Secondary Teaching Package

JANUARY/ FEBRUARY TEACHING 2021 VOL. 51 NO. 4 Guide ISSN 1060-832X Dear Teacher, Have you flipped through this issue of Scholastic Art yet? If you have, you might have noticed that my colleague Amanda DeNatale and I make a cameo on page 9. I was hesitant to include this photo, but the rest of my team convinced me. They argued that Yayoi Kusama’s work is about the emotional experience—joy, wonder, and beauty. The photo we’ve included perfectly represents the excitement Amanda and I experienced when we visited an exhibition of Kusama’s work in 2017. It’s hard to explain what it feels like when the door closes behind you as you enter an Infinity Room, but the word that comes to my mind first is magic. Kusama explores serious and thought-provoking ideas in her work. But she manages to do so in a way that appeals to the sense of childlike wonder in all of us. And unlike many artists, Kusama gives viewers permission to just have fun. I hope you and your students enjoy this issue. It certainly was fun to work on it! I can’t wait to hear what you think. Please feel free to reach out with your feedback.

Best wishes, Katie Brickner, Editor

Poster: Poster: All the Eternal “the lake, ‘can Love I Have for you see me?’” the Pumpkins, 2016, Crystal Liu 2016, Yayoi Kusama

ABOUT THIS WORK: This work is one of Yayoi Kusama’s ABOUT THIS WORK: Crystal Liu takes inspiration from Infinity Rooms. The room features several of Kusama’s nature, exploring mountains, trees, and the moon for her notable themes, including polka-dot patterns, pumpkins, artworks. She then creates an emotional narrative, telling and mirrors infinitely reflecting. Viewers enter the room a story using patterns made up of dots, lines, or marbling. individually and remain for a limited time period. During In this work, Liu presents repeated dots in varying sizes their allotted times, viewers experience a fully immersive that form shapes resembling clouds or the surface of interaction with the artwork. water. Floral patterns also stand out against a brilliant blue background. DISCUSSION: How does Kusama work with pattern in this Infinity Room? (Answers will vary but should refer to DISCUSSION: How does Liu work with pattern in her use of polka dots, pumpkins, and mirrors.) this composition? (Answers will vary but should refer to the way she uses pattern to create the various shapes Compare this work to the Infinity Rooms featured on in the scene.) pages 5 and 9. What do you notice? (Answers will vary but should refer to the images and text from the magazine. Compare this work with “the moon and the tides, ‘a Students might discuss the way Kusama creates variation rocky start,’” page 11. What do you notice? (Answers in her work through lighting and the sculptures she will vary but should refer to the images and text from the

1 TEACHER’S GUIDE (SECONDARY) • JANUARY/FEBRUARY 2021 JANUARY/ FEBRUARY 2021 VOL. 51 NO. 4 ISSN 1060-832X

Lesson Plan 1: Princess of Polka Dots Use with pages 4-5

Lexile: 920L PREPARATION: Print copies of the “Graphic Organizer: Working With Pattern” skills sheet. Core Art Standards: • VA1: Generate and PROCEDURE: conceptualize artistic 1. As a class, read “Princess of Polka Dots.” ideas and work. 2. Invite students to look at each featured artwork closely. Ask: How and why does VA3: Refine and complete Yayoi Kusama work with pattern in these artworks? (Kusama paints repeating net artistic work. patterns and dots to help take control of her hallucinations. She creates Infinity VA11: Relate artistic ideas Rooms—inspired by earlier Happenings—that feature repeating patterns and and works with societal, shapes along with mirrors that reflect viewers endlessly.) cultural, and historical 3. Read aloud the quote on page 5: “Our Earth is only one polka dot among a context to deepen million stars in the cosmos. Polka dots are a way to infinity.” Ask: How does this understanding. quotation relate to Kusama’s art? (Answers will vary but should touch on how the CCSS Anchor Standards: artist uses polka dots frequently in her explorations of infinity.) R2: Determine central themes 4. As you discuss Kusama’s work in relation to her mental health, be sensitive to and summarize. students and their own situations. Make sure to show the resources related to R3: Analyze ideas and mental health provided on page 5 to any student who might benefit from them. sequence events. Remind students that if they are struggling, they should always reach out to a R7: Integrate and evaluate trusted adult. content in diverse media. 5. Have students record their findings in their “Graphic Organizer: Working With Pattern” skills sheets. Objective: Students will learn about Yayoi Kusama’s life and DISCUSSION: work. • What is a hallucination? How does Kusama cope with her hallucinations? Essential Question: What (A hallucination occurs when a person sees or hears something that isn’t really conditions, attitudes, and there. When Kusama hallucinates, she sees “flashes of light, auras, or dense behaviors support creativity fields of dots.” She manages these experiences by representing them in her art.) and innovative thinking? • How do the artworks on pages 4-5 relate to events in Kusama’s life? (Answers will vary but should mention that Kusama’s net and polka-dot patterns Enduring Understanding: originate from the “self-obliteration” process related to her hallucinations.) Creativity and innovative Compare Kusama’s 1965 installation with her later Infinity Room, both thinking are essential life • shown on page 5. What do you notice? (Answers will vary but should mention skills that can be developed. the use of mirrors, pattern, repetition, and the representation of infinity.) Vocabulary: artistic process, Happenings, interior, patterns, REMOTE LEARNING: Performance Art, reflecting, • Write a few sentences or a short paragraph describing how Kusama uses art to repetition, space, suspends overcome her personal challenges. How does she turn obstacles into inspiration? How do patterns relate to this inspiration? Materials: computer or Create a sketch of an Infinity Room, or, if possible, build a model using found interactive whiteboard, • materials. How will you represent infinity? What patterns will you use? How will “Graphic Organizer: Working viewers experience your work? With Pattern” skills sheet, available at ASSESSMENT: scholastic.com/art. • Write the Essential Question on the board. What conditions, attitudes, and

2 TEACHER’S GUIDE (SECONDARY) • JANUARY/FEBRUARY 2021 JANUARY/ FEBRUARY 2021 VOL. 51 NO. 4 ISSN 1060-832X

Lesson Plan 2: Playing With Pattern Use with pages 6-7

Lexile: 960L PREPARATION: Review students’ notes from their “Graphic Organizer: Working With Pattern” Core Art Standards: • skills sheets. VA2: Organize and develop artistic ideas and work. PROCEDURE: VA5: Develop and refine 1. Invite students to take turns reading each section aloud. artistic techniques and 2. Encourage students to describe what they see as they observe each artwork. work for presentation. Ask: How does Yayoi Kusama work with pattern? (Kusama uses analogous colors, VA8: Interpret intent and bright and muted hues, and a series of semicircles in her painting Nets; she uses meaning in artistic work. both nets and dots to add dimension and shape to her painting of a pumpkin; she CCSS Anchor Standards: uses the scale of the dots strategically in her monumental sculpture.) R1: Make inferences and cite 3. Have students record their findings in their “Graphic Organizer: Working With textual evidence. Pattern” skills sheets. R4: Interpret words and phrases. DISCUSSION: W2: Write informative/ • What similar techniques does Kusama use in her two paintings? (Both explanatory texts. paintings feature a net pattern and highlights and shadows that add dimension.) How does Kusama create a sense of form in both the two-dimensional and Objective: Students will • three-dimensional representations of pumpkins? (Kusama plays with the analyze Kusama’s use of scale of the polka-dot patterns, emphasizing the pumpkins’ shapes.) pattern in three artworks. • Compare these works with those on pages 4-5. What do you notice? Essential Question: How (Answers will vary but should refer to the images and text.) does knowing and using visual art vocabularies help REMOTE LEARNING: us understand and interpret • Create an artwork featuring a vegetable. How will you portray the subject? How works of art? can you incorporate pattern into the composition? Create a painting or drawing that contains a net pattern. What colors will you Enduring Understanding: • use? How will you use the net pattern within your artwork? People gain insights into Write a few sentences or a short paragraph about Kusama’s portrayal of meanings of artworks by • pumpkins. Why does the pumpkin appeal to her as a subject? How does she engaging in the process of art portray them? criticism. Vocabulary: abstract, ASSESSMENT: analogous colors, contours, • Have students complete the “Write About Art” box on page 7. emphasizes, flat, highlights, hues, illusion, monumental, WRITE ABOUT ART motif, scale, shadows, three- dimensional, vertical Student writes a well-constructed, detailed paragraph describing how Kusama uses 4 pattern in one of the works shown on pages 6-7. Materials: computer or Student writes a paragraph describing how Kusama uses pattern in one of the interactive whiteboard, 3 works shown on pages 6-7. “Graphic Organizer: Working Student struggles to write a paragraph describing how Kusama uses pattern in one With Pattern” skills sheets 2 of the works shown on pages 6-7. from Lesson Plan 1, available Student does not adequately write a paragraph describing how Kusama uses at scholastic.com/art. 1 pattern in one of the works shown on pages 6-7. ©2021 by Scholastic Inc. All rights reserved. All rights Scholastic Inc. ©2021 by

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Lesson Plan 3: Infinite Influence Use with pages 8-9

Lexile: 1090L PREPARATION: Review students’ notes from their “Graphic Organizer: Working With Pattern” Core Art Standards: • skills sheets. VA6: Convey meaning through the presentation of PROCEDURE: artistic work. 1. As a class, read “Infinite Influence.” Have students observe the featured VA7: Perceive and analyze artworks closely. artistic work. 2. Ask: How does Yayoi Kusama work with pattern in these artworks? (The storefront VA10: Synthesize knowledge mimics an installation and features motifs and accessories covered in polka and experiences to dots; the balloon includes tentacle-like forms covered in dots; the Infinity Room make art. features clusters of spheres—resembling three-dimensional polka dots—reflected CCSS Anchor Standards: in mirrors.) R1: Make inferences and cite 3. Discuss the role of social media in Kusama’s popularity. Ask: Who gets to textual evidence. experience each of the featured works and how? (Anyone on the street can R2: Determine central themes see the storefront window, but only some can purchase the items for sale and summarize. in the store; anyone can watch the parade on television; only those who live R3: Analyze ideas and near or travel to a city where Kusama’s work is on display can experience an sequence events. Infinity Room in person, but anyone one social media can see photos of these installations.) Objective: Students will 4. Have students record their findings in their “Graphic Organizer: Working With consider how social media has Pattern” skills sheets. transformed fine art. Essential Question: How DISCUSSION: does the presenting and • How are these works “art experiences”? (The storefront window recreates an sharing of artworks influence installation, inviting viewers to stop and observe the artwork; millions of viewers and shape ideas, beliefs, and see the balloon as part of a parade; viewers become part of the artwork in the experiences? Infinity Room.) Compare the storefront window and the parade balloon. What do you Enduring Understanding: • notice? (Answers will vary but should mention the common usage of a polka-dot Artworks communicate pattern and a tentacle motif.) meaning and a record of Compare these works with the others by Kusama in this issue. What do you social, cultural, and political • notice? (Answers will vary but should refer to the images and text.) experiences resulting in the cultivating of appreciation and REMOTE LEARNING: understanding. • Design a parade balloon that features patterns. Vocabulary: commissioned, • Write a few sentences or a short paragraph about Kusama’s ideas and her graphic interactive art. How is her art different from traditional art that you see in museums? Materials: computer or Imagine you are collaborating with a favorite brand or designer to create a interactive whiteboard, • storefront window. Sketch a design for the display. “Graphic Organizer: Working With Pattern” skills sheets from ASSESSMENT: Lesson Plans 1 and 2, available Read aloud this Lesson Plan’s Objective. Ask: How has social media transformed at scholastic.com/art. • fine art? ©2021 by Scholastic Inc. All rights reserved. All rights Scholastic Inc. ©2021 by

4 TEACHER’S GUIDE (SECONDARY) • JANUARY/FEBRUARY 2021 JANUARY/ FEBRUARY 2021 VOL. 51 NO. 4 ISSN 1060-832X

Lesson Plan 4: Patterns All Around Use with pages 10-11

Lexile: 1020L PREPARATION: Review students’ notes from their “Graphic Organizer: Working With Pattern” Core Art Standards: • skills sheets. VA2: Organize and develop artistic ideas and work. PROCEDURE: VA8: Interpret intent and 1. Read the article as a class. Ask students to observe the artworks closely. meaning in artistic work. 2. Divide students into groups or pairs, with each group focusing on one of the VA11: Relate artistic ideas featured artists. Ask: How does your assigned artist work with pattern? (Beatriz and works with societal, Milhazes draws inspiration from the Brazilian Carnival, creating patterns that cultural, and historical dance across the canvas; Farah Al Qasimi’s photograph features a leopard print context to deepen pattern as the central motif; Crystal Liu uses a marbling technique, spots, and understanding. irregular shapes to create her landscape.) CCSS Anchor Standards 3. Invite each group to present its findings and discuss as a class. R2: Determine central themes 4. Have students record their findings in their “Graphic Organizer: Working With and summarize. Pattern” skills sheets. R5: Analyze ideas and sequence events. DISCUSSION: R9: Analyze two or more texts • Compare these works with Yayoi Kusama’s works on pages 4-9. What do on similar topics. you notice? (Answers will vary but should refer to the artworks and text.) Compare how Milhazes and Liu use pattern to represent their subjects. (The Objective: Students will learn • patterns in Milhazes’s work buzz with energy like Brazilian Carnival music; the about three contemporary quiet patterns in Liu’s work reflect nature’s serenity.) artists who work with pattern. • Do you see similarities in the relationships between pattern and mood in Essential Question: How do these three works? (Answers will vary but should refer to the artworks and text.) artists work? REMOTE LEARNING: Enduring Understanding: Create an artwork in the style of one of the artists featured here. What medium Artists and designers • will you use for your work? How will you use pattern? experiment with forms, Choose one of the three featured artists. Research some of her other works structures, materials, • online. Write a few sentences or a short paragraph about how this artist uses concepts, media, and art- pattern, and how pattern conveys meaning in her work. making approaches. Vocabulary: concentric ASSESSMENT: circles, diagonal, gouache, • Have students complete the “Sketchbook Starter” on page 10. horizontal, irregular, layering, marbling technique, mood, SKETCHBOOK STARTER opaque Student identifies a pattern at home and makes a technically advanced drawing Materials: computer or 4 featuring that pattern. interactive whiteboard, “Graphic Organizer: Working 3 Student identifies a pattern at home and makes a drawing featuring that pattern.. With Pattern” skills sheets Student has difficulty identifying a pattern at home and making a drawing featuring from Lesson Plans 1, 2, and 3, 2 that pattern. available at Student does not adequately identify a pattern at home or make a drawing scholastic.com/art. 1 featuring that pattern. ©2021 by Scholastic Inc. All rights reserved. All rights Scholastic Inc. ©2021 by

5 TEACHER’S GUIDE (SECONDARY) • JANUARY/FEBRUARY 2021 SECONDARY LESSONS PREPARED BY KRISTIN STROHMEIER JANUARY/ FEBRUARY 2021 VOL. 51 NO. 4 ISSN 1060-832X

Lesson Plan 5: Patterns That Pop Use with page 12

Core Art Standards: PREPARATIONS/INTRODUCTION: (1 hour) VA1: Generate and 1. Introduce Yayoi Kusama and discuss her use of patterns, motifs, and colors. Use conceptualize artistic the works featured in this issue of Scholastic Art to facilitate the conversation. ideas and work. Ask: What do you see? (Answers will vary but should touch on the idea that many VA2: Organize and develop of Kusama’s works include a central subject and a repeating pattern.) artistic ideas and work. 2. Talk about patterns that are found in nature and and those that are VA8: Interpret intent and human-made. meaning in artistic work. 3. Remind students that their final works are not meant to be realistic but rather compositions that pop with repeating patterns, color, and even whimsy. Objective: Students will learn how Yayoi Kusama uses FINDING INSPIRATION: (30 minutes) patterns. Students will explore 1. Invite students to look for patterns in the world around them. Encourage them patterns, motifs, and colors in to start by looking for human-made motifs indoors, and then have them step their work. outside or look out a window to identify patterns in nature. Time: 4 hours 2. Suggest some examples, such as groupings of raspberries, the inside of a tomato or artichoke, the bark of a tree or the center of a flower, and patterns in a brick or stone wall, a stone path, or even the tread of a tire. RUBRIC 3. Have them make several sketches or take photos of the patterns they see. 4. Invite students to share and discuss their sketches and photos. Student completes an exemplary work that PLAN COMPOSITION: (30 minutes) 4 seamlessly incorporates 1. Ask students to pick a subject for their artworks. Then have them identify a few pattern. patterns they want to explore. 2. Explain that students may work in any medium. Make suggestions, including Student completes a drawing, painting, collage, digital drawing, or photography. Recommend that they work that incorporates keep their compositions simple, which will help emphasize their patterns. 3 pattern. 3. Encourage students to play with how they introduce patterns into their compositions. They might develop a motif that repeats throughout the scene, or they might use pattern to build the shapes of objects within the image. Student attempts to 4. Explain that they might experiment with complementary colors and/or complete a work that analogous colors. 2 incorporates pattern. FINAL COMPOSITION: (2 hours) 1. Once students complete their preparatory work, have them make their final Student struggles to compositions. 1 complete a work that 2. Encourage those who chose to draw, paint, collage, or work digitally to focus on incorporates pattern. emphasizing their patterns using line and color. 3. Those who are working with photography should use basic photo-editing software to adjust the color and contrast of their work, aiming to emphasize — Prepared by: their patterns. Nancy D. Hoover 4. Remind students not to be afraid to make bold choices. The Girls’ School of Austin Austin, Texas ASSESSMENT: 1. Did student learn how Kusama works with pattern?

6 TEACHER’S GUIDE (SECONDARY) • JANUARY/FEBRUARY 2021 ______Does hesendamixed message aboutfood waste? Why orwhy not? Part III: ______important issue? Why dosomeviewers disagree withPérez Evans’s useof carrots to draw attention to an Part II: ______What ideas doesRafael Pérez Evans aimto address inGrounding? Part I: debate inthe January/February 2021issue of Scholastic. Art Which sideof thedebate are you on? Usethequestionsbelowto organize your thoughts aboutthe DEBATE

Mixed Message? Name ______JANUARY

/ FEBRUARY 2021 /SKILLS SHEET Class ______

Working WithPattern Working WithPattern JANUARY

/ FEBRUARY 2021 /SKILLS SHEET Motifs Class Scale ______

PatternsPop That JANUARY

/ FEBRUARY 2021 /SKILLS SHEET Class ______

______Working WithPattern JANUARY s workreflect Brazilian Carnival music

/ FEBRUARY 2021 /SKILLS SHEET ? (pages6-7) Class ______

______. (pages4-5) dots to represent what sheseeswhen Yayoi Kusama paints net patterns andpolka the artist.(pages8-9) a ______wax figure that looks justlike does not feature Kusama herself butrather The Louis Vuitton storefront windowdisplay polka dots inParis, France. (pages6-7) than-life, sculpture of apumpkincovered in Kusama installed a(n) ______,orlarger- (pages 6-7) ______, orvisualidea,indifferent ways. throughout hercareer, developing a(n) Kusama hasexperimented withpolka dots endless createon thewalls andceilings.This s In herInfinity Rooms, Kusama placesmirrors graphic hyperrealistic melting posing monumental flat abstract vertical illusion dimension hue motif painting form repetition montage hallucinates paints harvests pumpkins sculpts ______of space.(pages4-5) Name ______

Working WithPattern JANUARY an an

/ FEBRUARY 2021 /SKILLS SHEET 7. 6. 10. 9. 8. D C B A D C B A D C B A D C B A D C B A

(pages 8-9) viewers to becomeapart of thework. Kusama’s ______artexperiences invite Viewers traditionally viewartat adistance. the ceilingof anInfinity Room . (pages8-9) Kusama ______stainless steel ballsfrom pattern to herpaper. (pages10-11) paint onwater andthentransfers the ______technique inwhichshefloats Crystal Liucreates alandscapeusing on page11. (pages10-11) a leopard-print inher______headscarf Farah Al Qasimi captures awomanwearing (pages 10-11) with concentric circles andfloral shapes. lines inBeatriz Milhazes’ The vertical, horizontal, and______ immersive two-dimensional monochromatic ceramic traces sculpts bounces suspends drawing marbling sculpting sewing photograph Infinity Room painting installation marbled plastic zigzagging diagonal Class ______s workintersect

flat Art Working WithPattern

______to castback light from asurface similar oridentical images, orsets of images,repeated inanartwork resistant to light, not allowinglight to pass through a repeated form or shapeinaworkof art orinaseriesof artworks composition, texture, etc. an emotional state expressed inart,usingelements of color, larger-than-life to arrange onematerial orimageontop of another without perfect symmetry orunity within aspaceorstructure a visualtrickthat makes somethingappeardifferent thanitactually is extremely lifelike colors orshades running inastraight line from left to right orparallel to aflat surface areas of light value inanartwork preceded thedevelopment of Performance Art theatrical publicartevents inthelate 1950sandearly1960sthat simplified to lines,shapes,forms, andcolors through a type of paint similarto watercolor butallowingless light to pass lacking depth to draw attention to, orto focus on,soasto gainaparticular effect lower right to upperleft a slanted linethat moves eitherfrom lowerleft to upperright orfrom the curves of athree-dimensional surface hire to complete aparticulartask the partof anartwork that seemsfarthest from theviewer depicting real forms inasimplifiedway; nonfigurative audience by theartist a type of artthat isperformed orpresented infront of an on paperorfabric the artof printing multicolored swirledorstone-like patterns circles withacommoncenter point work of art the actof generating, developing, andcommunicating ideasfor a colors next to oneanother onthecolorwheel JANUARY

/ FEBRUARY 2021 /SKILLS SHEET Class ______page 1of 2

Working WithPattern ______from top to bottom, orparallel to aflat surface having height, depth, andwidth to hangsothat allsidesare free except at thepoint of support the physical area inwhichanartistcreates awork areas of darkness castby anobject the relative size of aworkof artorof elements withinaworkof art making apattern orcreating emphasisonacertain portionof thework a designorimagethat is shownagainandwithinanartwork, JANUARY

/ FEBRUARY 2021 /SKILLS SHEET Class ______page 2of 2

Uses: copying machine, opaque projector, or transparency master for overhead projector. Scholastic Inc. grants teacher-subscribers of Scholastic Art permission to reproduce this page for use in their classrooms. ©2021 by Scholastic Inc. All rights reserved. ✏ ✏ ✏ ✏ ✏ ✏ ✏ ✏ ✏ ✏ Scholastic for Art inspiration. of thepageinyour sketchbook. Then draw your response. Usethe January/February 2021issue of Choose at leastfour sketchbook prompts from thelistbelow. Cutthemoutand glueeachto thetop SKETCHBOOK STARTERS motif inaseriesof sketches. Think of anunusualobject orimagethat hasmeaningto you. Portray theobjectorimageasa Capture themoodin asketch. Write afew sentences abouthowaspecific type of weather ornatural landscapemakes you feel. that you includeananimalprint. Sketch your design. Imagine afriend hasasked you to designanoutfit for abigevent. Pretend your friend requested to create acollage. and patterns that remind you of themusicyou chose.Gluetheminto apageinyour sketchbook Pick afavorite song,soundtrack, oralbum. Then findafew oldmagazines.Cutoutshapes,images, pencils invarious huesto emphasize different details ineachsection. Divide your sketch paperinto four sections.Draw thesamepattern ineachsection.Usecolor Repeat witheachobjectto layer patterns. Use pencil,colorpencils,orcrayons to create apattern rubbingfor thebackground of adrawing. Collect smallobjects withuniquesurface textures. Placeoneobjectunderneath sketch paper. you wouldcapture theattention of peoplewalking by. Sketch arendering of thedisplay. Pretend that aclothing brand hascommissioned you to designastorefront display. Considerhow create highlights andshadowsthat emphasize your sculpture’s form. Sketch adesignfor amonumental sculpture. Includeapattern. Repeat shapesandvaryscaleto Use colorpencilsto draw anabstract pattern. Play withcomplementary oranalogouscolors. Sketch adesignfor animmersive installation. Repeat ashapeintheinterior. Label your materials. Name ______

Working WithPattern JANUARY

/ FEBRUARY 2021 /SKILLS SHEET Class ______

1. When Kusama was a child, she began having hallucinations in which dots and patterns covered the space around her. Painting the patterns helps her take control of the hallucinations. 2. Kusama explores ideas related to repetition and infinity. She covers the walls and ceilings of small, constructed rooms with mirrors. She places lights or sculptures inside. The mirrors infinitely reflect the objects and the viewer. 3. Kusama creates a pattern with repeating semicircles, or “nets.” She adjusts the hues and uses analogous colors, with bright colors in the center and muted colors on the edges to create dimension. 4. Pumpkins have special meaning for Kusama. In Japan, people are compared to pumpkins as a form of insult. She also appreciates “the pumpkin’s generous unpretentiousness.” 5. Kusama uses her signature polka dots to make the flat image seem three-dimensional. The varying scale of the dots creates contours, highlights, and shadows. The flat net pattern in the background emphasizes the pumpkin’s shape. 6. More than 6 million people have viewed Kusama’s art in person in the past six years, and fans have tagged her work on social media more than 300,000 times. She has collaborated with fashion designers and even designers for the Macy’s Thanksgiving Parade. Each of these examples has increased her fame. 7. Viewers are allotted time slots to experience the rooms. They engage with the work, seeing themselves reflected along with the rest of the installation. Many people take photos—especially selfies—while in the Infinity Rooms, and then share the photos on social media. In doing so, they add to the artist’s popularity and show themselves as part of the art. 8. Just as the Carnivals “mix completely different things,” Beatriz Milhazes mixes a variety of colors and patterns in her work. 9. Farah Al Qasimi photographs bold patterns that she sees on the street, adding a sense of movement and excitement to her composition. 10. Crystal Liu builds the scene using a marbling technique. She adds black, gray, white, and gold spots to represent water, rocks, and a glowing moon. ©2021 by Scholastic Inc. All rights reserved. All rights Scholastic Inc. ©2021 by

JANUARY / FEBRUARY 2021 / SKILLS SHEET page 1 of 2 SECONDARY SKILLS SHEETS tkWorking issue |With Answer Pattern Key | Answer Key Cont'd Mixed Message? PART I: Answers will vary. Possible answers include the following: ■ Rafael Pérez Evans’s Grounding is inspired by European farmers’ tradition of dumping crops as a form of protest in response to policies that harm farming industries. The artist hopes to encourage those who live in cities to reconnect with the earth. ■ Pérez Evans also hopes for his work to contribute to conversations about food waste and food insecurity.

PART II: Answers will vary. Some possible answers include the following: ■ Some viewers disagree with Pérez Evans’s use of food in his public artwork addressing food insecurity. They believe that in an attempt to raise awareness about the issue, the artist wasted 29 tons of carrots in his public artwork. They argue that he should have instead donated the vegetables to people suffering from food insecurity.

PART III: Answers will vary. Some possible answers include the following: YES, Pérez Evans sends a mixed message about food waste. ■ Using tons of real food to make a statement about food waste is hypocritical. He should have donated the food to people struggling with food insecurity. ■ The artist’s use of materials did not successfully convey a direct message about food waste. NO, Pérez Evans doesn’t send a mixed message about food waste. ■ The artist’s use of carrots in his public artwork contributes to dialogues about food waste. ■ His decision to dump 29 tons of carrots on the university campus for his public work stems from European farmers’ traditional display of protest. ■ Pérez Evans says he included carrots that supermarkets deemed unfit for human consumption. He plans to donate the carrots to farms for animal feed.

EXEMPLARY • The student writes a persuasive argument that takes a clear position and answers the question “Does Pérez Evans send a mixed message about food waste?” Answers should incorporate evidence from the text. 4 • Possible arguments may include points from the list above.

ACCOMPLISHED • The student writes a persuasive paragraph that takes a weaker position on the debate but does incorporate evidence from the text. 3 • Possible arguments may include points from the list above.

DEVELOPING • The student writes a persuasive paragraph that refers to the text but does not take a clear position on the debate. 2 • Possible arguments may include points from the list above.

BEGINNING • The student struggles to understand the debate and writes a paragraph that does not take a clear position. 1 • The student does not include arguments from the list above. ©2021 by Scholastic Inc. All rights reserved. All rights Scholastic Inc. ©2021 by

JANUARY / FEBRUARY 2021 / SKILLS SHEET page 2 of 2