ARTS EXCITE

An Arts Integration Resource for Classroom Teachers Produced by Hawkmoth Arts in Collaboration with Washington County Public Schools

ARTS EXCITE
Table of Contents
Arts Integration Defined How to use this Resource Routines: 4 Corners Tableaux Matching Routines Matching with Line Matching with Color Matching with Vocabulary Matching with Expression Clay Context Clues Finding Main Idea Interview Line Conversations Shape Explosions Step Inside Stop and Sketch What Happened Before Visual Response Journal Word World Service Learning Higher Order Questions: How to Ask Questions using the Arts Making the Arts Universal: Contemporary Themes and Approaches Additional Resources Thank Yous

Finding Tone

What is Arts Integration?

Arts integration is a way of teaching. It is a seamless interplay of arts curriculum and other content area curriculum. Arts integration engages students in content in a playful, energetic and unique way. Using arts integration allows a teacher to easily differentiate instruction. Arts integration is a fantastic tool to establish the framework for deeper understanding of an idea. Arts integration is a multifaceted approach to teaching and can be modified to cater to the style and needs of both students and teachers.

When Do I Use It?

Using arts integration is an essential tool in any good teachers toolbox. When arts integration is used in the classroom, it does not replace anything that you are responsible for teaching; it simply offers a new way to teach this information. It is essential that arts integration be used in a clear and concise way. Students should always understand the connection between what you are teaching and why you are using the arts to teach it. Look for the places in the curriculum where there is a clear match in content. If arts integration is forced or taught in an unclear way, it is less effective. Arts integration routines and activities are excellent ways to introduce new ideas or set the tone for a new concept. Arts integration can also be an excellent assessment tool. In order to be active in the arts, you have to truly know and understand your concept. In other words, YOU HAVE TO KNOW IT TO DO IT!!

Why Should I Use It?

Arts Integration allows for deeper explorations of an idea or concept. It sets the framework for open ended discussions where students are encouraged to think through and connect multiple ideas. Students are encouraged to problem solve and explore the notion of no right answer. Arts Integration engages students on a whole new level. It offers opportunities for students to work in groups and get up and moving in the classroom. It is fun and challenging for students as well as teachers.

How to use this Resource

Establishing Routines: This resource is filled with some essential routines that promote inquiry of other content areas through the arts. Establishing a routine means that these activities are designed to be used repeatedly throughout the year. As students get used to using these routines, they will flow within your lessons seamlessly. These routines can be applied to a multitude of content, in a multitude of ways. The routines described in this resource can be followed exactly or they can be modified to suit your teaching interests and style. Arts Exchange: The routines in this resource were created using the visual arts as the primary arts discipline; however, the first couple of resource clearly show how any of the 4 arts disciplines can be used in these routines, simply substitute music, dance, or theater/film. Choosing the Right Image: The Arts as a Springboard: One of the attributes that makes arts integration so powerful as a teaching tool if that it sets up learning scenarios in your classroom that have no right or wrong answers. This allows students to think through and defend an idea they may have. Engaging students in arts integration allows for deeper explorations of an idea because you have to look at that idea from multiple contexts. Arts integration tools set the stage for higher order thinking. Making it Your Own: There are varying levels of experience and comfort when it comes to arts integration. These routines are meant to assist you with bringing arts integration into your classroom. Once you gain an understanding of how easily it can be used, you can take it and run with it. If you are more passionate about music than visual arts, change these routines to be focused on music. They are set up to be interchangeable with other arts areas. Once you get used to how arts integration works for you, you can advance your techniques to include hands on production activities. This would include more hands-on activities where the students actually create painting, sculptures, puppets and so on. Making it Age Appropriate: Knowing that our students come to use with a varying degree of skill and background knowledge, each routine can be modified or enhanced to be more age appropriate. Some routines lend themselves more easily to younger grades while others cater toward older grades, but you know your students best and which ones would work best for the level you are teaching.

Choosing the Right Image: It is essential that you be conscious of your images choices in order to make a routine successful. Search for an image that lends itself to whatever task is being asked of students. Try to choose images that might relate to other aspects of your curriculum. If you are studying Native American in History and you decide to do a main idea routine in language arts, choose a Native American artwork. Choosing the right image can be the key to success in implementing a routine. Setting the Stage: Any of these routines can be implemented in any number of ways. They can be done whole group, small group or partners. They can also be set up as centers for independent explorations. Whatever your style is, these routines can be modified.

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4 Corners
Description:
4 corners is an interactive routine to engage all students in one of the 4 arts disciplines (visual art, music, dance and theater) while also exposing them to all 4 disciplines. 4 corners is a routine which can be used by students to apply knowledge while allowing you to assess for understanding. This routine is best suited for use part way through or at the end of a unit of study ; or, partway through or at the end of the acquisition of a new skill.

Procedures:

First designate 4 areas of your classroom for students to work in. One area for each of the arts disciplines: visual art, dance, music and theater. Each area will need to have the materials students will need set and ready for them. The visual art area will need some art supplies, the music area will need some instruments, and the dance/theater areas will need some space to move. You may decide to assign students to an area or you can allow them to choose an area. This may vary depending on how used to this activity your students are or what your classroom goal is. Establish your classroom goal before you begin the activity (see example below)

EXAMPLE:
Students have just read the book: _________. You have spent a great deal of time discussing the principle character in the book. (NOTE: here you can see how easy you can replace this with main events, conflict resolution, authors tone or many other curricular points). Students will use one of the 4 arts disciplines to describe the principle characters attributes (their personality, their response to events in the book, how they have developed or changes over time) Students will create a list of words to describe the principle character. Students should be asked to justify and e xplain their word choices. Initially the word choices may start as very simple and generic, over time you can encourage students to push these ideas further and become more specific and more complex. Now students will express these ideas in one of the 4 arts corners. When students have finished, they should share their ideas. VISUAL ARTS: Share the words you wrote to describe your Character Understand that artists will often use color and line to communicate an idea or feeling Use the idea of line to articulate the feeling associated with your words You may work together to decide on one word or incorporate all of your words Consider how fast or slowly you draw your lines. Consider how thin or thick the lines are. This image should be abstract in nature, MUSIC Share the words you wrote to describe your Character. Understand that artists will often use sound to communicate an idea or feeling Use the idea of improvisation to create sounds which articulate the feeling associated with your words You may work together to decide on one word or incorporate all of your words You can use any part of your body to make sounds (within reason J ) or instruments if they are provided. Consider pitch (high or low) of your sound Consider tempo or speed of your sound Consider how your sounds will work together

THEATER Share the words you wrote to describe your Character. Understand that artists will often use mime to communicate an idea or feeling Use the idea of mime to articulate the feeling associated with your words You may work together to decide on one word or incorporate all of your words Consider the position of your body Consider your facial expression Make sure your movements are exaggerated The mime can be one movement or a series of movements

DANCE Share the words you wrote to describe your Character. Understand that artists will often use exaggerated movement to communicate an idea or feeling Use the idea of movement to articulate the feeling associated with your words You may work together to decide on one word or incorporate all of your words You can use just one movement or several together Consider the speed of your movement and how that relates to a feeling Consider the precision of your movement and how that relates to feeling

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Finding Tone
Description:
Understanding and identifying authors tone can be a challenge for students. This routine allows students to explore authors tone by looking deeper into a work of art. Students will then relate the process of understanding tone through the arts to understanding how an author creates tone through words. TONE: The authors attitude toward the characters and events in a story identified through the authors use of language (or words)

This routine can be implemented in many ways. You can present an image to the entire group, use several images in a small group or have this set up as a center for students to go to on their own. Display an image to your students. Discuss how the artists attitude toward the subject shown comes through in the: Brush stroke, pencil marks or any other use of line Colors (shade of a color: tone) Composition: size or placement of the objects in the image Value: the lightness or darkness of the image

Students should make a clear statement based on the above observations about what the artists tone or attitude is about what is happening in the image. It is then very important that you as the teacher translate this back over to writing. If an artist uses brush stokes, colors, composition and value to show tone, what does an author use? (and so on)

Marc Franz: The Fate of the Animals: 1913

Franz Marc was born on February 8, 1880, in Munich, Germany. He studied at the Munich Art Academy and traveled to Paris several times where he saw the work of Gauguin, Van Gogh, and the Impressionists. With Kandinsky, he founded the almanac "Der Blaue Reiter" in 1911 and organized exhibitions with this name. He was a principal member of the First German Salon d'Automne in 1913. At the beginning of World War I, he volunteered for military service and he died near Verdun, on March 4, 1916. France,
Marc was a pioneer in the birth of abstract art at the beginning of the twentieth-century The Franz Blaue Reiter group put forth a new program for art based on exuberant color and on profoundly felt emotional and spiritual states. It was Marc's particular contribution to introduce paradisiacal imagery that had as its dramatis personae a collection of animals, most notably a group of heroic horses.

Tragically, Marc was killed in World War I at the age of thirty-six, but not before he had created some of the most exciting and touching paintings of the Expressionist movement.
THEATER/FILM Show an example of a theatrical performance (or a selection of one) How does the performance show the writers attitude toward the subject (or particular character) through the: (choose one or more of the following to discuss) Dramatic action Body language of the cast or character Voice of the cast or character (how loud or soft): Tone Use of language

DANCE Show an example of a dance (or a selection of a dance) How does the dancers attitude toward the subject come through in the: (Choose one or more of the following to discuss) Time: rate of speed and rhythm of the movement Energy: force of the movement Projection: confidence in the movement

MUSIC Play an instrumental piece (or a selection of a piece) How does the musicians attitude toward the subject come through in the: (Choose one or more of the following to discuss) Dynamics: loudness or softness of the sound Pitch: highness or lowness of the sound: Tone Tempo: Speed of the sound Timbre: property of a sound (voice or music): Tone

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Tableaux
Description:
Tableau is a great springboard activity into other routines. Essentially students recreate a scene or an image. Students can recreate something they have read or something they are actually looking at.

Procedure:
This is a terrific routine for getting students up out of their seats. Students can work in small groups for this routine. Students will be asked to pose as the image they are looking at, or create a pose based on a scene from a piece of writing. Each group can pose the same thing or different images/scenes. Once students have created the tableau, several other routines can then be implemented. example: One student can stay out or the tableau to be the interviewer (see the interview routine) For

Winslow Homer: Snap the Whip Winslow Homer was an American landscape painter and printmaker, best known for his marine subjects. He is considered one of the foremost painters in 19th century America and a preeminent figure in American art. Largely self-taught, Homer began his career working as a commercial illustrator. He subsequently took up oil painting and produced major studio works characterized by the weight and density he exploited from the medium. He also worked extensively in watercolor, creating a fluid and prolific oeuvre, primarily chronicling his working vacations.

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Matching with Line

Description:
Line is a key element to building a work of art, much the same way that words are a key element to writing or numbers are a key element to mathematics. This routine uses line to describe an idea, a character or many other possibilities. (Grades 3-8) Or this routine can be used to practice making the same lines that are used to make letters. (Grades K-2)

Procedures:
There are many ways to use the Line Matching Routine

For grades 3-8, start by giving students or groups of students some images. Then you can do 2 things, you can allow them to find the image that uses a given line or students can find and draw their own taken from the image. lines key here is to have students make some decisions about what feeling this line adds to the image The (i.e.: playful, severe, whimsical, intense and so on) Once students have decided on these descriptions, they will then apply the line and corresponding words to another concept in the classroom ( apply to many things: an animal, a planet, a native American tribe , characters from a book and so on) It is essential that students justify their answer..you may have to work on the word that they derive, they may start more simple, but as this becomes a routine, they will grow more complex. For grades K-2, identifying line is a great way to practice the mark making that is essential to forming letters.

Procedure Cont:
Display the images for students, have them either match lines you give them to an image of have them find their own lines in the images or both. Students should then draw the lines they have found on their own paper. display several letters for students, ask them to identify which lines can be seen in Then which letters: (focusing on curving lines, straight lines and diagonal lines) Once the line and letter are matched, go back to the paintings and come up with a word that starts with that letter to describe some aspect of the painting. provides a new way practice writing letters. This The lines can also easily be created by listening to sound. Use a variety of selections of instrumental music, have students make lines to match the sounds they hear: what would a slow line look like, a fast line, a loud line, a quiet line and so on Then apply the same procedures as above. Image Description 1)Charles Sheeler, Pertaining to Yachts and Yachting,1922 The ungainly name "Precisionism" was coined by the painter-photographer Charles Sheeler, mainly to denote what he himself did. It indicated both style and subject. In fact, the subject was the style: exact, hard, flat, big, industrial, and full of exchanges with photography. 2)Wassily Kandinsky (1866-1944) Transverse Line, 1923 Kandinsky, Wassily, Russian in full VASILY VASILYEVICH KANDINSKY Kandinsky, himself an a ccomplished musician, once said Color is the keyboard, the eyes are the harmonies, the soul is the piano with many strings. The artist is the hand that plays, touching one key or another, to cause vibrations in the soul. The concept that color and musical harmony are linked has a long history, intriguing scientists such as Sir Isaac Newton. Kandinsky used color in a highly theoretical way associating tone with timbre (the sound's character), hue with pitch, and saturation with the volume of sound. He even claimed that when he saw color he heard music. 3)Amado Pena, Los Pescados Pena, 1978 Amado is a Mestizo of Mexican and Yaqui ancestry. His art celebrates the strength of a people who meet the harsh realities of life in an uncompromising land, and his work is a tribute to the Native Americans who survive by living in harmony with an adversarial, untamed environment. 4)Maria Helena Vieira Da Silva: 6.Les Grandes Constructions (1956); Vieira da Silva was born in Lisbon, Portugal. By the late 1950s Vieira da Silva was internationally known for her dense and complex compositions, influenced by the art of Paul Czanne and the fragmented forms, spatial ambiguities, and restricted palette of cubism and abstract art. She is considered to be one of the most important Post-War abstract artists although she is not a "pure" abstract painter. Her work is related to French Tachisme, American Abstract expressionism, and Surrealismas were many of her contemporaries who were painting in Post-War Paris during the mid to late 1940s and early 1950s. Her paintings often resemble mazes, cities seen in profile or from high above or even library shelves in what seems to be an allegory to a never-ending search for Knowledge or the Absolute.

 1 3 Procedures: 2

Matching with Color

Description:
Color can be a very expressive entity. There are many ways to approach the color matching activity. In one example, students can assign an emotion/mood/feeling to a color (using very specific adjectives) and then assign that color to an image. In another example, students can assign an emotion/mood/feeling to a color and then assign that color to an excerpt from a story, a character, multiple stories and so on. The purpose is to identify the moods, emotions and/or feelings colors evoke; at the same time engage students in specific aspects of literature.

Students may work in small groups or individually. Lay out color swatches in front of students. Students should flip over the color swatch and write down emotion, mood or feeling words this color think of. makes them Next display the matching choice (other images, text, characters etc.) You may consider doing the matching first with images, then with the text. If the text happens to be something that was made into a movie, you could use clips from the movieand so on Students will match the color that best matches the mood of the image, the character, the text excerpt, or whatever you have chosen for this activity. Once students have made the match they should go back and edit or add to the words they used to describe the emotion, mood or feeling words. Students should be expected to share their discoveries.

1)John Steuart Curry, Tornado Over Kansas 1929 John Steuart Curry was born November 14, 1897, on a farm near Dunavant, Kansas. He attended the Kansas City Art Institute, Art Institute of Chicago, and Geneva College in Beaver Falls, Pennsylvania. Following graduation Curry worked as an illustrator for Boys Life, St. Nicholas, County Gentleman, and The Saturday Evening Post. In 1926 Curry went to Paris to study the works of realist Jean Dsir Gustave Courbet, Honor Daumier, Titian, and Peter Paul Rubens. 2) Edward Hopper: House by the Railroad 1925

Hopper trained under Robert Henri, 1900-06, and between 1906 and 1910 made three trips to Europe, though these had little influence on his style. Hopper exhibited at the Armoury Show in 1913, but from then until 1923 he abandoned painting, earning his living by commercial illustration. Thereafter, however, he gained widespread recognition as a central exponent of American Scene painting, expressing the loneliness, vacuity, and stagnation of town life. Yet Hopper remained always an individualist: `I don't think I ever tried to paint the American scene; I'm trying to paint myself.'
3) Pablo Picasso: The Tragedy Picasso was a Spanish painter, draughtsman, and sculptor. He is one of the most recognized figures in 20th- century art. He is best known for co-founding the Cubist movement and for the wide variety of styles embodied in his work. 4) Georges Seurat: Bathers at Asnires (Une Baignade, Asnires), 1884. Painter, founder of the 19th-century French school of Neo-Impressionism whose technique for portraying the play of light using tiny brushstrokes of contrasting colours became known as Pointillism. Using this techique, he created huge compositions with tiny, detached strokes of pure colour too small to be distinguished when looking at the entire work but making his paintings shimmer with brilliance.

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Matching with Vocabulary

Description:
Matching with vocabulary is a great outside the box routine for applying new vocabulary and new concepts associated with that vocabulary.

Procedures: In this routine, students will apply a set of vocabulary words/concepts to an image. Students can work individually or in groups. You can use one image or multiple images. It i s important to choose an image that is unrelated to the vocabulary words. This will force students to think through their vocabulary and the meaning of the words in order to apply it to the image. For example: Given the science vocabulary: Motion, Force, Friction, Kinetic energy, Potential energy: Students will apply these words to an aspect of the baseball image above: where do you see force, friction, motion, etc. the science vocabulary: Plant structures: Roots, Stem, Leaves, Flower, Seeds Given Students will apply these words to the cityscape above: which structure in the painting would be the roots, the stem, the flower, etc. The key here is to get students to really understand the words they are exploring, by applying them in this new way, they will be forced to think through their meaning. It is essential that students explain their answers.

1) Paul Brent: Green City Scape Paul Brent is a Panama City artist whose work is known worldwide. He first came to Bay County in 1969 and his paintings in watercolor and oil have deftly portrayed the many aspects of the area capturing the innate beauty on paper and canvas. Often he is referred to as Americas best know coastal artist and he is best known for his idyllic watercolors of coastal life. However, his work has shown constant progression and change throughout his career. 2) Bill Purdom: Sports Artist William Scahill (Bill) Purdom was born in Charleston, West Virginia on October 27, 1953. He grew up in Wyoming, Ohio where by age 9 his artwork was attracting local attention. After Wyoming High School came Auburn University. He graduated in 1975 with a degree in visual design. The next 19 years were spent working and living in New York City. He started working at Whistl'n Dixie Studio where his art for Bloomingdales gained him international attention. This notoriety allowed him to become self-employed. In the last year Bill became the most prolific artist in the history of the Topps Co., Inc. To date he has painted 340 baseball, football and basketball cards

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Matching with Expressions

Description:
This is a matching routine designed to engage students in imagery as well as vocabulary. In this routine students match with expressions, assigning a description to an image.

Procedures:
This routine can be handled in many ways. A group of descriptive words or expressions can be chosen from vocabulary words or chosen based on a text you are reading in class. For younger students, it helps to have an icon to go with the descriptive words (see below) Words can be established by you as the teacher or created by the students, depending on what your goal is. In the example below, all the images are Vincent Van Gogh paintings. Students can work in groups or as a class. Students choose which image matches which expression and will be expected to justify their answers. This could easily serve as a warm up activity. The images could be switched with text and students can match the expressions to text excerpts as well.

Image Description Vincent Van Gogh: Van Gogh is generally considered the greatest Dutch painter and draughtsman after Rembrandt. With Czanne and Gauguin the greatest of Post-Impressionist artists. He powerfully influenced the current of Expressionism in modern art. His work, all of it produced during a period of only 10 years, hauntingly conveys through its striking colour, coarse brushwork, and contoured forms the anguish of a mental illness that eventually resulted in suicide. Among his masterpieces are numerous self-portraits and the well-known The Starry Night (1889). Cold

Excited

Happy

Hot

Sad

Quiet

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CLAY
Description:
Clay is an interactive way for students to explore an idea, a character or a vocabulary word. Using clay is a way for students to apply knowledge and a means for assessment.

Procedures:
Students will need to be divided into small groups. Each group can be assigned the same goal or you can give each group a different goal. Essentially clay means that you choose one person in the group to be the clay sculpture. The rest of the group sculpts the clay in order to visually express either a character, an idea or a vocabulary word. Students can position arms and legs as well as facial expressions. If students are sculpting a character from a story then they will need to think of ways to express that character. You could have one group sculpt the antagonist and one group the protagonist then do compare and contrast. If students are sculpting a vocabulary word like pensive for example, they will need to agree on the best body position and facial expressive to portray this word. You could keep each groups word a secret and have the other groups guess the word. The juried show option is to have a group of students be art jurors they will look at each sculpture and decide which one best portrays a character or best describes a word.

Image Description: 1)Degas Dancer French artist, acknowledged as the master of drawing the human figure in motion. Degas worked in many mediums, preferring pastel to all others. He is perhaps best known for his paintings, drawings, and bronzes of ballerinas and of race horses. 2 & 3) Robert Arneson's ceramic sculpture Starting in the 1960s, Arneson and several other California artists began to abandon the traditional manufacture of functional items in favor of using everyday objects to make confrontational statements. The new movement was dubbed Funk Art, and Arneson is considered the father of the ceramic Funk movement.

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Context Clues
Description:
Students will understand how to use context clues (a method by which the meanings of unknown words may be obtained by examining the parts of a sentence surrounding the word for definition) in literature by exploring the meaning of context clues through visual art.

Procedures:
Choose an image (or several images) to display in front of the class. Cover a portion of the image. Ask students to make an educated guess as to what is hidden. Students will use what they can see in order to make their guess. Students should discuss how they came up with their answer. Students will then relate this procedure back to the written word.

Image Description W.H. Brown: Bareback Riders Very little is knows about artist W.H. Brown. He was an active painter in the last quarter of the 19th century. He was one of the many untrained folk painters who traveled through rural America looking for subject matter.

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What is the Main Idea?

Description:
Students like to give details when telling you about something they have read, consolidating what they have read into one statement that sums up main idea can be a challenge. Thinking about how to decide what the main idea is can be explained by looking at a work of art and doing the same thing. Just as an author, an artist uses many principles to get across the main idea of their work. One of the key art principles that an artist will use to get across the main idea is emphasis.

Procedures: This procedure can be implemented in many ways. You can do this whole group with one image, in small groups with several images or you can have this as a center that students go to on their own. Display an image to your students. Lead a discussion about what the artist want you to think about when looking at the image. What kinds of things does the artist do to help us understand what the message is? nice thing about using the arts as a spring board for understanding and applying concepts in other The subjects is that (in most cases) there is no right or wrong answer. In this case, students are trying to come up with a clear understanding of what the message is while justifying their answer based on what they see. Just as in writing, students should come up with a clear understanding if what the main idea is while justifying their answer based on what they have read.

Image Description Rufino Tamayo, Women reaching for the moon Rufino Tamayo (1899-1991) was a Zapotecan Indian born in the Mexican state of Oaxaca. He moved to Mxico City where he attended the Escuela Nacional de Artes Plasticas "San Carlos." Tamayo was exposed to the cultural wealth of pre-Colombian Mxico as he worked as a draftsman at the Museo Nacional de Arqueologia. While his contemporaries Siqueiros, Rivera and Orozco were advocating art with a message, often political, Tamayo's work focused on plastic forms integrated with a masterful use of colors and textures. Tamayo participated in the development of "Mixografia," a graphic technique to obtain colored and textured three-dimensional print on handmade paper. He is one of the best known Latin American artists. His exhibitions have been in major museums such as the Palacio Nacional de Bellas Artes, Mxico, The Philips Collection in Washington, The Guggenheim Museum in New York, The Museo Nacional Centro de Arte Reina Sofia in Madrid as well as important art galleries throughout the world.

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INTERVIEW
Description:
The interview activity is a powerful tool and can be used in a variety of ways. Interview is meant to help students dig deeper into an idea or concept that you are exploring in one of the content areas you teach. Interview is a creative way to help students fully understand and apply and idea or concept while allowing you to assess what they know.

Procedures:
You can essentially construct an interview around anything you are doing. You will need to choose an image that has multiple figures in it. One way to set up interview is to have students in groups. Each group is assigned one figure from the image. One student role plays being the figure and the other is the interviewer. Based on what that figure is doing or what that figure looks like, students will need to consider how that particular figure would answer. Another way to set up interview is to pose questions about a topic, idea or concept. Have students decide which figure will answer and what they would say. Now, for your questions: The questions can come from a book you have read in Language Arts, a concept you are exploring in Political science or social studies, an idea from science. say you are studying forces in Nature during science. Lets You have just learned what causes a hurricane. One of the things you are studying about hurricanes is how to protect yourself and your home from an incoming hurricane. Start posing your questions: Ms in the hat, where have you traveled from? Did you evacuate from the hurricane there? What are some things you did to protect your house before you left?........and so on The focus of the questions should relate directly to your curriculum..

Image Description

Street Scene Paintings by Max Ginsburg

This image has been cropped due to content.

Artist Statement
I have lived and worked in New York all my life. As a New Yorker, I feel a personal and deep connection to this rich, energetic and beautiful city with its amazingly diverse population. My objective is to paint about the people of New York, realistically and with compassion. I have expressed my strongly held feelings about peace and justice; deep outrage to war, injustice and torture are conveyed in some of my paintings. With regard to these themes, I have been inspired by Old Masters such as Caravaggio, Goya, Kollwitz and Picasso. I choose to paint realistically because I believe realism is truth and truth is beauty. I derive an aesthetic pleasure in skillfully done realistic drawings and paintings. I believe that realism can communicate ideas strongly and it is this communication that is extremely important to me.

Line Procedures:

Line Conversations
Description:
This routine offers a creative means to explore characters in a story.

Students can work in small groups or individually for this routine. Students should identify at least one character from a text. Students (or you) then identify one event from the text. Students will abstractly illustrate how the chosen character would describe an event from the text to another person (who can also be from the text, but does not have to be) using just line. Students should think about the speed of the line, the shape of the line, the thickness and so forth. For example, if the event was very difficult for the chosen character, the first thing the students would need to do is identify the event as being difficult, then they need to use line quality to portray difficult. There is no right or wrong line, the key is for students to have to explain what their line portrays and they think the way they drew their line in fact does portray the given event. why The above example shows drawings of the people engaged in the conversation (note: the line quality of the conversation is also reflected in the line quality of the person) You could certainly substitute a magazine cut out or photograph or combination of any of these.

SHAPE Procedures:

Shape Explosion

Solar System

planets

orbit

Light years

star

Description:
This routine is designed to unpack and idea/concept or new vocabulary word (set of words) This routine uses artwork as a form of webbing.

Display the image of Brink in front of the class. Place a concept /idea/theme/ or vocabulary word in the center of the circular shape. Students will then explode the chosen idea into its meaning/its parts or descriptions. This is a great way to introduce an idea or to asses understanding of an idea. Students can work individually or in small groups. You can also reverse the technique and have students come up with their own shape and their own variation of what the explosion of a given idea would look like.

Adolph Gottlieb, Brink, 1959: Adolph Gottlieb is born March 14, 1903, to his parents Emil and Elsie Gottlieb in New York city. Gottlieb becomes a founding member of The Ten a group of artists devoted to expressionist and abstract painting.

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Step Inside
Description:
This routine is designed to be used as a writing prompt. Using imagery helps give students a starting place to write.

Display an image of your students, or you can use multiple images for various groups of students. Allow students some time to engage with and discuss the image. Pose the phrase students, Now we are going to Step Inside this Image Brainstorm a list of questions to consider when being inside this painting This list will vary depending on the age of your students, but could include things like: What do you see, smell, hear? What is the temperature? Where are you? is the man in the painting? Who Do you know him? What is he looking at? ECT.

Edward Hopper, Office in a Small City, 1953

Hopper trained under Robert Henri, 1900-06, and between 1906 and 1910 made three trips to Europe, though these had little influence on his style. Hopper exhibited at the Armoury Show in 1913, but from then until 1923 he abandoned painting, earning his living by commercial illustration. Thereafter, however, he gained widespread recognition as a central exponent of American Scene painting, expressing the loneliness, vacuity, and stagnation of town life. Yet Hopper remained always an individualist: `I don't think I ever tried to paint the American scene; I'm trying to paint myself.'

Stop an Description:

Stop & Sketch

Description:
Stop and sketch is a quick assessment tool to check for student understanding of a given topic.

At any point during the reading of text pertaining to any subject, ask students to Stop and Sketch. Here you can ask them to sketch to summarize, sketch an event, sketch a setting or a character. This should be a very quick activity. This routine can also be done in a visual response journal that you establish at the beginning of the year. Fast finishers can also go back to their sketches as any time.

Stop an Procedures:

What Happened
Before? After?

Description:
This routine can be used as an excellent writing prompt. Artwork in this case can be used as a spring board for creative writing.

Display the image to your students. You can use one main image or divide the students into groups, giving them several different images. This routine is designed as a writing prompt for students. Give students some time to discuss and become familiar with the image. Then pose the question(s) What happened before this image took place? What happened after this image took place?

Thomas Benton: Art's Wreck of the Ole '97. An avid collector of folk music, Benton , like many others, felt it was an important aspect of traditional American life. And what could be more American than the locomotive? Trains fascinated Benton and he made them the subjects of numerous paintings and prints. "My first pictures were of railroad trains," Benton wrote, "Engines were the most impressive things that came into my childhood...[They] gave me a feeling of stupendous drama, which I have not lost to this day."Benton helped to form the naturalistic and representational style of work, known today as Regionalism, by depicting themes that were common to the rural Mid-West. He and others strove to create an American art that celebrated the people, history, and folklore of our country. The Regionalists created nostalgic and provoking works whose subject matter is accessible to the everyday viewer.

Stop an

Visual Response Journal

Description:
The visual response journal is meant to be used as a place to keep responses that are generated through the arts. Any answers to the questions posed by the various routines in this resource can be answered in the visual response journal. You can create a journal for a unit or for the entire year.

Procedures: There are limitless possibilities to what a visual response journal can be used for. Be creative, allow students to be creative in making their journals. Journals can be responses to routines or they can function as a routine by themselves. For example, students could make a visual response journal that is from the point of view of a character in literature. This may include ideas, questions, thoughts the character may have. The journal could be entirely visual, in other words you may have to express an idea by cutting, collaging or drawing to express an idea with no words at all. Students really love visual journaling: And excellent resource for techniques on visual journaling is the book: Journal Junkies (see below)

Image Description We are David R. Modler and Eric M. Scott,

Wo Procedures:

Word World
Description:
This routine allows students to explore the language used in a given text in a unique way. The idea of laying out words or images at random comes from the philosophies of the surrealist artists. While exploring text, students will also find surprises in meanings that can come from the random ordering of the given text.

Choose several random words from a selected text that is being explored in a content area. These words can be selected by students of by you. Once the words have been selected (and these should not be words like is, the, and, and so on, these should be words used by the author to create meaning in the text. The best choices are vocabulary words) students will randomly arrange them into a composition. See what surprising combinations you can make and what new meanings they create just by being arranged differently here is time, you can include other elements of collage or drawing to enhance the randomness or If t the meaning of what you have created. Make sure at all times you relate the words used back to the text and how they are used in the text.

Barbara Kruger

Much of Kruger's work engages the merging of found photographs from existing sources with pithy and aggressive text that involves the viewer in the struggle for power and control that her captions speak to. In their trademark white letters against a slash of red background, some of her instantly recognizable slogans read I shop therefore I am, and Your body is a battleground." Much of her text questions the viewer about feminism, consumerism, and individual autonomy and desire, although her black-and-white images are culled from the mainstream magazines that sell the very ideas she is disputing.Kruger juxtaposes her imagery and text containing criticism of sexism and the circulation of power within cultures is a recurring motif in Kruger's work. The text in her works of the 1980s includes such phrases as "Your comfort is my silence" (1981), "You invest in the divinity of the masterpiece" (1982), and "I shop therefore I am" (1987). She has said that "I work with pictures and words because they have the ability to determine who we are and who we arent."[2] A larger category that threads through her work is the appropriation and alteration of existing images. The importance of appropriation art in contemporary culture lay in its ability to play with preponderant imagistic and textual conventions: to mash up meanings and create new ones.

Higher Order Questions:

Questions designed to be used when looking at and exploring visual images.

Derived from Visual Arts Curriculum Components:

Perceiving and Responding
What can you tell me about the textures, space, values you see? What can you tell me about theemphasis, balance, harmony, unityof the artwork? What is happening in this artwork? What do you see that makes you say that? What is the overall mood of this artwork? Does the way the artist uses the elements of art help create this mood? How? What is most important in this artwork, how well it is made, the idea expressed behind it or both? Where do you think the artist got the idea to make this work of art? Which principle of design we have discussed in class do you think is the most important in this artwork? Why? Elements of Art Principles of Design What can you tell me about the.. lines, shapes, colors..you see? What can you tell me about the.variety, movement, rhythm, proportions.used in the artwork? Was this artwork created by looking at something real, by thinking of a memory or from the artists imagination? What makes you say that? What is the overall meaning behind this artwork? Does the way the artist uses the elements of art help create meaning? How? What do you think the artist was thinking about when he/she created this artwork? Do you think this artist is trying to tell a story? If so, what is the story about?

Historical, Cultural, Social Context

Is this artwork about the artist, other people, a place or an What is the overall theme or main idea in this artwork? event? What does the artist want you to think about when looking at this artwork? How does the main idea or theme of this artwork relate to What genre of art is this? (painting, sculpture, photo, other artworks we have seen? drawing, etc.) Why do you think this artist created this artwork? Did What does this artwork say about the time period it was he/she have a message? made? Is this artwork influenced by the time period or place it When was this artwork made, a long time ago or recently? was made? How can you tell? Do you recognize any symbols used in this artwork, if so, Do you think this artist has a style of his/her own? Can you what are they and what do they mean? describe it?

Creative Expression
What kinds if materials did this artist use to make this artwork? What do you think inspired this artist to make this artwork? How long do you think it took this artist to make this artwork? Why? How did this artist make this artwork? Do you think it was easy or hard to make this artwork? Why?

Aesthetics and Criticism

Do you think this artist was successful in getting us to understand what their artwork is about? Why or why not? Does this artist do a good job using the elements of art? Which ones can you point out. Do you think this artwork is successful? Why or why not? Do you think this artwork looks how the artist wanted it to look? Why or why not? Does this artist do a good job using the principles of design? Which ones can you point out? Do you like this artwork? Why or why not?

Derived from Blooms Taxonomy:

Comprehension
How is this image the same or different from real life? What interests you most about this work of art? What things in this artwork do you recognize, what things are new to you? What do these two artworks have in common? How are they different? What does this artwork remind you of ? What do you think about when you look at this artwork?

Application
How does this artwork relate to what we have been learning? Why is.significant? Ex) Why is the use of the color red significant? How isand example of..? Ex) How is this sculpture an example of expressionism? How isrelated to..? Ex) How is this landscape related to the story we just read?

Analysis
What can you tell me about thein this image? Ex) What can you tell me about the person in this image? Which objects seem closer to you in this image? Which objects are further away? What can you tell me about.? How did you arrive at this idea? Ex) What can you tell me about the meaning of this artwork? What do you think is the most important aspect of this artwork? What can you tell me about the way color is used in the image? What questions would you ask the artist about this work ?

Synthesis
If this artwork were still incomplete, what more would you How would you create/design a new? add? Ex) How would you create/design a new sculpture about community? What might happen if you combined? This artwork is about.? What other kinds of artwork Ex) What might happen if you combined expressionism could you make about..? and realism? Ex) This artwork is about the vastness of nature. What other kinds of artwork could you make about the vastness of nature? What kinds of reactions can you predict this artwork What can you infer this artwork is about? What makes you would receive from.? say that? Ex) What kinds of reactions can you predict this artwork would receive from children?

Evaluation
What do you think is good about this artwork? What is not What is your opinion of this artwork? so good? What is the most important idea in this artwork? How do What conclusions can you draw about this artwork? you know this?

21st Century Approach to Arts Curriculum

Art is always created within a context. Much of what we see in contemporary art is ideas and themes that are universal or can be applied to concepts within other disciplines. By simply reading over some 21st century art themes, you can see the possibilities for explorations in other content areas. This is not a how to document. This document is designed to help you think of new ideas for use in the classroom. The Highlighted words are words that can be a springboard for the development of an idea or approach to an investigation.
Olivia Gude: Elements of a Contemporary Art Education Curriculum: http://sprial.aa.uic.edu

Appropriation
Constructing artworks out of pre-existing images,texts,objects,sounds, or clips. A basic artmaking element and a conceptual strategy. How do we value originality in a cultural world in shich appropriation is a basic method of making?

Drawing
Considering the meaning of mimetic skills in a digital age. Drawing as a form of meditaion on the real. Understanding expressionistic markmaking as a cultural signifier of the fusion of inner and outer reality. Valuing styles of drawing for communication that emphasize style and storytelling over mimesis.

Vocabulary of Form
Traditional elements and principles as well as postmodern principles such as layering and juxtaposition. Eschewing tedious exercises in favor of collaborative gaming and painterly explorations.

Text-Image Interaction
Exploring the combination of text and image, not as a literal matching, but as a range of strategies that create new meanings through disjuncture.

Hybridity-Multi-Modal Artworks
Performances and pageants. Constructed situations, actions, and happenings. Technologies of digital image-making easily morph into time-based presentations combining sound, image, animation, video, ect.

Creativity Curriculum
Opportunities for students to engage in creative play, strategies to generate surprising juxtapositions, learning to notive unexpected meanings. Projects that allow for quick, creative investigation without laborious finish up.

Craft
Awareness of traditions of craft in human culture. Reflecting on the meaning of handmade objects in industrial and postindustrial times. Ability to take pleasure in contemplation and making. Reflection on global implications of craft trade between developed and underdeveloped economies. Deconstruction Revealing inherent meanings in visual or verbal works by strategic interventions. Utilizing theoretical concepts to read representational practices in new ways.

Construction of Identity
Eschewing essentialist concepts of identity (Who is the real you?) in self-portrait projects. Projects in which students are encouraged to investigate the familial and social discourses in which identities are formed. Curriculum that explores the representation and construction of gender.

Construction of Desire
Recognizing how desire and ideas of what is natural or necessary are constructed within various social discourses. Analysis of traditional and contemporary advertising strategies.

Gazing
Analyzing the act of lookingrecognizing the power inherent in the position of the looker. Considerations of gender, class, race, locality, and nationality in representation.

Representing Personal and Community Experience

Vailidity of ones own life experience as a subject for artmaking. Strategies (otherthan laborious realistic drawing) that give students the tools to make narrative art about self and community.

Generative Themes
Recognizing the issues, problems, and possibilities in particular places and situations. Creating dialogue to collectively identify themes. Structuring artistic investigations to better understand themes in their fullness and complexity.

Alternative Art Practices

Teaching students about proactive, political art making practices rooted in the concerns of various communities, such as African American Art in the Harlem Renaissance or in the Africobra movement, Chicano arts, or the link between the feminist movement and feminist inspired artworks.

Psycho-Aesthetic Geography
Recognition that the spaces in which we live and work shape us as human subjects and shape our social interactions. Learning skills to collaboratively transform places through temporary instillations, banners, murals, sculptures, mosaics, space designs, and performance interventions.

Additional Resources:
Harvard University Project Zero offers additional arts based routines for the classroom through their research project: Artful Thinking: http://pzweb.harvard.edu/tc/index.cfm Finding images: There are a myriad of places to locate images, listed below are just a few: Museums are a great place to find images and image descriptions, here are two examples:
www.metmuseum.org www.getty.edu

Others: http://www.ibiblio.org http://www.artchive.com http://www.museumsyndicate.com http://www.artcyclopedia.com www.loc.gov/pictures www.public-domain-image.com

Thank Yous
The Ideas for these resources came from several classroom teachers from around the state of Maryland. Thank you all for being such hard working dedicated teachers whose primary concern is making sure their students succeed! This resource could not have been created without the support of Rob Hovermale: Supervisor of Visual and Performing Arts, Washington County Maryland. Thank you Rob for all you do to ensure the arts remain an important part of education. Thank you to Hawkmoth Arts artist and teacher Sandy Gray-Murray for developing/organizing and disseminating this information.