Grade by Grade Fine Arts Content Standards
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Visual Arts – Specific Rules/Guidelines
Visual Arts – Specific Rules/Guidelines VISUAL ARTS include many art forms that are visual in nature. The artist (student submitting entry) is a person who captures their own thoughts and ideas to create a visual piece of art. Accepted forms of visual art include: Collages, photographic collages (multiple photos cut/pasted), computer-generated image, design, drawing, painting, and printmaking. Non-accepted forms of visual art include: 3D artwork (artwork that is not flat on the surface). Reproductions or enlargements of another artwork. Reflect on the 2020-2021 Theme: I Matter Because… An explanation of the art form might be a useful addition to the artist statement. Whether an entry displays use of formal technique or a simple approach, it will be judged primarily on how well the student uses his or her artistic vision to portray the theme, originality and creativity. Copyright: Use of copyrighted material, including any copyrighted cartoon characters or likeness thereof, is not acceptable in any visual arts submission, with the following exceptions: • Visual artwork may include public places, well-known products, trademarks or certain other copyrighted material as long as that copyrighted material is incidental to the subject matter of the piece and/or is a smaller element of a whole. The resulting work cannot try to establish an association between the student and the trademark/business/material, or influence the purchase/non-purchase of the trademarked good. • Visual arts collages may include portions of existing copyrighted works, such as photographs, magazine clippings, internet images and type cut out of a newspaper, as long as those portions of copyrighted works are used to create a completely new and different work of art. -
Dolan Middle School Visual Art Course Syllabus 6
DOLAN MIDDLE SCHOOL VISUAL ART COURSE SYLLABUS 6TH through 8th Grade Teacher: Mrs. Marchetti Course title: Visual Arts Course Description: 6th and 7th Grade: Students will spend the semester completing art projects designed to develop the student’s individual ideas and talents as an artist. The students will explore concepts that will increase their knowledge about art materials and use, art equipment, art history, and the application of it. 8th Grade: Students will further explore the many venues of art education. Students will focus on higher order thinking skills while concentrating on specific applications of the given media. Students will use their skills in various relevant and rigorous projects. Scope and Sequence: The Visual Art Curriculum is divided into the 6 major aspects of art creation. These will serve as a solid foundation for High School and beyond. Projects that cover each of the following aspects will be divided equally over the course of the semester. 1. Drawing: Foundation skill that is taught in many different ways throughout the semester. These may include pencil, charcoal, pastels, pen & ink, and colored pencil. 2. Painting: This are will explore two primary media techniques, watercolor and acrylic. 3. Sculpture: This area exposes students to the unique characteristics of creating in 3 dimensions and usually includes wire and plastering. 4. Printmaking: This area examines the creation process through the lens of producing repeated images. This is usually done through block and plate printing. 5. New Media: This area looks at Contemporary Design, illustration, and photography within the context of computer-based and digital media. -
Visual Arts Curriculum Guide
Visual Arts Madison Public Schools Madison, Connecticut Dear Interested Reader: The following document is the Madison Public Schools’ Visual Arts Curriculum Guide If you plan to use the whole or any parts of this document, it would be appreciated if you credit the Madison Public Schools, Madison, Connecticut for the work. Thank you in advance. Table of Contents Foreword Program Overview Program Components and Framework · Program Components and Framework · Program Philosophy · Grouping Statement · Classroom Environment Statement · Arts Goals Learner Outcomes (K - 12) Scope and Sequence · Student Outcomes and Assessments - Grades K - 4 · Student Outcomes and Assessments - Grades 5 - 8 · Student Outcomes and Assessments / Course Descriptions - Grades 9 - 12 · Program Support / Celebration Statement Program Implementation: Guidelines and Strategies · Time Allotments · Implementation Assessment Guidelines and Procedures · Evaluation Resources Materials · Resources / Materials · National Standards · State Standards Foreword The art curriculum has been developed for the Madison school system and is based on the newly published national Standards for Arts Education, which are defined as Dance, Music, Theater, and Visual Arts. The national standards for the Visual Arts were developed by the National Art Education Association Art Standard Committee to reflect a national consensus of the views of organizations and individuals representing educators, parents, artists, professional associations in education and in the arts, public and private educational institutions, philanthropic organizations, and leaders from government, labor, and business. The Visual Arts Curriculum for the Madison School System will provide assistance and support to Madison visual arts teachers and administrators in the implementation of a comprehensive K - 12 visual arts program. The material described in this guide will assist visual arts teachers in designing visual arts lesson plans that will give each student the chance to meet the content and performance, or achievement, standards in visual arts. -
Historical Painting Techniques, Materials, and Studio Practice
Historical Painting Techniques, Materials, and Studio Practice PUBLICATIONS COORDINATION: Dinah Berland EDITING & PRODUCTION COORDINATION: Corinne Lightweaver EDITORIAL CONSULTATION: Jo Hill COVER DESIGN: Jackie Gallagher-Lange PRODUCTION & PRINTING: Allen Press, Inc., Lawrence, Kansas SYMPOSIUM ORGANIZERS: Erma Hermens, Art History Institute of the University of Leiden Marja Peek, Central Research Laboratory for Objects of Art and Science, Amsterdam © 1995 by The J. Paul Getty Trust All rights reserved Printed in the United States of America ISBN 0-89236-322-3 The Getty Conservation Institute is committed to the preservation of cultural heritage worldwide. The Institute seeks to advance scientiRc knowledge and professional practice and to raise public awareness of conservation. Through research, training, documentation, exchange of information, and ReId projects, the Institute addresses issues related to the conservation of museum objects and archival collections, archaeological monuments and sites, and historic bUildings and cities. The Institute is an operating program of the J. Paul Getty Trust. COVER ILLUSTRATION Gherardo Cibo, "Colchico," folio 17r of Herbarium, ca. 1570. Courtesy of the British Library. FRONTISPIECE Detail from Jan Baptiste Collaert, Color Olivi, 1566-1628. After Johannes Stradanus. Courtesy of the Rijksmuseum-Stichting, Amsterdam. Library of Congress Cataloguing-in-Publication Data Historical painting techniques, materials, and studio practice : preprints of a symposium [held at] University of Leiden, the Netherlands, 26-29 June 1995/ edited by Arie Wallert, Erma Hermens, and Marja Peek. p. cm. Includes bibliographical references. ISBN 0-89236-322-3 (pbk.) 1. Painting-Techniques-Congresses. 2. Artists' materials- -Congresses. 3. Polychromy-Congresses. I. Wallert, Arie, 1950- II. Hermens, Erma, 1958- . III. Peek, Marja, 1961- ND1500.H57 1995 751' .09-dc20 95-9805 CIP Second printing 1996 iv Contents vii Foreword viii Preface 1 Leslie A. -
Brunswick Mural Project 106 Island Drive Saint Simons Island, GA 31522 912-638-8770
Brunswick Mural Project 106 Island Drive Saint Simons Island, GA 31522 912-638-8770 www.glynnvisualarts.org/brunswick-mural-project.html [email protected] INFO FOR ARTISTS Brunswick Mural Project 106 Island Drive Saint Simons Island, GA 31522 912-638-8770 www.glynnvisualarts.org/brunswick-mural-project.html [email protected] Brunswick Mural Committee ROLES AND PROCESS o Serves as the clearing house and coordination point for the Brunswick Mural Project to implement murals o Collects and records names of potential mural artists, building owners and volunteers as a resource bank to execute murals in downtown Brunswick o Identifies and communicates with various community stakeholders including city and county government (elected officials, DDA, Main Street, etc.), businesses, the arts community, the historic preservation board and other interested parties about BMP o Seeks funding and other resources for murals o Glynn Visual Arts as a non-profit community arts center and part of the CoH Arts Sub-Committee acts as repository and distribution point for any monies collected to fund the BMP project Brunswick Mural Project 106 Island Drive Saint Simons Island, GA 31522 912-638-8770 www.glynnvisualarts.org/brunswick-mural-project.html [email protected] ARTIST’S PROCESS 1. Artist submits design ideas and budget to the Mural Committee based on the guidelines included in BMP package 2. Mural Committee matches artist and design with building owner 3. Artist and building owner agree on design, timeline, budget, etc. (contract or MOU may be required) 4. Artist or building owner submits design and completed Certificate of Appropriateness Form to the Historic Preservation Board for approval 5. -
Visual Arts Curriculum
August 2013 Ceramics I: Academic Grade Level 9, 10, 11, 12 Course Number 702 Subject Area Visual Arts Course Description This course introduces clay activities involving basic hand-building techniques, such as coil method, slab method, hollowing out and pinch method. Glazing techniques will be taught as well as techniques of clay preparation, storing of unfinished clay pieces and firing. Electric wheel throwing will be demonstrated. The final project will be of the students’ choosing and will involve a written description of the project to be accompanied with a research paper and presentation. Content Standards What aspects of the state standards does the course address? Standard 1. Students will demonstrate knowledge of the methods, materials, and techniques unique to visual arts. Standard 2. Students will demonstrate knowledge of the elements and principals design. Standard 3. Students will demonstrate their powers of observation, abstraction, invention, and expression in a variety of media, materials and techniques. Standard 4. Students will demonstrate knowledge of the processes of creating and exhibiting their own art work: drafts; critique; self -assessment; refinement; and exhibit preparation. Standard 5. Students will describe and analyze their own work and the work of others using appropriate visual arts vocabulary. When appropriate, students will connect their analysis to interpretation and evaluation. Standard 6. Students will describe the purposes for which works of dance, music, theater, visual arts, and architecture are created, and, when appropriate, interpret their meanings. Standard 7. Students will describe the roles of artists, patrons, cultural organizations, and art institutions in societies of the past and present. Standard 8. -
The Visual Arts in What Art Is by Joan Mitchell Blumenthal
The Visual Arts in What Art Is By Joan Mitchell Blumenthal As the twentieth century progressed, those who believed that its art could not becom e more perverse or self- defeating were proved wrong by every charlatan or madman who claimed to be making or respond ing to art. If anything could be a remedy for the current tragic state of the arts, it would be the probing, insightful, and eminently read able analysis of the problem presented by L ouis Torres and Michelle Mard er Kam hi. Understanding that the advancing demise of the arts stems from a vacuum in the philosophical, creative, and critical spheres, the authors begin with a study of esthetic theory, looking into the question of what art has been considered to be historically, and how the task of defining art has been progressively abandoned in this century. At every step, they have been careful to elucidate the opinions of those thinkers whose work has merit, along with an adequate sampling of those whose thoughts are sh own to be clearly incorrect and contradictory. Definin g Wh at Art Is They orient much of their discussion around the definition and theories of Ayn Rand, not because she left an exhaustive study of the arts, nor even one that is faultless and totally consistent, but because her definition and many of her explanations are philosophically and psychologically fundamental, and can be extended—as the authors do throughout the book— to further illuminate the nature and spiritual function of art. After discussing the nature of definitions in general, Torres and Kam hi subject Rand’s definition , “‘ Art is the selective re-creation of reality according to an artist’s metaphysical value judgments’” (26), to detailed scrutiny (chapter 6). -
Visual Arts Fact Sheet
VISUAL ARTS FACT SHEET The National Endowment for the Arts is committed to Funding through the supporting visual arts activity—painting, sculpture, visual arts program, photography, printmaking, drawing, craft, and public 1966-2015: art—that demonstrates exceptional aesthetic investigation and meaningful community engagement. $161.2 million ADVANCING LEARNING National Endowment for the Arts-funded visual arts • Through lectures, artists often raise critical organizations offer a wide array of public programs. issues facing society, helping initiate dialogue about contemporary concerns. • The visual arts encompass a variety of mediums, making them accessible to a wide range of National Endowment for the Arts funding supports audiences. professional development for art teachers to enhance their skills and for non-arts teachers to • According to the NEA’s Survey of Public incorporate visual arts into the curriculum. Participation in the Arts, visual arts is the second most commonly studied art form, after music, • Programs offered by visual arts organizations with nearly one-fifth of all American adults provide flexible and focused means for teachers having taken visual art classes at some point in to gain high quality arts instruction. their lifetime. • NEA-funded visual arts exhibitions can include • In the NEA Military Healing Arts Partnership, resources for teachers to bring the insights the medical protocol for troops suffering from offered by an exhibition into the classroom. post-traumatic stress disorder and other mental health issues includes mask-making classes. FUELING CREATIVITY The National Endowment for the Arts makes a The National Endowment for the Arts is one of the significant investment in the creation of new work. -
Formative Assessment in the Visual Arts
The Artful Learning Communities project is designed to help teachers assess student learning in art, including motivating students to self- and peer-assess. Formative Assessment in the Visual Arts HEIDI ANdrade, JoaNNA HEFFEREN, and MARIA PALma lassroom assessment is a hot topic in K-12 education because of compelling evidence that assessment in the form of feedback is a powerful teaching and learning tool (Hattie & Timperley, 2007). Although formal evaluation has been anathema to many art specialists and teachers (Colwell, 2004), informal assessment in the form of feedback is not. As educators in other subjects have discovered, there are myriad ways in which assessment can not only measure and document student C learning but also—and more importantly—actually promote learning (Andrade & Cizek, 2010). This article shares examples and briefly documents the work of art specialists in Brooklyn, New York, who have experimented with the latest assess- ment techniques in order to increase student engagement and learning. The Artful Learning Communities project Our first challenge was to convince our described in this article was supported by a grant collaborators, the arts specialists, of the value from the U.S. Department of Education. The goals of assessment in arts education. Early on, we of the project were to (1) strengthen the capacity were politely told that art cannot be assessed, and of elementary and middle school arts specialists furthermore, we should not assess children’s art to assess standards-based learning in the Arts; because so doing could threaten their self-esteem (2) promote increased student achievement in and diminish their motivation to engage in Detail from Figure 3. -
Project Update & Public Art Proposal
To: Center City Development Corporation (CCDC) Board of Directors From: DMC Staff, Planning & Development Department Date: June 10, 2015 RE: South End Underpass Improvements: Project Update & Public Art Proposal ________________________________________________________________________ Background: In 2014, DMC staff and the Henry Turley Company presented a joint proposal to the CCDC to make improvements at two (2) railroad underpasses in the South End neighborhood. The underpasses along Florida Street and South Main Street are dark, dirty, unpleasant, and discourage walking and biking in the area. At its March 16, 2014 meeting, the CCDC approved the South End Underpass Improvement Project. Staff’s original request included $125,000 for the total project, with approximately $50,000 of the budget dedicated to public art. Ultimately, the Board authorized up to $80,000 for Phase I of the project and instructed staff to bring back a detailed plan and budget for public art at a future meeting. The scope of work in Phase I includes cleaning the concrete surfaces, removing the unused roadbed at Florida Street, adding lighting above the sidewalk at two (2) underpasses, and the fees associated with traffic control, contracting, and design. Included in the $80,000 is up to $5,000 to design and plan the public art. The Henry Turley Company agreed to provide development services as an in-kind contribution to the overall project. These services include analysis of existing conditions, project scoping and design, project management, outreach to relevant agencies, and securing any required approvals. Current Status of Project: Over the past year, the Henry Turley Company has been actively securing the required approvals while working to keep the project within budget. -
Visual Arts Standards.Pdf
VISUAL ARTS It is the policy of the Oklahoma State Department of Education (OSDE) not to discriminate on the basis of race, color, religion, gender, national origin, age, or disability in its programs or employment practices as required by Title VI and VII of the Civil Rights Act of 1964, Title IX of the Education Amendments of 1972, and Section 504 of the Rehabilitation Act of 1973. Civil rights compliance inquiries related to the OSDE may be directed to the Affirmative Action Officer, Room 111, 2500 North Lincoln Boulevard, Oklahoma City, Oklahoma 73105-4599, telephone number (405) 522-4930; or, the United States Department of Education’s Assistant Secretary for Civil Rights. Inquires or concerns regarding compliance with Title IX by local school districts should be presented to the local school district Title IX coordinator. This publication, printed by the State Department of Education Printing Services, is issued by the Oklahoma State Department of Education as authorized by 70 O.S. § 3-104. Five hundred copies have been prepared using Title I, Part A, School Improvement funds at a cost of $.15 per copy. Copies have been deposited with the Publications Clearinghouse of the Oklahoma Department of Libraries. JULY 2013. VISUAL ARTS that foundation upon which literacy in the visual arts is built. ARTISTIC LITERACY This Enduring Understanding of the language of visual art will strengthen each student’s visual fluency and focus their ability to Visual Art Strands observe and make meaning of the greater world around them. The visual arts curriculum is organized under four major strands: Students at every grade level should have the opportunity to Presenting, Responding, Creating, and Connecting. -
Art Movements Referenced : Artists from France: Paintings and Prints from the Art Museum Collection
UNIVERSITY OF WYOMING ART MUSEUM 2009 Art Movements Referenced : Artists from France: Paintings and Prints from the Art Museum Collection OVERVIEW Sarah Bernhardt. It was an overnight sensation, and Source: www.wikipedia.org/ announced the new artistic style and its creator to The following movements are referenced: the citizens of Paris. Initially called the Style Mucha, (Mucha Style), this soon became known as Art Art Nouveau Les Nabis Nouveau. The Barbizon School Modernism Art Nouveau’s fifteen-year peak was most strongly Cubism Modern Art felt throughout Europe—from Glasgow to Moscow Dadaism Pointillism to Madrid — but its influence was global. Hence, it Les Fauves Surrealism is known in various guises with frequent localized Impressionism Symbolism tendencies. In France, Hector Guimard’s metro ART NOUVEau entrances shaped the landscape of Paris and Emile Gallé was at the center of the school of thought Art Nouveau is an international movement and in Nancy. Victor Horta had a decisive impact on style of art, architecture and applied art—especially architecture in Belgium. Magazines like Jugend helped the decorative arts—that peaked in popularity at the spread the style in Germany, especially as a graphic turn of the 20th century (1890–1905). The name ‘Art artform, while the Vienna Secessionists influenced art nouveau’ is French for ‘new art’. It is also known as and architecture throughout Austria-Hungary. Art Jugendstil, German for ‘youth style’, named after the Nouveau was also a movement of distinct individuals magazine Jugend, which promoted it, and in Italy, such as Gustav Klimt, Charles Rennie Mackintosh, Stile Liberty from the department store in London, Alphonse Mucha, René Lalique, Antoni Gaudí and Liberty & Co., which popularized the style.