual ad competencies, realistic budgets for ad instruction resourcesand cinematography (animation, film, video) Demonstrate knowledge of research in adeducation. assisting in the selection of safe, appropriate,and jewelry design (metals)
photography quality materials and equipment; Demonstrate knowledge of nature and aims(philosophy) environmental design (community planning,interior consulting with principals and teachers toschedule of the visual ads. design, architecture) times for working on special projectswithin a school; Areas* computer art being available to interpret the goals anddiscuss the Art Criticism and M History apply appropriate accomplishments of the ad programs to local groups Demonstrate the ability to select and ,Demonstrate knowledge and applicationof an criticism producing ad forms, such as the PTA, tools and media processes for approaches.
teacher Demonstrate the ability to transform anidea from the In order to fulfill responsibilities, a visual ads Demonstrate knowledge of the developmentsof past , conceptual stage to an al form. should be knowledgeable in six areas. and contemporary world art forms.
Demonstrate the concepts andskills in at least one a. Demonstrate theability to distinguish between and area of specialization. Professional Growth among styles of adof different cultures and times.
Demonstrate a professionalcommitment to the impor-. b. Demonstrate the ability toidentify major artists and Methodology Areas
fence, growth and continuing roleof ad in the instruc their works of an. Identify and develoo_program and instructionalgoals tional program of elementary,middle and secondary c. Demonstrate theability to distinguish between and for visual arts. schools among the functions of adin different cultures and Select/develop a K-12 visual arts continuumemphasize commitment to ad Demonstrate a knowledge of and times, ing the scope and sequence oflearning experiences. related professional associations andorganizations.
Producing Art Areas Construct and sequence relatedshod range objectives Identify and utilize professional resourcesitch as for ad experiences. publications, agencies, museums,galleries and human Demonstrate basic concepts and skillsin the produc- instruments to resources. tion of toand-three dimensional art. Construct or assemble assessment
measure student performancein art, Demonstrate basic concepts in thevisual ads including Art Education FoundationAreas content from the following two-and.threedimensional Demonstrate the ability to plan anlearning experi- developments of objectives and needs of students, Demonstrate a knowledge of historic areas, ences in relation to
ad education. Selectldevelop and sequence related learning ex, drawing Demonstrate knowledge ofrelevance of and in society periences in art (criticism, history orproduction) that 6sculpture and its cultural implications. _ are appropriate for agiven set of instructional design objectives and student learning 'needs. Demonstrate knowledge of currentpsychologies of ceramics
visual art and its implicationsfor learner growth and ?.0 i 2 6! 124 Corgi' Dopulment of Eduction photogriph
b. Select and prepare instructional materials for identi- Demonstrate the ability to deal effectively with class
fled instructional objectives and student learning room management.
needs:
c. Identify skills which assist students in developing
and justifying their own art values, attitudes and
beliefs, System Visual Ms
d. Recognize and encourage students in developing Personnel
creative approaches to problem solving in ad criti-
cism and production. According to the school system's philosophy, instruc-
tional program and physical needs, different staffing e. Develop learning experiences which emphasize the patterns have emerged to provide personnel for con- relationship of art and other subjects. sultation with and supervision of an teachers/specialists
f. Develop visual ad experiences for students with and classroom teachers. For school systems with 10
physical and psychological difficulties, or more schools, coordination of the ad education
program by an ad director, supeNisor or coordinator g. Develop visual ad experiences for students identi . provides continuity in planning, development and im- fled as gifted and talented. plementation of a program. The visual ads coordinator, .4 Demonstrate the ability to counsel students concerning working with other instructional supervisors, principals, potential art and vocational careers, ad teachers/specialists and classroom teachers, pro .
vides the system ad personnel with the perspective Demonstrate the ability to plan and design a functional needed to build, maintain, expand and coordinate an ad facility based upon identified program needs, programs for the elementary, middle and secondary
Identify and develop a system of keeping records of ad schools. The responsibilities of an ad coordinator may
classes and individual students progress. include
developing curriculum;
coordinating and administering curriculum; 44' Generic Based Ad Areas selecting and procuring supplies, materials and
Demonstrate the ability to communicate information equipment;
about ad orally, coherently and logically: selecting and assigning personnel;
6evaluating programs; Demonstrate the ability to listen to, comprehend and improving classroom instruction; interpret ad information, providing leadership for desirable change,
Demonstrate the ability to write about ad in a logical, Some school systems provide ad resource teachers/ easily understood style with appropriate grammar and specialists who work with more. than one elementary sentence structure. school and assist the classroom teacher in infusing ad
Demonstrate the ability to organize and present ad into other academic. subjects. The responsibilities of ,
learning experiences. the ad resource teacher may include
2 125 However, continuous visual ads instruction is very providing leadership in planning, revising and inter. education of every elementary student. To assure the effective when included in the total curriculum on a preting a sequential ad curriculum to assure a interaction, all teachers and staff responsible for ad more regular basis. For example, learning avisual Oahe/ program from grade to grade, school to instruction should be in the planning, implementation, language often supports the learning of another Ian- school and trm year to year; and evaluation of the ad curriculum. guage (verbal). Each language should betaught in working from a. flexible schedule which allows time In order to fulfill the responsibilities of an art coordina- combination with the other, for planning with principals and curriculum person- tor and an ad resource teacher, an ad education Actual student work is only one component of the tasks nel for the needs of individual schools; including professional should be knowledgeable and proficient in in a typical elementary art lesson. Most of thetime is in-service courses and workshops for padicularscaools the six areas designated for the visual ads teacher in used for management of materials and equipMent, or for particular gradelevels from several schools; addition to the management and organizational skills. organization of the class for the lesson, clean-up and
6:being available to individual teachers to schedule travel. It is recommended that ad lessons be sched-
times to assist in the preparation and introduction of uled in larger blocks of time rather than in two shod
the content of art as relative to the study of other. lessons per week. Classes, small groups and individu .
academic subjects: els may engage in the ad activities when there is
special need, interest or opportunity, I assistingprincipals and teachers in planning realistic Scheduling
budgets and in the seleclioo of safe, appropriate and The middle grades (5-8) and secondary (9-12) visual Time allotments for teaching and planning should quality ad instructional materials and equipment; ad programs are elective courses with instruction by a ensure that instruction in ad is provided for every early certified art teacherlspecialist. At both instructional being available to principals and leatheto sched- childhood student and for the middle and secondary levels extended periods of time ranging from 80 to 60 _ ule times for working with special projects:within a student electing art To achieve instructional and per minutes are recommended, Art classes should meet as school: being available to local educationaf and civic formance objectives, the schedule should support ef- often and as regularly as other subjects, The middle groups to interpret the goals anddiscuss the ac- fective art instruction which calls for regular and se- grades ad program can be effectively presented to complishments of the ad programs. quential lessons. Flexible scheduling should allow for students on an elective basis at intervals during the of lessons with expanding content and the use of various Two important factors to consider are the number school year. This allows a student to participate in teaching strategies. The requirements for time and elementary schools assigned to each art resource several types of visual ads experience. If related ads spare will differ according to thegrade level and nature teacher and the ability of the ad resource teacher to are included in the electives, a visual adstudent also number of of the-activities. The visual arts teacher, principal and cooperate with the elementary staff: The has the opportunity to study humanities or to sing as a other staff members should determine the most effec . assigned schools should be proportionate to the num- member of the chorus. Previously the middle school tive use of time and space to achieve the goals and ber oft4tsserved. Regular and frequent interac- student has been required to take certain courses and clastroom objectives set for early childhood, middle and second- tion between the art resource teacher and has not had the opportunity to explore: At the second- teachers is necessary to integrate artinstruction into ary school ad programs. . ary level visual art courses arescheduled on a quarter, the elementary curriculum. The interactiondevelops Art centers in the kindergarten program are designed semester or full-year basis earning five quarter hours into, a cooperative relationship when goals and objec- to allow students access to art experiencee at different credit, 1/2 Carnegie Unit for a semester or one Carnegie lives for the program have evolved from matureplan. intervals of lime. Flexible scheduling should provide ad Unit bra full.year. fling. An art resource teacher/specialist tete-AN-610 experiences for either individual students or for groug Field trips and other community-based learning expe; elementary teachers' needs and the needsof the In grades one through four, 40 minutes of visual arts riences should be timed and scheduled as an integral students can assist in promoting apositive attitude part of the curriculum: toward the study of ad and its importancein the instruction per week is :a recommended minimum:
-126 250 ences are planned, the needs become more special. graphics: posters and art reproductions
Financing ized.) sculpture reproductions
opaque, overhead, filmstrip and slide projectors b. Materials should be available to provide activities in Physical facilities, equipment, and materials should be blackout curtains art history, art appreciation and criticism. available in sufficient quantity and quality to enable the television programs art staff to implement a comprehensive art program. books, newspapers and periodicals 2. Specifications to insure quality control of materials, Provision of instructional supplies is the responsibility filmPips, slides supplies and equipment should be developed. of school administrators. films
The budgetary needs of schools will vary according to Students tuutIng The High muteum of Art, Atlanta the type of instruction and the type of resources required: An assessment of .existng resources and an program development needs will determine the level of funds necessary:
Financial support of art programs should provide the following.
1. Instructional resources and supply budget with pro .
visions to provide experiences in both the studio
production activities as well as art history and
criticism activities. a. Materials, tools and equipment should be provided
for experiences in
9, environmental design (community planning, interior
design, architecture)
commercial design (fashion design, advertising de.
sign)
photography
filmmaking
printmaking
drawing
painting
sculpture
ceramics
jewelry design
fibers
(This publication suggests simple experiences in each area named. As more advanced and technical experi . location and wirng must be consistent with thefire should have a minimum of 409 square feetfor storage feature. Planning the in addition to a minimum of 1,600 square feet recom . codes, A master switch is an additional safety
mended or 2,000 square feet overall. Fire extinguishers should be in planned readily acces .
Facilities sible spaces, All combustible or corrosive; materials Location should be stored in safety containers in a fireproof Adequate, functional facilities are necessaiy in provid . cabinet, ing a good art program in schools. Location, space, In locating the art facility, plannersshould take into safely and special needs of the facility are determined consideration the movement of equipment,supplies, through careful planning by the system and school start Special Needs and exhibitionsenoiseefactorgothinside and outside and the architect. Art rooms should be design-dip the art room; the need to cooperate with otherdepart- facilitate activities in studio production as well as Large, sturdy work tables, speciallydesigned for art ments; and lighting. activities in art history and criticism, room use, should be providedin sufficient quantity to
Themulti-purpolie art room should be located on the accommodate the largest class using the room.
ground floor with a direct entrancefrom the out.of. The tables should be extra wide to accommodate large Space doors. There should be easy access to aloading. pieces of paper, clay and othermanipulative materials. unloading area for automobiles or trucks which trans- The following suggestions for space allowance are They should have solid edges to which vises canbe port heavy equipment and exhibitions,It should be included in the Georgia Depaernent ofEducation pub- attached (typical lunchroom and librarytables are not convenient to parking areas if the room is to beused lication, A Guide for Planning and Construction of suitable). Light weight, sturdy stools orchairs should for community classes, The outside entranceshould School Facilities in Georgia. be available to students. be convenient as work areas for projects which require
Space must be provided in the art departmentfor excessive dust, noise or fumes, Acoustics should be of prime considerationin plan.
groups of students to workindependently in the ning the ad room. Materialswhich absorb sound
areas of drawing andpainting, textiles, printmaking, should be used wherever practical.
ceramics, jewelry, sculpture and photography. Safety Cleanup facilities ehouid include a minimumof two
25 sinks, Sinks shold be located indifferent parts of the The an department should accommodate about It is the responsibility of the architect to plan forstudent room for easy acceSs.They should have several hot students. and teacher safety, to avoid exposure tofire hazards or and cold mixing faucets, and large, easy toclean fumes. Adequate space for students to move from one to the breathing of hazardous gases and sediment traps, Sins should bestain.proof and sue order to get tools and supply area to another in booths Excellent ventilation is essential. Special exhaust rounded by water .resistant materials. Al leastone of materials should be provided. should be provided for spray areas, over acid baths the sinks should be deep enough for fillingbuckets with and printing equipment and in dark rooms,Additional it is recommended that approximately 1,600 square water and for soaking large pieces offabric. exhaust fans should be located to removeall hazard. feel of floor space be made availablein order for skid.resistant accumulate in the art room (fumes Floors should be easily cleaned and students to work with large materials and inlarge ous fumes that may students are using oil The floor should be resistant to all materials which are and small groups with a variety ofmaterials, tools, are not localized when many used in the art room. paints). and equipment.
Lighting should be carefully planned forcontrol and _ Kilns for firing clay should have properventilition and An art room in an elementaryschool should have a intensity, Natural lighting requires a northern exposure be located in a separate room or in the instructional space allotment based on45 square feet per 25 or skylights, All naturallights must have some method area Since the kilnrequires high voltage service, its students or 1,125 square feet Thesecondary art room 5r 128 254 of glare and blackout control. Provisions for blackout Bins for storing large rolls of paper and wood should be Tools and EqUipment S.
curtains, blinds or louvers are required for audiovisual provided. Space within the storage room is needed as Tools and equipment should be located near the area
.projectors: a station for a utility can used in moving supplies to the where they will be used. Storage should be closed and
classroom. lockable in most cases, Cabinets with inside wall Artificial lighting should be adequate for overall panels of perforated hardboard or plywood with hang . illumination. Special lighting, such as spot or track Limited Classroom Storage for Supplies Used Daily ing devices are useful, as are portable tool panels: lighting, is desirable in areas where models, set-ups A number of small storage units within the instructional Such panels may have the tool silhouette painted on and displays are to be used. space can be used for storage of materials and equip- them with similar, identifying colors on both tools and
Electrical outlets should be distributed throughout the ment needed often in the classroom (e,g scissors, boards. Spacial cabinets, similar to drawing board
ad room in order to avoid the use of extension cords, glue, rulers, brushes). racks, may be constructed for storing portable panels
Outlets of 110 and 220 voltage will be needed for kilns when not in use. Drawers or small tray compartments, Storage should include open and closed adjustable and other specialized equipment. The location of out- both lockable, are necessary for storing expensive and shelving of base and wall types, drawers, shallow lets should be planned to reduce hazards and to avoid delicate equipment such as jewelry and leather tools horizontal shelving and narrow vertical shelving.
interference with activities and display areas: ,and drafting instruments.
Base cabinets should have flush handles and hinged Project Storage Storage doors. They should also have overhangs and toe. Adequate storage is needed for work.in.progress. Many spaces. Their top and front surfaces should be of easily Careful planning of storage is one of the most impor- projects are wet when in process or after completion cleaned, durable materials. Exposed, exterior corners tant considerations in providing for the needs of an ad and need special provisions for storage. The shelves should be rounded. Metal cabinets should be avoided room. Care and organization of tools andequipment is should be well ventilated for quick drying in order to with the exception of one for flammable supplies. an important part of the learning that is to take place in prevent warping, rusting, molding, spontaneous com-
any ad lesson. Well-ordered storage space permits the Heavy-duly hardware should be used on all cabinets in bustion or explosion.
student to know where tools and art work are kept, the art room. Vertical racks provide the storage needed for drying encourages the correct use and care of supplies and Paper storage in the classroom should include provi- watercolors, mounted paintings and drawing boards. equipment, guarantees their accessibility and facili- sion for various types and sizes. For sheets of paper The racks may be located on the tops of shelving or tates keeping track of tools and equipment. Six types of and for poster board, low-height horizontal and narrow- cabinets, storage are required for the visual ads prorram, width vertical storage are necessary. Slit traylike
Bulk Storage of General Supplies shallow drawers in under-counter spaces are useful for Storage of Reference Materials
A storage room should be provided for bulk storage. paper as both weight and bulk can be a problem if it Adjustable, open and accessible shelves should be
This room should be used primarily for storage of must be in large slacks. This type of storage should be provided for books and periodicals, A legal or cha0 reserve supplies of materials, special equipment not in designed with the inside, measurement at least one size cabinet may be used for filing small reprodutions, daily use, audiovisual aides and media, and the stor- inch in excess of the paper size, Storage units should A blue nnt cabinet protects large reproductions and age of some three-dimensional projects, A minimum of comply with standard paper sizes. It is very convenient makes them easily accessible. Dusf.proof storage in a
250 square feet is' recommended for this room. The if the paper storage area is equipped with a 3g-inch cool d place is needed for slides and filmstrips. storage room should be adjacent to and connected paper cutter on the top, There should be room for a with the ad classroom and equipped with adjustable large waste basket near the paper cutler. For rolls of Storage of Students' Personal Items shelving of different dimensions: Narrow, vertical shelv- paper, a dispenser should be supplied, Itmay be fitted The instructional space should have storage for stu- ing and wide, lOw, horizontal shelving is desirable to onto wall brackets or be portable. Standard size rolls of dents to leave personal items while theyare working, Otherwise, work tables become cluttered arid unsafe, accommodate the different types of paper storage, paper are 36 inches wide.
129 Corgi Dopciment of EduiatIOn photograph
Display Areas Special Space Consideratibns Display areas should be provided within the art room
and in other areas of the building. The art room should
have adequate wall space to which twoedimensional Photography work can be easily tacked or pinned. it is desirable to
ir incorporate soft acoustically absorbent materials for For middle and secondary schools, there should be a the display surface. Such covering should be from floor photography darkroom to be used by students of the
or countertop to ceiling so that all possible space may visual arts program as well as others.
be utilized. The darkroom should have a cfouble7light-tight door:
4; Cabinet display space should be provided (or exhibits The room should be divided into two sections, one for
within and without the art room. Some locked,lass use with enlargers, the other forloading, unloading and
display cases with adjustable shelving for three- processing film.
dimensional work should be provided in othe public Safelights should have permanent electrical connec- A areas of the school building. Display units should be t. tions. There should be one safelight for every 60 illuminated with concealed lighting. square feet of ceiling. Safelights should not beplaced
A gallery space is very desirable in school. It can be over the enlargers.
used for showing The work of students, teachers, The number of enlargers provided should be deter. professional artists and traveling cultural exhibitions. mined by the number of students the partiotilar school The gallery should be located in an area accessible to expects to allow in the photography class. Black panels the public: It should be planned with simple, attractive should form dividers between enlargers to prevent furnishings and proper lighting. exposure from neighboring enlargers,Light.tight draw.
ers should be located under theenlargers for the
storage of sensitized papers: Electricaloutlets should
be provided for the enlargers:
Sinks, splashboards and walls around sinks should
be chemical resistant: water temperature will need to
be controlled for some processing. The print washer
Office Space must it into the sink.
An office and conference space for the teacher is Floors_ should be chemical, stain and skid resistant. Exhaust fans are essential in the darkroom. A dust.free , desirable. Such an area can be used for pare* film closet for drying film is desirable. There must be LAM teacher and student.feacher conferences, storing re- working and storage space for other items, such as a cords and files, grading student work, matting Work for
exhibitions, and storing visual aides. The officespace' paper dryer, a light box, contact printers, developing
should provide some view of the classroom for super tanks; cameras, bulk film loading equipment and ackkesisiIffroys. visory purposes,
13 Storage shelves for chemicals for processing film for one or more large project tables is advantageous. Notes should be located in a different area of the room from Instructional bulletin boards and space for other dis-
those for processing paper so that students will not play purposes should be planned, 1. Frank Wachowiak and Theodore Ramsay, Empha
confuse them. sis Art. Scranton, hint Educational Publishers, 2nd Louts Chat (French, 1p1 M893) ed., 1971, p.16, Study of a,TrIv (charcoal on paper) Ceramics The High Museum of Art, Atlanta
Because of the dust factor related to clay, the clay area
should be separated partially or completely from the
other spaces allocated in the ad room.
Ceramics requires special equipment and storage facili.
ties. Clay bins should be rust proof, leak proof, air tight
and pddable. These bins may be made of wood lined
with noncorrosive metal and mounted on casters;
Equally useful are 20.gallen heavy-duty plastic con-
tainers mounted onwooden frames with casters. Sim-
ilar containers are useful for storing plaster, vermiculite
and glaze materials.
Potter's wheels may be of the kick or variable-speed
electric type. Electrical outlets for wheels should be
located so that water and clay cannot reach them.
.r. A damp box for storing work in progress is desirable,
but it is not an absolute necessity with the current use r t. of plastic materials for keeping clay damp, Strong, 14'2 '.1,-irikerrili4:,t I 't!
variable shelves are a necessity for storing work in
progress. some which might be quite largeand heavy.
A wedging board should be located so that itis
convenient to the clay storage area.
The floor in a clay area should be hard, washable,
skid,resistant and properly drained so that it can be
washed down daily,
'.Self.Contained Classroom '. , ii,.: In a sell.contained classroom space should be alloted 4117 for storage of suppps, cleanup facilities and counter f , surface space. Enough space in the rear of the room .fl; 60 261 131 EQUIPMENT LIST
1 Cholkscreen Projection Center I 'I' 2 Overhead Mirror I
3 Chalkboords
4 Studio Sinks PAT 5 Counter f
6 Workbench
7 Student Tables... . 1 8 Project Stations r I---
; V 1! 17 9 Drawing Stations r)* V. I Orml5 10 Instructors Stations
y;"11F.1 11 Doublelevel Storage Coses
12 Enlarger Booth
13 Photographic Sinks
14 Wedginglkulpture St00005
15 Pug,All
16 Clay Roller . .. . ,
17 Print Press
18 Damp Cabinet, ...
19 Glazing Booth
20 Jewelry Station 6 21 Welding Station ..
22 Centrifugal Casting Well
14 't"1.-41 23 Canopy Hoods,. L,A
24 Shelvinglking Racks
25 Level 2 Storage
26 Mobile Staragerronsports
27 Light Table. .... CLE 28 Portable Chalkboard STuDin Mg 5Q FT Zion sorayEpokl_L /12l
29 Hi-Density Shelving.. e.
30 Print Dqing.. : , iLWEL2- ALL puo5E AvT 5TUDIO Burn Out Booth _DizAvvikc.__2A\TI\o, *DENT c474cily = 32 Looms pRIN:rivia\ cc 33 Kilns.. ,.. EXTLE5 p11.107q2412y 34 Potters Wheels
35 Display.
r 132 Kelly Cothran References untitled
(pencll drawing)
Houston County Schools, School Art Symposium
The Essentials of a Qua liry School Art Program. Na- ;,1. /If tional Ad Education Association, Reston, Va.: 1968. I 1 Edmund B. Feldman. Art As Image and Idea. New
York: Prentice-Hall, 1967:
Implementing the ElernentaryA1 Program, South Caro-
lina Department of Education: 1981,
Art Education Framework. California Department of
Education: 1971,
Educationally Correct Art Studios. Sheldon Laboratory
System: 1979,
A Guide for Planning and Construction of School
Facilities in Georgia. Georgia Department of Edu-
cation: 1961.
Art Audit Criteria, Florida Department of Education;
1979.
An Objectives. National Assessment of Educational
Progress, Denver, Colo, 1971.
Laura Chapman. Approaches to Art in Education, New
York: Harcourt, Brace JovanoviCh, 1978,
Children Art Center for Understanding Media, Asso .
ciation for Childhood Education International. Wash.
ington, DC: 1973.
Janson, H, W. and Dora Jane. The Story of Painting for
Young People: From Cave Painting to Modem
Times New York: Harry Abrams, 1962.
Jenkins; Sarah. Images of Change St. Louis, Mo.
Milliken Publishing Company, 1974.
David Rockefeller, Jr, chairman. Coming to Our Sens.
es, The Ms, Education and American Panel, New
York: McGraw Hill, 1977, I,t
133 StepsiorDeveloping Appendices
...... ,
Visual As Visual Arts
Tasir Responsibility Task Responsibility Guidelines K-12 .---- Guidelines K-12
1. Form visual aNs Curriculum Committee Curriculum leaders, 0 Do all present courses include sufficient
general and visual ads. opportunities for problem solving and Composed of evaluation?
o local, curriculum director o What strategies of leaching should be
I lout visual arts supeivisor or designated employed? Are a variety of strategies used
visual ads curriculum leader in teaching each course?
I representatives from visual arts teachers in What major topics of visual as should
elementary, middle and secondary schools be addressed in the curriculum? Where
media specialist should these be addressed?
0 representatives from other curriculum areas These findings should provide a framework no be called on as needs arise) on which the curriculum can be built. o guidance counselor Ito be involved
pemodidally) 5. Develop student objectives for visual as Visualins curriculum Goals representatives from the community (to be'. education and indicate those essential committee and Objectives called on periodically) skills expected of graduating seniors consultants Appendices
whether they enter the world of work or Resources 2, Develop goals of visual ads learning Visual arts curriculum Goals postsecondary schools: committee Resources study general and visual ads goals of local Appendices and state educational agencies and state 6. Review existing curriculum to ascertain if Visual ads curriculum
and national professional visual arts essential skills are included in appropriate committee
organizations, courses to ensure opportunities for students
i study (or formulate) philosophy of school lo study these skills; indicate those missing
system regarding general education and from curriculum.
visual arts education
6 consider local student needs, present and 7. Review existing Curriculum in terms of Visual ads curriculum
future if . stated goals, objectives and local student committee
needs; indicate inconsistencies:
3, Review high school yadeatidn require. Visual arts curriculum-
me* (both state and local) and Statewide committee 8. List courses to fulfill needs of local Visual arts curriculum Sample Courses Criterion4eferenced Test objectives. studentssome may be mini- courses committee Appendices
linked together for one quarter, one
4. Study materials and provide sufficient time Visual arts curriculum Evaluating semester or one year according to Me
to discuss findings regarding such committee Objectives organization and school size. questions as the following. References.,
o What are your students' present attitudes appendices I Write tentative course plans using Visual arts curriculum Objectives toward visual ads? information and writings from previous
committee . Sample Courses o What changes in attitudes and apprecia steps. Plans should include the following, Resources lions do you wish a mdified visual ads Tide the title succinctly reflects nature Appendices program to attain? of course, Careers in Visual Ads i Are there specific visual ad needs for your
community? Are there particular needs in i Course description the course
careers typically pursued by your students? description should be approximately
266 267 135 Visual Ms Visual Ms Task Responsibility Guidelines X.12 Task Responsibility Guidelines 102
oee to five sentences in top and should give students the necessary' base for the nex: level of visual ens should be written to give students and
study. parents a good idea of the content and
expectations: Instructional Activities these are
the strategies and activities which relate = Course objectives each visual arts to the achievement of a task, objective course should have at !east one broad or goal. Such activities should be objective in each of the live strands of
visual arts education: II is likely 14154 designed to help students with the mastery of skills, knowledge and broad objectives will be the Same, or very attitudes: Such activities might include for each visual as course. reading; writing; talking and discus-
Under each objective should be listed sions, listening, observing, interviewing,
(hose tasks which a student is to do in dramatizing, planning, DifIlbiling and
order to achieve that objective: These manipulating.
tasks may be called indicators or all resources, both print student objectives. They should be Resources and non.print, should be listed, In measurable and may include such addition to books, films, tapes, penis. factors as slides, periodicals, there should be a list
Me time frame and of people in the community who are
level of achievement or acceptability willing to be used as resource
expected. personnel,
The number of tasks (indicators) given Evaluation evaluation should be built
for each objective may vary as may the into each task or indicator required of
amount and level of accomplishment students. This will insure that students
required of stuoents,provisions should are meeting the program goal to the
be made to adjust to individual student extent required in a particular course.
needs.
10, Review tentative course offerings and Visual ancurriculum Evaluating Each objective should be keyed to the respond to these questions. committee Objectives competency.based education graduation Course of Study requirements whenever possible in order Have appropriate offerings been provided Curriculum committee, Resources to show how the study of visual MS for all levels of students? additional art teachers Appendices helps all students meet general Can appropriate courses be scheduled and consultant(s) Careers in Art competencies and requirements: each quarter or semester for all students?
= Have courses beenidentified which match
content because it is impossible to minimum requirements for graduation? Do
teach all content. this section should be these courses include the competencies
.carefully written to include content which required for graduation?
is essential for the successful , Are courses planned to allow for as much
completion of the course by students. In flexibility in Scheduling as possible?
addition, knowledge of this content Are course objectives stated so that
evaluation of student attainnieril can be
"is 136 Visual As Visual As
Task Responsibility Guidelines KM Task Responsibility Guidelines K-12
measured? 18. Implement the visual as Appropriate administra,
, Do the courses provide oppodunilies for a curriculum plan: tom, and all of visual arts
variety of strategies including discovery staff
approach, small group or individual ado
ties, observation, exploration, investigation, 19: Evaluate the visual arts Appropriate admtnistra. Evaluating
inquiry, organization of ideas, organization curnculum each year. tors, visual acs leaders
of dale, applications lo other disciplines. and designated staff reinforcement? members .
How can the level or student involvement
be inCreged?- 20, Review findings of evaluation each year Designated personnel Are student activities appropriate with and plan revision where needed. respect to needs, abilities and interests?
Based on present inventory are all needed
materials on hand? If not, list missing
materials and rank them from most to least
needed.
A ptotassional artist sketching II. Revise the tertative'coursos on to basis Visual arts curriculum
of responses to task 10 above, committee
'12. Develop a plan to held-test the program, Visual ads curriculum ,
committee .
13. Select schools and leachers to field-test Administrators, visual
the program: ens curriculum committee.
visual al teachers, 1
14. Field.lest the program: Keep notes Designated personnel 5,{ regarding changes needed in the
program.
1 :Review and revise curriculum use' . Visual ads curriculum
questions in previous steps to develop committee
plan or review and revision.
16, Plan for evaluation,ot visual an Visual arts curriculum Evaluating .
curriculum. committee Objectives -
17, Formulate and implement staff Visual arm curriculum
development plan. committee, appropriate I A administrators andill
of visual arts staff'
137 Career Resources List For Visual Artists
Permission for reproduction granted by the Atlanta College of ArliAllenta, GI; member of the Union ofIndependent Colleges of Aft
Career Positions
1.7
w th
n git C 6 C c 4 0 C. U r =
Art Education r 6 Art tallerschool systems: elementary, secondary, high school;public,
private schools. 0 Artist-in-Residenr/Artist=in-the-Schools: serve one or more school systems as # artist and educational resource; serves local communities as well, 2 Teacher-faculty member for colleges: private, public; community college,L, S university, technicalqocational,
' Mather of art and MCA for corRorations and armed forces germ; teacher abroad in schools for children of American personnel, reacher in
foreign school systems, all levels,
Teacher/instructor with service organizations in U.S. or abroad, in paid or 0 volunteer capacity, i.e., American Red Cross, Girl Scouts °Eche USA.
Recregrion specialisthnstructor for community, city, county, stare recreation C programs in the schools, parks,community centers: all media, arts and crafts,
or specialty area
Administrator for any of the above areas; developing and administering public relations, equipment main= C programs, development of funding, on local; state and national levels; public orprivate...... 1.:m
7.1 A critidwrirer for newspapers, radio,television on local,regional or ional level; specialize in specific art forms, i.e. films, or generalize; edu. 0(431 rod industrial periodicals as well as r quints for general public. [,.n. 2 Part-Time
U Instructor with parNtime programs: community centers, churches: regional 0 and community arts and cultural centers, are galleries: adulteducation
programs for single school or entireschool system; camps, day or resident;
nursing homes and drug itre centers, homes for the retarded, handicapped, . delinquent or emotionally disturbed; college evening school and Saturday 0 0 programs and area 'free" universities;prisons; department stores, MUSCUMS,
138 Joel Bowen
Appolachianhantherafleddulcimer #223
"Crafts In Georgia" touring exhibition
Georgia Council for theArcs,Atlanta
Career Positions ' 4 V
4°
41 ,A t .t U r .r c nc
t . u v 'cr.334' = 1 J r,u t 6 Id 0 Caob 6. X : Li,.E tlj 4 U-. 44 A .ArtEducation 'Art Therapy . . Arttherapist or instrumvWit11 veterans h spirals, public and private hm-
pttals: US & abroad, rehabilitation of physically or mentally handicapped a a of all as. Thicher of art therapy !Radical andeducational insriturions:
Instructorldirapist with reatitionprograms[or the handicapiwd; a k.4 state IIWend agenciei, public, private.
Aluinttrarr/rlicr:ipisr r fir the above j)joritrns:
Insmicoritherapist in niiblic schixil programs for emotionally, mentally or
physicak handl/an ,ed; same for homes forthe handicapped, the delinquent;
prisons:
Instroctorisyriter ot1iIiil mom for;ihe handicapped;foruse in a a ttlevision, or doelopment ul audiosboals,
craft _s Ceramics, Womi, Jewelry, Grass, Weaving.
C:raftsmantreedance, commission; selkmployul make and sell own work
on individual or lot basisto privatebuyers, consignment to gallery, shop or
boutique:
I 'Nora tr,libril,ifl=g,iffposition:work as Mier craftsman, COESuirdlir
or apprvnt!cen historical restorationprojeasi i.e. Williamsburg Sturbridge Village. Practice historically authentic aspects of craft, do historicd research
and documentation of craft.
Crisman7contract or staff position for museums; make copies and repro-
ducrions of museum originals fir sale in museums, shop and catalog orders: ,
',.. also for historical restoration solo.
(jitsroan-coraract basis: for prestige derornent stores, make limited tlitiorts of prororyrc down work, make limiterialition copies of museum
ori ,
Cdismaneommission: design and execute.one.of=a-kind commemorative
piew forprivate buyers',architects,foundations, corporation,banks, re*r.'1" lihraies, professional organiaions,
(Crofts 'coned) 274 139 Wagon Cunningham (American, 1883.1976)
Motto Graham, 1931
(allver print)
TheHigh Mullen of Art At lantJ Career Positions Ii ' 11.
Crafts cont'd,
Master Craftsman/design consultant to industryconrnict,staff serkt mdbigner and consultant toindustries involved in limited Or mass puloction of furniture, silver and Nature, glass, ceramics, fabrics,wall
;Ind floor coverings, etc. ;6 RrC otir0,1 in house furnishings, commercialand
industrial makers. Also,6gTitilkSinfor prutorylvs for mass pmduction
of above,
Model makercommission on contract basis: for museums, educarional
programs, historical mtorations, architecturalfirms. Design and construct !RI* models fig use in demonstmtims.
Cniftsmankralis shopselfremployed owner or staff position: operate or
work in shop servicing needs ()hither craftsmen and public,. providinglvsic and supplementary suppks, instructions and expertise, orgailia (lasses,
craft quipment fur sile or rental and other related serviceOperde shop in conjunction with community arts center or gallery.
Craftsmarilprivige studio--.sell.employed: ornate ;Ind maintain private
studio for own use or as a joint cmoperative with other ;rigs, orprovide
working space and materials lor other craftsmen wishing toutilize studio's ilities under contract agreement lois.
Craftsmanselkmployed or stall position: mtoration and constration work for museums, historical restorations, archirms, historical societies
;inn ue dealers, general Crisman/ esignergintmt commission basic: design prorotylvsand
models for companies which import hand-made crafts on =Sswile for stale
to hinds, department storo;deorators; architcl:tS ctC. Execured by iiirtign crdtsmen from prototym provided.
Artist.liqe.sidence Artisr.in.the.Schook: serve one or more school systems cdisman and educional norm sere lid conunmunities i6dl
Administrator flit any of the above destioling and administering pro= gro, development of funding, publicrelations, quipmenr maintenance; on lid, state and national levels;public or private; Also See Art EducatiokIndustrial Des' n lfflft1Faifl[ing,fibres
140 Career Positions F E c (1) I: Georgli Dapeoent of Education Photograph tt
.. E 4
_ c 4 cv Z T C Environmental Interior P &- j ' : : iL . i''Cm; c u , .A4 Architecturalw-Design ': 4 c
Community Design, Landscape Architecrui c; L2 tO 4 4
A rchitellidrattsman 1JIe1hIUt1I or stair irion with an. hitct turdlrnL ii drafting.tivdrmarill of artIntecfpl.ins,tl(velopinent precent.ition
driwiii and lurtcring: 1)1.111diny,., relatid clerical duties iet itipport
s rail to j[iIiitiit.i
Anitin.11elkeinrloved, (olninNaon, or NVVII1)SItliin With hrniiir Imrtnership: tItaning of plans, simce planning, Site .planning, vloign (If I commercial,industrial,or roidentialstratorts,;dmo computer bascd
analyse,
lroJanie provide adfirecrural firms with services fur ;Inv of
us ilc, it.dralting, model buildini, renderings and presentation a
1. drinvitp, ik
1,10dstalv URLI kmployed or staff position milli architectural or
arcllita totallirm o. drafting, site planning, site evaluation, imd
some doign,Preserlational.iyaologicalopporronities;alsonmearional 0 I
opporitiomes planning and developing recreational laciliries lorlocal, state
()f til agek (axtrilinate pin with architca lm.-reea
Intentir designer to staff INISition, with firm or parrnership:
drafting of plans ror inretiorsmidenrial, commercial, infusfrial mflrdLfr
ii it space's use, space planning, Provide or use coniputer-based 9
flow, popularion growth or concentration., err, for
turdicreffective
donnistr.troriplannerseliolploval or staffprovide computer based
( I tl C1l I C it V planning intnnivisioni, archireas, cdocarional ruo- 9 tunics, on .t contract or lee bLl5 Posirion ultomputer pro clerical
suplut sraff.
PriliM or city.plitoneriraff for local, state or lederal agency, or
limn; (waning,sitetrialysis iind evaluation,Sniff supxrr indepenvient 9 II Noon within firm or agency, doing dating, modelbuilding, clerical
duo(); presentation drawings and lettering.
Photographer ielf.employcd or staff position: interior photography fir clients or publications; a highly specialized field quiring strong phot III backuound, Writerstall pv)sition or fredance: write fir periodicals Itituring irdii- I offal .trticies; magazines lot general audience, architectural periodicals.
,r =141 Georgia Deportment of Education Photograph -rPositions ic t; c: m .g 4 t ,1 i' c c .2 c 1
E t4 ci, 0 n E .] .:
p = : 0 : u
Fashion Apparel Design : a2
Fashion designerconsultant, under studio or union caner design
costumes for role industry; sem a apprentice N) designer, assisting in
selection and purchase of 'fitbries and accosuries, ycittern drafting, draping,
coneeptual presentations and renderings, Same 6r television industry; same
for tImitersorne oportunity fur beginners in 'straw hat" summer theater,
Fashion specialists, ,consultanr, or Stall position: to historical .restonitions,
museums, foundations, historical _societies on local, siteand fed01 level.
Specialize in restoration, preservation, identification of styles and fabrics,
reconstmcrion iif koliion doigns to suit appropriate periods. Oversee design
and construction of historically ;Foliate costumes for welting on site.
Also, fashion curator in charge of display of costumes.
t; Fashion writerleditorkriticf*lance_or staffposition:writefirhion articles for trade mal,i'azines and fashion periodicals, newspapers, Research zsistanr
tor historical periodicals; publishers, Writer or cone for television no's
cothmentarieS covering fashion reporting; research and awareness of styles,
marketing and [rends, coverage and sketches of fashion scene,
Dr ignerfretrlance or stall position: specialize in apparel for men, women,
children; design for sxifie clientele with own shop, commission work, or
for firm serNing braider market through min production of garments,
Fra,lance design fur established boutiques and stores,
,tgrierftet-lance, commission or staff position: pride support services
to omblished designers, bouriques, stores,historical restorations, dress= a I I . miers, Seamstress, draper, cutter of fabrics, adjustments in garments. _ Fashion display sircialiststai position, sometimes union membership
required with major department stores..Design display windows and display
units within store; display coordinator Mr chain of stores,
Buyer, salesponiiir boUtiquts,.depirtninrstoz; own and.administer
own shop, retail or to trade onlySales for fashion design house, representing
merchandise of company to prospefrive buyers, i.e., boutiques, stores and
department stores, etc,
Doigner=frct-lance; specialize in particular area of design, selling to
boutiques and department stores, sell and design such items as accessories novelty items), Owner of firm, or staff, i
(Fashion Apparel Design coriCd.) 2S1 142 Georgia Department of Education Pnoiograph
Career Positions F l'. r) 0.- , F .'a , , t g 1 ' z
6 t. TC. 0 0 .0 1.1 A C 4
',F, L 0
. RI 4.:) kiAlort Apparci Dcsign cont'a c. 4 ... biLshion oirrmyluite or .tt111,yrion: prtsenr storS,'Llesrtrs', ,or mAnurActurrs dou:ns to liacrs or publii: Public relgions roponsi.
wArdroks, .iiiessurics, work with modek, press And
representarivo:
spaialiteni illusrmun ol Digni:rs
. m114(1011\ tor prokniAtion ro minAgeriAl stallnil design lira, speciali-ii:
in dr,iltilly lmerlis iron) designers originAls tor skirmenr production:
Siwallie in 1leelopment ofpAttems fr hornef.ewing; illustrate designers'
Hi [11th lorpresent.ition in comumer periodicals, sewing pgrern Tr- , And,partern pAckAgcN. PrepArAnon 01 fAslicn sketclb fur subscribers.
l'corker within fdshinn rrade--..ughilh.union membership requirod: Sewall
(part,. -onstre'ks, fabric. (utters; laws of fAhrk: Ii.)r cutting, markers, hirers, Work for garment nvilulActurcr. Other positions with
rnanulacturer ()I AppArd include Qu.tlitv Controller; cnnrruIIinivaIiry ml inerLkindise iorporgv public rehition,, mAint.iirring company',, imap in
prvis And withr IR ind other Aras ulmAnagement, i.e., 44ruarketin.
. ,K=1,7,11:1)1I drsipiELthiN LI iii f:611101-1 ticsol in Art alai) or high s(hool
tunirw dAssesifl cominun6.. inch in spuiallied redmicalkocAtionAl
4,111x4 foturin art colleges jud high school curriculum.
1.)
2S2
143 Gary Miles Sawyer
Tapestry
"Crafts in Georgia" louring exhibition Georgia Council for the Arts, Atlanta
I ;44u..4;*,;t?.?k-.A3.?**, . _iA4.0-44T-i4s4='4444+1;i(k-ki;.:;,141-4;;; Career Positions 0 1 : : . 2a
ii.
A E 5 Fibre Textile Design .):zz Li,- , : iVi Z Weaving i 4(5 Ekf'l bM
Woiverldesigrierself.emplyed: provide works to crafts giillerio. interior
designeni, arLhitecrs, deratmentsrori,churchts, community centers: smialty shops, historic restorations; on frit Iiince has, or by commission,
Oiknerladministrator of weaving and diintidiu r ndependent
or i COOrtrit[iVe with otherarrisrs. Limited scale po uction or one-of.a.kind, -?dmarketing of praucts, . _
CAsuirantlOwilinator or Buyer for departmenr stora, interior designers I . . ..3. 434ciiiiithigiii,131311143,., . and archivts concerned with home furnishings or commercal.industrial '1,4H333441Pliiiiirifi, r '3 '' . ' ';'-'I 141#.1,4,;.';,4444141;11,1 4,'1;,.',':',:?.: installations, , ,,.;', ,,' .,i'l . 1411;401'!'. ,; ';'''';'.7.4:: , ;: .: '.- 1 t. iliW Restorerlanalyst hir museums and historical foundations, tither for fabrics ! '' .:'' ' i',2 ' . e l i:,.1 , IiiiniliMi or Anti viols and equipment;communitylopported museums and his.
. ' r1r ,. ,r.:'..',.:,:ilij.:,.: torical sixieties, public or private institutions (floral: state or nationakcope,
. ,i ' ; . i.''. '1 ' 1 alsogalleries and muleums,asstiated with educationakinstitutionS, _ thlijil; ; q I.,1 ,:11...,-- . 43'14'444,4*.;m???4q44444?...4.4.44.. ,.:: ...3,,,,,,,::-3,4- N .t.'' Writer for crafts=oiritcd or historical publications; development ul
vistals or ed urational_rnamals or prograMs. _ -
.:. s ', Teicher/faculry member in public or private school systems, adult elening .1;eirtilii classts, colleges' and LitliVeSideS art derarrmenrs, artcolleges, community ti art renters, summer craftsKhOOIS; "41,33,333434'lliti:Y,,, i'::".:,13',.i,;;;:',1;1,;:l ' ..i Administrator of the above programs; development andadministration
-' '''031111i1.",, _1111, ,44.',..34,4*%.'"1,44.1!43ii,',34";hrii'll3.1.14-R1311.11,1P143' 3.'..!;1!". :lb'."''' fibrolssixiatal programs, doelopmerit oitnding, public relations, aluip. I '''3141,1,1'11,;1;:3;., ''...17'.',Li;.,;73:,.:"'". 12 meat maintenance; on kal, 5(3(e, ornational level; public or private: 1
11:sigrier, or stylist for corporation producing: paper poiucTs, 1 paper, wrapping, greetingcards, pidging; woven or prod fabrics for commercial: residential or.inclustrial de; floor coverings andfotliecrelated
1 k procucrs. Deieloprnentof materials necessary for the productiorof these products; testing. Frce.lance or staff position, or as consulrant
SiJes representative for fabric houses, interior design firms, corporations, lilemployecl agent representing designers all ocher artists to corporate I (Iddetrnenr had interior desi n firms, furniture indugrY, etc
2S5 144 °0 Career Positions . ,
t: 6N Georgia Depalment of Education Photograph
E r C C . - c , ': C ti 7 U '7 ,, 4 M m 2 Z I '' 'E t l' I a U Graphic Desigii - 1" ti 7 4 C ,.. Good For You Graphic doigncrsri poirign: graphic doign for firm producing pock . qing or contalners for pruducts, Fickige or container graphics: Also, trophy e
makers, toy uk.signers. Teacher of same. 7 Graphic designerlart dim :torstaff position: sometimes union, for telt.' vision; studio or network mition. '3igo graphics for use m progren_ming, or ou graphics arid advertising; avorkbn Visualitations, sioryluirds, stage sets, animation and cartoons.
Graphie doignedapprenrice, assistant to Art Director; Art DirKtor7stair 4 poition: studio owner, or with adverriing, agency,: align graphics for con-
sumer illvcrrrig campiigns and product promutiori. Develop liaisons with new clients; make presentations to clients; develoment of market research I f and planning ol promorional campaigns. Handle all itsgts of studio work
on fttr-lance or NT i.e., mc.chanicals for agencib, layout, paste-up ti:clinicals and littering, remuchilig, keyline, Smialties in tv, graphio, cc how rra hit aesertisinand .rocoz, Teichei of same., I Graphic designer for urkm graphics free=lance or sif position :' for display companies, sign,compaies, printers, agencies, Isyanks, community organiia. km, tions, government agencies. Deign hillbcgrds, signs, charts, show cards, truck [main ni_suuectional,si Thicher of same,
Corporate- doignerstaff position: design and develop audio visuals and
other aids needed to train employees, design of audiNvisuals for Company's amid reports and publications, 'raining films, manuals, booklets, cartog.
raphy: Also, government agencies, map companies, museums, deportment
stores,
DesignerlArt r)irmorstaff position: for department stores, Coordinate
and supervise other art stall, responsible for visual representation of products and services oll'ereal public, 0:iodinate work of fashion artists, iimiture I_ artists, layout artists, merchandise artists, store and window display; work
with agencies and newspapers coordinating advertising cppaig.ns; marketing
Corporate desigherlAit Directorstall pothion: for corporation, within art
deiortmenc. Wiirk on such projects IS copratelinage, logos, apnol reports, ,brochures, Rickage and produa design, market research, pdmotion, visu. 8 8 al' ing, bosines forms, etc. leather of sune. See Aft Education
(Graphic Design conc'd,)
,2 4 286 2S7 145, Georgia Depirtment of EducationPhotc
I .
I
N- .a I M- Georgia Department of Education Photog ions
free- lance, or, staff position: ilium s: children's books, medical journals. an: for advertising agency visual presenrarions for t store, or art director: design, coordinate, or develop anel nublic relations cinpaigns_ ance: for record company designing record covers Designer of promotional murals or posters for record irectorstaff,position: for greeting card company; ccessories, i.e., posters, parry accessories, wrapping
IT position or frce-lance: doing fabric designs for rugs, wal_l_paper, other living accessories._ 3rovide limited edition or original works of art to lers2_galleries_ = !e-lance:doing medical/rechnicalillustrationfor c journals;technicaldrawings and maps
RISES and periodicals featuring fashion illustration, :m houses, department stores. programming: provide illustrationsfor_ docii- news and weather audio-visuals, instructional and each the use of the above. lance: for company's in-house publications, publi- ald public consiimprion. (111ttrarion coned.)
290 - t 2q1 I Educ.tlon Photograph Greer- Positions
8
Illustration cont'd Illustrator: specialist in display ftr museums displayunits; apprentice to staff specialist who designs or repairs displays. Designer of for department stores. windows an if is humor/cartooniststaff or self-employed,free-lance: 'des i , s t;irtoans for newspapers, periodicals, advertisingagencies, gov-crnment agencies, political parties. FasIlion Illustratorstaff or for newspapers znd magazines, fashion publications, pattern companies, department stores,advertising agencies; design of accessory items and illustrationof them. Also Se Art Education Graphic Desi
292 293 eerPositions Career Positions
Painting Paintersel ployed: provide works to galleries under contract to; paint- ings for interior designers, architects, department scoresgalleries, libraries, community centers, churches, banks etc., on free-lancebasis, or by commis- sion. at Painterself-employed: commissions for portraits of, individuals,animals, scenes etc., on behalf of corporations,individuals for private use, local, state and federal v rnmenr a fcncics, churches,colic Artist for government-hinded special projects such imentation of commemorative occasions. Consultant/Coordinator or Buyer f ailment store, departmenr cif fine arts, scores gallery, or art supplies,framing, and mitring of prints_and ixiint- in lawner/adinknistrator of gallery: serve other artists .11 expos are to buy- ing public; serve public through framing and services; consultanr to prospective buyers of art. Administrattir/curator for museums-, foundations and corpoririitnswith art tions. Specialist fur galleries, museums or h rical foundationin restoration, /16 awn, or exhibition of. 1 Painter-commission: mural Ninter for interiors or exteriorsof buildings for corporation advertising, advertising firms, billboardcompanies, Imal and city arts commissions in coordination withneighlvrluxxls; architects, inte- rior des' ners. en, b.1946) Artist-in-Re sidence/Artisr-m=the-Schools: serve one or moreschool systems as artist_d educational resource, se`nlocal coiramunity as of Art, Atlanta Designer of stage sets For theater pioductions andresponsible for tIit Cora- smic `on. or construction of windowdisplaysfor stores. "ming corir'd.) 29 tions
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In
periodicals, magazines servi4 the trades, general rgans. Critic/writer fir newspapers, radio, television, national level:. speci:Ilizing in specific art firms, or at related audiii-visuals. in istrtorin community arts center;sea sition ting studio,' administering, ptogrims for center. Re-. ion of tnnds for the operation of center, contracts with - MC of buildings, administration of exiohtions, ,ne du...se fianctions with other public service organi- n ers, rcing firtras which al with importing of paintings on hotel galleries, department stores :.nd to decorators imivny with original quality prototypes which foreign pity lemarography ration, Television
I professional photographic studio; independent stu- Helen Frankentha ; i.e., advertising agency, marketing division oflarger in Studio doing retouching, camera work, developing ----ThellIgh=1.1 1n1,entative: represent the photographer's or studio's potential customers in advertising, corporations, or staff positions doing general office work., develop- Iniques, public relations, etc. (Photography conc'd.) Positions
Photography coned. Photographer/cameraman: sr:posicion or self-employed free-lance contract work, de.tling directly with client or through established photographer., cialry areas of porcrairs, vaddings, scenics, aerial photography. photograph!, for school systems, residential and commercial interiors, e Photographer: free-lance or staff position; specialiwrion areas of medical phonography, institutional photography; phorographer for trade journals, m -azi_nes newspapers, book publishers, advertising, agencies. Owner /administrator of photographic resource center: provide service to newspapers, advertising agencies, television stations, and tradejournals of photographic resource files. Corporate or institutional staff photographer: document development of prixit.cts or occasions; develop films and audio-visuals for training programs for employees; work with or hold the position of art director /art department head in providing for other corporate and institutional needs. Phorographic curator: staff position for museums, historical, educational foundations and institutions, and galleries; record arrifacts; administer slide library; presentation, preservation and repair of films, negatives and old photographs. Researcher of historical photographs and photographersand filmmakers, equipment and methods. Owner, administrator, or salesperson of photographic equipment,products and services such as equipment repair. Company representative or staffposi- [ion in specialty of equipmenr repair; specialty in development, experimenta- tion and evaluation of new films and processes _for photographyand film= making, pools, School Art Symposium ner, administrator. assistant in photographicfirm specializing in develop- nil enlarging customers- films; service general public. firms; or phorog,- hers' needs only. Art director; staff position with advertising agency oradvertising division of large corporation_ Specialize in development and production of product- iented films and photography for commercial use Film director, researcher, or assistant, making films for commercial,founda- [ion-handed or public television stations_ Cameraperson for specialized area, news, reneral. (Photography contd.) 361- Lion
2 ..t: 41 = t4 , 74g Pt t , = Cu E = d. reach high school, wage srudents use of cquipment for photography. tilms, television & video; service ,artmcnt, or school system; consultant to schools and on
provide rks .alleries under contract to lesigners.irchirecrs, department storeskalleries, li- nters, churches, banks, etc. On free-lance basis, or by
Iloycd: commissions of individual works or in series for als for private use, local, state and federal government lleges, museums. )1- or Buyer for deparrment store, in department of fine art supplies; framing and mattimz of prints and paint- of gallery: serve other artists through exposure to buy- ilk through framing and martins services; consultant onsultant to other pilleries and museums in field of
for museums, foundations and corporations with )1- meral arts. museums Or historical foundations in restoration, )ition of works of art. Self-employed or staff position. printer, sell-employe(.1 or staff position: Operate print- ng reprmiuction services to other artists, entire process it offer artists use of equipment. Cooperative print stu- na_kersFree-lance on an individual basis as printer for makers 0 (Printmaking con 'cl.) Career Positions
E Printmaking cont'd. Apprenticeship or partnership with ma5ter printer; Spizz-ialized invol t areas Of book designthu, bookbinding:, illustration. tic, Workshop position in princMg or publishing firm: primer, set up and run machinesand presses. Poster artist, free -lance, self-employed: provide galleries, cheaters.public programs, community centers, etc,,, with speciallydesigned posters in limited cations with purpose of sties or public rektrions in community; s I kscreens or wooskuts, Sales to museumshops. Writer for . Ines servingthe general public, and in-house organs; Critic/writer for newspapers; radio, television. on local, regional or national level; spi-cializing inspecific art forms, print- making, or general. Artist -in- Residence /Artist -in the - Schools: serve one or more school systems ;Ls
i and educational resource, serving community:well, Ti tcher/Primmaker/Administrator in Commtmiry arts center; s teaching classes. operating studio, and administering programs(r c Also have responsibility for generation of funds tbr operationof center, con- tracts with other artists and staff, careof buildings, administration of ethibi- tions. etc. Staff positions for any one of these functions withother public service organizations with community, centers. Also See Art Education
made paper) Is, School Art Symposium The High itions
- . -a E E u.,7 works to galleri ners, architects. department stores' galleries, libraries, nurchi,s, banks, malls and shopping centers, etc_, on a
commissions airs of individuals, animals. Hell of corporations, indn.iduals fin private use, local, nment agencies, ch unThes. colleges. forded special projects such as documentation of com- r or Buyer it r depatrtmem store(krill-mien( of fine art supplies, framing and matting of prints and rmint- C erair of sculpted objects. a1 gallery: serve other artists through exposure to buy- c through services of appraisal, repair and restoration of S to prospective buyers. cur museums, foundations and cornomrions with art museums or historical foundations in restoration, prt_s- m of sculpture. Display and model making. Self- tersen-the-Schools: ..,erve one or more school systems al resource, serving local community as well. for theater productions, responsible for their construe- uction of window displays for stores_ Designer of ma- iis lays for private companies specializing in display. I periodicals serving the trades, general public, and in- /titer for newspapers, radio, television, on 1 -cal; region in sculpture, or general. Development of Writer/maker of documentaries about sculpture and the
(Sculpture coned.) 306 M
a. 7 .. .1
7 Selected Bib!
Chamberlain, Berry$6.50 Ernplo menr Outlook for Corrunerc eeseas Employment The Artist's Guide to his Marker Industrial Designers i. 190.4 Watson-Guptill Publications, N. Y. Priterior Designers and Decorators 1975 Bureau of Labor Statistics Supt. of Documents Clarke, Beverly U.S. Government Printing Office Graphic Design in Educational Television Washington, D.C. 20402 Watson-Guptill Pub. 96 pp_ Fine Arts Marker Place16 50 Rotber R. R. Bowker Order Dept, 'anon (the) College Graduate and the World of Work P.O. Box 1807 -iate; Inc. U. S. Dept_ of Labor Ann Arbor, Michigan 48106 Bureau of Statistics Whington, D.C. Federal Career Directory 55V U.S. Gov't Printing Office A Guide for College Students 1972 U.S. Civil Service Commission The Relation between 17cans and ries Cosgrove, G. D. Frederick, Lee M. Inc Career Planning: Search for a Future Teaching Opportunities Toronto: Guidance Center A Directory of Placement Info Faculty of Eiucarion U.S. Dept_ of HEW Univ. of Toronto 25e via Supt. of Documents 3.95 paper U.S. Gov't Printing Office Parachute? Craft Shops: USA Washington, D.C. 20.402 American Crafts Council 44' West 53rd Street Gayer, Rosemary New York, N.Y. 10019 Career Planning and Job Hunting Maclean-Hunter Limited idPlacement 0 me Crystal, John & Richard D. Bolles$7.95 1970 ancil Where do I go From Here With My Life? The Seibury Press GenFon, Herb & Lyn Tactasch$7.9!. 815 2nd Avenue How to Start Your Own Craft Busii New York, N.Y_ 10010 Watson-Guptill Publications, N.Y. Placement Guides$ L50 251 pp. and! Glaser, B. G. Directory of College Placement Offices :zational Careers College Placement Council cag Adline 1968 P.O. Box 2263 de 65 East Elizabeth Ave, Groome, Harry C. $12.50 Bethlehem, Pa. 18001 This is Advertising lealch Education and WeI Ayer Press Dunnette, M. D. West Washington Work & Nonwork in the Year 2001 Phila., Pa. 19106 Monterey, Ca. 310 Brooks/Cole, 1973 (Bibliography coned.) , -6 ce nes klets Choosing Your eer overingYour_R Interests HowtoCie A job What Employers Want MM . . .. -Organizations for the Essentials of Ed
complei: to define the essentials by what is tested at a intellectual, social and cultural heri ist reaffirm the time when tests are severely limited in what they can about their world and its heritagi )alanced measure; and to reduce the essentials to a few "skills" deepen their skills in language a- when it is obvious that people use a combination of acquire the basis for emotional, a skills, knowledge and feelings to come to terms with growth.-They also become aware c their world. By rejecting these simplistic tendencies. them and develop an understandir ofessional organizations reached educators will avoid concentration on training in a few of the interdependence of the m 8_ They circulated a statement on skills at the expense of preparing students for the world. :ation among a number of profes- changing world in which they must live. More specifically, the essentials a hose governing boards endorsed Educators should resist pressures to concentrate solely the ability to use language, to thinl urged thatit be called to the upon easy-to-teach, easy-to-test bits of knowledge. sate effectively: to use mathernati, f-the entire=education community, and-must go-beyond= short-term objectives of training methods to solve problems; to rem of the public at large. for jobs or producing citizens who can perform routine abstractions and symbols with pc follows embodies the collective tasks but cannot apply their knowledge or skills, cannot apply and to understand scientif rsing associations. It expresses reason about their society, and cannot make informed methods; to make use of technolog! ed commitment to a more cam- judgments. its limitations; to express oneself tt ng education for all_ to understand the artistic express understand other languages and to the concurrence, support, and stand spatial relationships; to appl one interested in education. What, then, are the essentials health, nutrition, and physical acti capacity to meet unexpected ch of education? informed value judgments; to rec ials of Education Educators agree that the overarching goal of education one's full learning potential; and ti is to develop informed, thinking' citizens capable of learning for a lifetime. t basic knowledge and the basic participating in both domestic and world affairs. The Such a definition calls for a realiz valid. Society should continually development of such citizens depends not only upon plines must join together and ackn. I then provide for every person education for citizenship, but also upon other essen- dependence. Deterfriining the essc ducation that are essential to a tials of education shared by all subjects. is a continuing process, far mot ingful life. The interdependence of skills and conterg is the central significant than listing isolated ski 3f knowledge and skill are only a concept of the essentials of educatiOn. Skills and basic. Putting the essentials of edL of education. In an era dominated abilities do not grow in isolation from content.. ,In all requires instructional programs b ack to the basics," for "minimal subjects, students develop skills in using language and sense of interdependence_ or "survival skills," society should other symbol system; they develop the ability to rea- Educators must also join with man, ens and declare a commitment to son; they undergo experiences that lead to emotional ety to specify the essentials- of ec cation. and social maturity. Students master these skills and Among these-segments are legislai ;entials of education should avoid ,abilities through observing, listening, reading talking, parents, students, workers' organiz s: to limit the essentials to '''the and writing about science, mathematics, history and publishers;- -and -other groups- and y that is highly technological and the social sciences, the arts and other aspects of our 314 31.5 National Council of Teachers of on. All must now participate in a National Association of Elementary School Principals 1906 Association Drive Drl behalf of society to confront this 1801 N. Moore Street Reston, Va. 22091 a stake in the essentials of educe- Arlington, Va. 22209 (703) 528-6000 (703) 620-9840 National Council for the Social Studies National Science Teachers Assc 3615 Wisconsin Avenue, N_W. 1742 Connecticut Avenue, N.W. mai Associations Washington, D.C. 20016 WashingtonD.C. 20009 (202) 966-7840 (202) 265-4150 jThis Statement- National Council of Teachers of English Speech Communication Associa for Health, Physical Education, 1111 Kenyon Road 5205 Leesburg Pike Ince Urbana, III, 61801 Falls Church, Va. 22041 (217) 328-3870 (703) 379-1888 20036 on the In Languages )orn 1814 016 pervision and Ppment gton Street 314 ling Association )ad,' P.O. Box 8139 11
National Conference Drive 1 ation Association Drive 1 316