THE ELEMENTS AND PRINCIPLES OF ART

Back to the Basics:

The Elements and Principles of Art
Index

Note: The majority of the lessons are written for elementary-level classes, although most of them are adaptable for a wide variety of age levels. Lessons written specifically for middle-level students are designated ML. Secondary lessons either say so in the title or are designated S. The symbol w/ S indicates a secondary level variation is included with the lesson.

The Elements and Principles of Art .. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1 Art Elements Book .. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3 Art Principles Book . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4 Whats my Line? . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5 Lines Can Show Movement (w/ S) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 7 The Great Line Hunt . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 12 Lines Can Show Feelings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 13 Interesting Lines Make Interesting Shapes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 15 Art and HistoryA Line In Time . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 16 ArtThe Amazing Maze . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 17 Visual Art and MusicWhat Does Music Look Like? .. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 19 Exploring Shape, Drive Inn .. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 22 Shapes Can Be Expressive (w/S) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 25 Social Studies, Shapes in Society . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 26 Geometry, Making 2 & 3-D Shapes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 27 Color, Because I Like Red! . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 30 Fauves and Color (S) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 32 Watercolor Mixing Colors (ML) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 34 GeologyLand Forms . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 36 Frottage, Textured Watercolors . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 35 MusicNationalistic Composer, Ferde Grof .. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 36 Seeing and Creating Value in Three Dimensions .. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 39 Value Can Be Expressive . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 42 Symbols in Language and Life (S) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 45 Genetics/Higher Order Thinking Skills . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 47 The Ethics of Gene Manipulation (S) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 48 TextureSee it, Feel It, Taste It! . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 49 Textured Names . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 52 Textured Clay Relief Sculpture .. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 53 Exploring Ways the Art Elements Can Create Unity . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 121 ii

Pressed Flower Compositions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 56 Science/ArtDrawing the Parts of a Flower . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 57 Positive and Negative SpaceBreaking up Space . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 58 MathFinding the Area of Irregular Shapes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 61 TessellationsUsing Math in Art . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 61 Architecture .. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 61 KaleidocyclesMore Math Meets Art . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 63 Kaleidocycle Patterns . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 64 Information on Tessellations .. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 65 Human ProportionLearning to Draw Faces . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 67 Playing With ProportionDeliberate Distortion . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 72 Proportion in Animal Sculpture . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 73 Myth . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 74 Role Playing Pet/Owner Relationships .. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 74 ScienceSpecific Dog Beeds Have Specific Traits . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 75 MathGraphing the results of a poll . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 76 Treatment and use of dogs in various cultures . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 76 Finding a Balance in Art .. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 77 Using Balance in Sculpture . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 79 Creative MovementBalanced Shapes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 80 DramaFrozen Pictures .. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 80 Balance can be TrickyAsymmetrical Balance (S) .. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 81 Variation and Repetition, Found Object Relief Sculpture (E).. . . . . . . . . . . . . . . . . . . . . . . . . . . . . 83 Variation and Repetition, Found-Object Sculpture (S) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 87 Variety Creates Interest (w/S) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 88 Exploring Ways to Create Variety .. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 89 Keeping the Viewers Eyes in the Picture Plane . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 90 Impressionism and Post-Impressionism .. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 91 Creating a Personal Symbol or Signature . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 91 HistoryThe Public Works of Art Project . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 92 ScienceIdentifying Flowers . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 93 Poems and Paintings that Celebrate Nature . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 93 Making a Rhythm Print . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 95 Rhythmic Collages .. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 98 Rhythm Patterns in Music/Dance/Art . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 101 DramaOne at a Time . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 102 A Rhythm and Sound Machine . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 104 Make Your Own Rhythm Instruments . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 105 EmphasisThe One thing I Want You to See . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 106 Identifying Emphasis in Art . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 108 How Many Ways Can You Create Emphasis? . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 109 Social StudiesTransportation .. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 109 DramaInterest through Emphasis . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 110 UnityNatural Found Object Assemblage . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 112 UnityMobiles . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 114 Remember When: Unity in Art & Life . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 116 Secondary Unity ExtensionRework for Unity . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 119 Identifying, Understanding, and Creating Unity in Art . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 120

Art HistoryInstrumentalist Art . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Language Can Promote Ideas. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Drama/Healthy Lifestyles: Families Can Have Unity . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Secondary Elements and Principles Sketchbook Assignments . . . . . . . . . . . . . . . . . . . . . . . . . . . .

122 124 124 126

Artist BiographiesList . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 139 Phillip Henry Barkdull, Designed Landscape: Symphony in Colour . . . . . . . . . . . . . . . . . . . . . . . 140 Wulf Barsch, Toward Thebes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 142 Ken Baxter, Mechams Boots . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Allen Craig Bishop, La Semilla Brota . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Silvia Davis, Guest. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Harrison Groutage, Along the Bear River . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . John Hafen, The Mountain Stream . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 145 147 150 152 154

Frank Huff, Drive-Inn . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 156 Raymond Jonas, Abstract Configuration .. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 157 Brian Kershisnik, Fallen Icarus in the Park . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 159 Jacqui Biggs Larsen, Cottage Industry .. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 162 Robert Leroy Marshall, Snow Canyon .. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 164 Georgi Melikhov, Victory Day in Berlin . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 166 Bonnie Philips, Whole Wheat on Tuna . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 168 Gary Lee Price, Irises .. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Lee Greene Richards, Grandma Eldredges Garden .. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Frank Riggs, Tohatchi . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . A.D. Shaw, Twice Told Tales . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 170 173 175 178

Dennis Smith, Barn Swallow . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 180 Gary Ernest Smith, Great American Farmer . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 182 Minerva Teichert, Hereford Roundup . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 184 Dahrl Thomson, Island of Hope . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 187 Richard Van Wagoner, Donar Bank . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 189 Michael Workman, In DarknessNevertheless Illuminated . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 191

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Back to the Basics

THE ELEMENTS AND PRINCIPLES OF ART
The elements of art are the basic visual symbols artists use to communicate. These elements are line, shape, color, value, texture, and space. * LineA mark drawn with a pointed, moving tool or the path of a dot through space. Although lines can vary in appearance (they can have different lengths, widths, textures, directions and degree of curve), they are considered one-dimensional and are measured by length. A line is used by an artist to control the viewers eye movement and to create shapes. There are five kinds of lines: vertical, horizontal, diagonal, curved, and zigzag. Shapea two-dimensional area clearly designated in some way, generally by one or more of the other five visual elements. Although a form has depth, a shape has only width and height. Shapes are either geometric or free form(organic). Colorwhat the eye sees when light is reflected off an object. The sensation of color is aroused in the brain by the eyes response to different wavelengths of light. Color has three properties: hue, value, and intensity. Valuethe lightness or darkness of an object. Value depends on how much light a surface reflects. Value is also one of the three properties of color. Texturehow things feel or look as if they might feel, if touched. Texture is perceived by touch and by sight. Objects can have innumerable versions of rough or smooth textures and matte or shiny surfaces. Visual texture produces 1 the illusion that something would feel rough, smooth, or soft if touched. Spacethe emptiness or area between, around, above, below, or within objects. Shapes and form are defined by these spaces. Positive space is the area within an object and negative space is the area around the objects. Space is also the illusion created on a two-dimensional picture plane that objects and the picture plane have three dimensions. The Principles of Art are guides that govern or descriptions of how artists organize the elements of art. These principles are proportion, balance, variety, rhythm, emphasis, and unity. Proportionprinciple of art concerned with the size relationships of one part to another or to the whole. Balanceprinciple of design concerned with equalizing visual forces, or elements in a work of art. If a work of art has visual balance, the viewer feels that the elements have been arranged in a satisfying way. Visual imbalance makes the viewer feel that the elements need to be rearranged. The two types are called formal or symmetrical and informal or asymmetrical. A principle of art concerned with arranging the elements so no one part overpowers, or seems heavier than any other part. Varietyprinciple of design concerned with difference or contrast. Combining one or more elements of art to create interest by adding slight changes.

Rhythmthe principle of art that indicates movement by repetition of elements. Visual rhythm is perceived through the eyes and is created by positive spaces separated by negative spaces. There are five types of rhythm: random, regular, alternating, flowing and progressive. The repetition of an element to make a work seem active or to suggest vibration. Emphasisprinciple of design that makes one part of the work dominant over the other parts. The element noticed first is called dominant; the elements noticed later are called subordinate. Making an element or an object stand out. Unitythe quality of wholeness or oneness that is achieved through the effective use of the elements and principles of art. Unity is created by simplicity, repetition, proximity and continuation. The arrangement of elements and principles of art with media to create a feeling of completeness or wholeness. *Some textbooks and teachers use slightly different lists of elements and/or principles. However, the ideas are basically the same.

BIBLIOGRAPHY Mittler, Gene, Rosalind Ragans, Jean Morman Unsworth, and Faye Scannell. Understanding Art. Woodland Hills: Glencoe/McGraw-Hill, 1992. Mittler, Gene, and Rosalind Ragans. Introducing Art. Woodland Hills: Glencoe/McGraw-Hill, 1999. Ragans, Rosalind. ARTTALK Mission Hills: Glencoe, 1995.

Art Elements Book

Objective: Students will be able to define the art elements in their own words and draw appropriate examples of those elements. Students will be able to talk about how artists have used the art elements in specific artworks. State Visual Arts Core: MakingStudents will play with art materials and begin to order them by basic art elements and principles. PerceivingStudents will view artworks and talk about basic art elements and principles Materials: construction paper drawing paper pencils colored media such as colored pencils, water colors, pastels, markers, or crayons reproductions of artworks from this packet Students will create a simple book by stapling two sheets of drawing paper inside a construction paper cover so the book has four half-sheet pages. On separate days, introduce each element by providing a definition at the students age level. Then show the class artworks from this packet, other packets, or from the poster set and have them identify the way the element is used in the artworks. On one page in the book, the student should write a definition of the art element in her own words, and then draw something to illustrate the element. Use the following list of art elements or your own: 3 Line Color Shape Value Texture Space

In addition to the definition, give the students specific criteria for the drawing that accompanies each art element. Tailor those criteria to your class. For example: LineMake 5 different kinds of lines ColorMake a simple color wheel using watercolors of the three primary colorsred, yellow, and blue, and then mix those colors to create the secondary colors of orange, green, and purple. ShapeMake 2 geometric shapes and 2 organic shapes ValueMake a value scale that shows 5 values TextureCreate 5 textures using dots, lines, crosshatching, etc. SpaceShow 3 indicators of space: overlapping, height in the picture plane, and relative size Have students make a cover design that incorporates at least three of the art elements they have learned. Students should keep the books in their desks so they can be used for reference throughout the year. Assessment: The Art Element Books can be assessed using the criteria you established for the drawings. For the definitions use the following: The definition of each element is: wrong, close, correct

Art Elements Exploration Book or Portfolio

Follow the directions for the Art Elements Book above but use 4 sheets of drawing paper. Use the first half-sheet inside the cover for a list of the art elements. On the next page, put a definition and example, as explained above. However, on the facing page, have students explore the art element in as many fun ways as they can think of. For example, how many different ways can they think of to make lines? Look at the individual lessons in the packet for ideas. If you prefer, instead of giving students 8-1/2 x 11 sheets of drawing paper, give them large sheets of paper and put the paper in some sort of portfolio instead of making a book. Art Principles Book You can make an Art Principles Book following the same format as the Elements Book, or you can include the principles with the elements by making a larger book. The art principles are more difficult concepts to grasp. The criteria below are just suggestions. Adapt them as necessary. ProportionMake an egg-shaped drawing of a head with lines showing where the eyes, nose, and mouth go (see proportion lesson) Balancedraw an example of symmetrical, asymmetrical, and radial balance VarietyDraw three shapes that are all different. Find a way to make each shape be more different by using color, line, texture, etc. Rhythmdraw three repeating but different elements to create a rhythm

EmphasisMake a drawing of simple shapes and emphasize two with color and one with texture UnityMake a line drawing of three objects that shows unity through the use of at least two art elements As with the art elements, you may prefer to have students experiment with the art principles on separate sheets of paper that they keep in portfolios.

Whats My Line?
Minerva Teichert, Hereford Roundup Objective: Students will understand line as an element of art and create a work of art using line as a dominant point of interest. Core Standards: Expressing & Perceiving Interpret ideas, moods or symbols in impor- tant artworks. How do they use art elements and principles? Apply art elements and principles in an art work to convey an idea or feeling. Select some student art based on a common theme, visual element, or principle they share and display them in a portion of the school that has been turned into an art museum. Materials: From the poster set : Dennis Smiths Keeper of the Gate Trevor Southeys New Bloom From the packet : Minerva Teicherts Hereford Roundup Two pieces of paper for each student pencils, pastels or colored pencils, (soft lead pencils if available) Discussion: Have each student touch one of their pieces of paper with the point of their pencil. Ask: What do we call the mark the pencil made? Put the pencil on the paper again and move it an inch or two from that point. Ask: What do we call the mark it made? If you were going to tell someone the definition of a line, what would you say? A line can be described as a moving point, or a thin continuous mark, as that made by a pen, pencil, or brush applied to a surface. (The American Heritage Dictionary of the English LanguageHoughton Mifflin, New College Edition) Have the students draw two separate boxes on their paper without the pencil leaving the paper, and set it aside for future use. The boxes should at least two inches square or larger. Show the Trevor Southey poster, New Bloom. Tell the students the name of the artwork and the artist. Ask: How has the artist used line in this picture? ( to make shapes, to show details, to create shadows, etc.)

Show the Dennis Smith poster, Keeper of the Gate. Tell the students the name of the artist and the painting. Ask: Do you see lines in this picture? How are the lines in this work of art different? ( because they are made by a brush/ use of color makes them different/ lines are created where different colors come together, etc.) Show Minerva Teicherts, Hereford Roundup and read information from her biography. Ask: What do you notice about how she has used line? After this discussion, if the students havent already done it, compare the use of line in the three works of art. Ask: Has the artist used lines 5 as technique to create the work of art? Or which

artist(s) has used line as a technique? Have they used line to create a feeling or mood? What moods or feelings do you perceive? Is the way they used lines part of their artistic style? How is it? Whats My Line? Activity: On the piece of paper with the two boxes, have the students draw the same picture in both boxes. Then in one of the pictures have them copy Trevor Southeys style of using lines for detail and shadows. Tell them to be sure to only use the tip of the pencil and create the shadows by drawing a series of lines close together and crossing lines (cross hatching) in the places they want to be very dark. There should be some dark and some light areas in the picture. In the second box have them use the pastels or colored pencils and copy Dennis Smiths style of coloring with lines and mixing colors together.

Production: Now that the students have practiced these two ways to use line, they are ready to create an original work of art using the line style of Minerva Teichert. Have them draw an original picture with their pencil on the second piece of paper using light sketchy lines until the objects, shapes, etc. are the way they want them. Encourage them to avoid erasing. (Review Minerva Teicherts style if necessary.) Then they are to go over the correct lines with the soft lead pencils or darken them with the regular pencils to make them a dominant element in the drawing. They will then color their art with the colored pencils, using either the coloring style of Teichert or Smith, which ever they like the best. Assessment: StudentsHave students discuss the activity. Ask: How has your understanding of line as an element in art changed? What did you like about this activity? Of the three artists we have studied, whose style do you like the best? What do you like about that artists style? Ask: What do you think about the picture you did? How is it different from the way you usually draw? Have you been able to make the lines an important element in your drawing? ( if your students can handle it, have them critique each others art.) TeacherYou can create a rubric to assess the work such as the one on the next page. Conclusion: Have some students make a poster about this project, explaining the element of line and the art they produced and exhibit it in the lunchroom, media center, school lobby, or other prominent area of the school.

Dennis Smith, Keeper of the Gate, Detail

Whats My Line? Name The lines in the artwork are . . . The color in the artwork is . . . barely visible or erased in places sloppy, shows no or little effort to use one of the artists styles a contributing factor to the overall design carefully done with 1 or 2 of the qualities of the artist chosen a dominant feature of the overall design skillfully done and captures several of the qualities of the artists work

The overall

Elementary Visual Art Lines Can Show Movement

(With Secondary Version) Minerva Teichert, Hereford Roundup
Objectives: Students will identify ways artists have used line to show movement. Students will demonstrate their ability to us line to capture movement by making gesture drawings, contour drawings, and a print based on one of their drawings. Core Standards: MakingStudents will play with art materials and will begin to order them by basic art elements and principles. PerceivingStudents will view artworks and talk about basic art elements and principles. Materials: transparency of Hereford Roundup by Minerva Teichert Postcards of Minerva Teichert drawings (some included here, or download images from http://www.lib.byu.edu/online.html (Search for Minerva Teichert in the Museum of Art Collection) sketch paper good paper pencils, charcoal pencils or charcoal For printmaking styrofoam plates, meat trays, or blocks pencils sketch paper pencils other items for making lines in the styrofoam such as forks, cuticle sticks, small sticks of wood with uneven ends, curved handle ends of spoons, odds and ends Show the class the transparency of Hereford Roundup by Minerva Teichert. Tell the students a little about her (see biography). Ask a student to come up and with a pointer, show some of the lines that create the feeling of movement in 8 the painting. If the students dont notice, point out to them that most of the objects have a line around them and some areas have several lines such as the horse with the rider in the blue shirt. If your class has done gesture drawings, review briefly. If not, teach the class how to do gesture drawings (drawings that capture the gesture or body position of the person or animal you are drawing. Gesture drawings are done quickly and roughly but can be the basis for a completed drawing.)

Detail from Hereford Roundup Use a picture from a magazine or newspaper that shows a child or person caught in the middle of an action. Place a sheet of tracing paper or a transparency over the picture and draw in the lines for the main parts of the skeletonthese lines set up the body position. Then quickly sketch in the main shapes of the body parts. You can use a scribbling motion, back and forth, or just very simplified shapes. See examples on the following page. Have several of the children pose as if they were in the middle of an action and have the students make gesture drawings. Start with a 2-minute drawing, then a 1-minute, then several 30-second drawings. Have the children take

turns modeling and do several sets of drawings. As the teacher, you most likely will need to help some students avoid the careful outlining they want to do. Have the students hold up the drawing they feel best captures the body position of the model.

gesture drawing of girls in photo

photo with major angles indicated

Assessment: Identify those who need additional work, so you can provide help during the rest of the lesson. Now show the class some of Minerva Teicherts drawings such as Desert Horses and Preparing for the Trek West.(on next page) In these drawings Teichert has gone beyond the gesture and has created what is called contour line drawings. Contour lines show the edges and major muscle masses of people or things. Have the students again make a light gesture drawing and then use lines to emphasize the 9

contours of the person. After the students have tried this once, show them some examples of gesture drawings and then more finished drawings by Mahonri Young such as Apple Picking Sketches and Apple Picking in Branchville.(At the end of the lesson or at byu.edu) Have them make one more gesture drawing with contour lines added. (For this part you may need to get students from another class to be models so all your students can draw.) Next class period, have students go over their contour drawings so they have a dark line drawing. They should include lines indicating the floor and maybe one or two other features of the room so the figure is not just standing in the air. Then they should place their drawing face down on a piece of styrofoam and rub the lines to transfer the graphite from the drawing to the foam. The students can use a pencil or other tool to push into the foam on the lines. When their drawing has been created in the foam, they

Minerva Teichert, Desert Horses Springville Museum of Art

Minerva Teichert, Preparing for the Trek West Brigham Young University, Museum of Art 10

can print the drawing. Because the lines are what is incised, the color will be the parts without lines. You may want to have the students try using a light ink on dark paper. Students should create an edition of three prints, trying to get three prints that look as much alike as possible. For younger students. Give each student a piece of foam and let them experiment with making lines in the foam using different tools. Then have them sketch a design using some of their favorite lines and make that design on a new piece of foam. Have students print their designs using water-based ink. If the piece of foam is small, they can make interesting patterns by turning the foam different directions. Variation: Using line to show feelings or ideas. After completing a line lesson, add the idea that the kind of lines we use can convey ideas or feelings. Have students experiment with lines on a piece of paper. They should make thick lines, thin lines, lines that go from thick to thin, wide lines, delicate lines, lines that are interrupted, etc. Then have them transfer a drawing to lino or styrofoam, choose how they want the finished print to look, and using some of the ways of making lines that they discovered, carve the lino block. Students should print an edition of at least 5 prints. Additional images From BYUs online collection of Mahonri Youngs work: Against the Ropes, Ambush (sketch) and Ambush (watercolor), Apple Picking Sketches and Apple Picking at Branchville; At the Gym; Barnyard w/ colt and geese; Bear Sketches and Bear at the Bronx Zoo; Boxer Getting Up.

For older students, arrange a trip to a farm, ranch, dance or gymnastics class. Have students make many gesture drawings. Back in the classroom, students will choose one drawing and fill it out. They can keep the drawing or transfer it to lino and make a block print. Extension: Using the sketches they made, students will create a 3D sculpture in wire.

11

Mahonri Young Apple picking sketches BYU MOA

Mahonri Young, Apple picking at Branchville BYU MOA

12

Elementary Visual ArtThe Great Line Hunt

Gary Smith, The Great American Cowboy Objective: Students will demonstrate an understanding of the innumerable variety of lines available to the visual artist by inventing, drawing, and naming as many different kinds of lines as time and space permits. Core Standards: MakingStudents will play with art materials and will begin to order them by basic art elements and principles. Materials: newsprint pencils Process: First play the "Great Line Hunt" game. This game asks the students to identify lines found in the classroom. The lines can be scribed lines found on the walls and bulletin boards, in the furniture and objects in the classroom and hidden in the architecture of the room and building. The lines do not have to be drawn lines; they can be suggested lines created by the edges of objects and the overlapping of shapes. Demonstrate some of these sources for line and encourage students to look for the less obvious lines: there are plenty of lines to find. The objective is to help students begin to see line as a basic construction tool for the visible world. Divide the class into groups and have them take turns finding new and unusual kinds of lines. Each line needs to be named: straight, curved, wavy, jagged, dotted, vertical, diagonal, horizontal, lost and found, and invisible suggested lines are among the many available names. Dont be too particular about the geometrically accurate name. Give a point for each line found and named. Try to give each student a chance to name a line, but keep the score by group. This game usually results in a multi-way tie for first place. After students have played this game for a while, pass out newsprint. A half sheet will probably be sufficient. Students will then be instructed to invent from their imagination as many horizontal lines as possible and draw them each running from side edge to side edge of the paper. Each line should be named. If students are too young to write the names, then an oral naming is enough. For more advanced students, add a page of diagonal lines and a page of vertical lines to this part of the activity. Some students will jam the page with many tightly fitting lines and others will space them so they can fill the page faster. Either way is fine. The goal is to see who can invent the most lines. Remind students that this is an art project, so care should be taken to allow each line to be seen clearly and the page should be organized with some artistic consideration. A scribble line is only one kind, even though there are many variations. At the end of the process, determine who has invented the most lines by showing them to the class. Students should then be encouraged to draw the lines they did not invent but are now aware of. The paper should be stored in the students art portfolios as a reminder of how big the idea of line is and for future reference. For older students, a matrix of grades and numbers of lines can be constructed as a motivational device (the more lines the higher the grade) although the only real reward for knowing a lot of lines and being able to use them is that ones artwork will increase in depth and variation as mastery of the visual element LINE is achieved. The process is the reward. For evaluation and exhibition, students should be encouraged to share their favorite line with the class. In addition, an exhibition of the infinite variety of lines available to the 13

artist should be mounted either by hanging the GREAT LINE HUNT pages or by constructing a large butcher-paper mural with each students favorite line and its name and the name of the artist clearly inscribed.

Materials: pencil newsprint drawing paper (sulfite white, not photocopy paper) black felt-tipped pen (fine point) colored pencil (if desired). Background: Point out how various artists have used lines in a compelling and enigmatic way to show, discuss, and communicate feelings. Use Gary Smiths, The Great American Farmer and Minerva Teicherts Hereford Roundup to show how line quality is an important element for the artist. Another artist to use is Vassily Kandinsky, (see lots of examples at: artfinale. com )whose abstract expressionistic use of line is obvious and attention getting. If you use Jackson Pollack, make sure you point out that too many feelings all in the same place are the same as no feelings. Just as too many lines all at once are the same as no lines because one cannot process all of that at the same time. [Here is a short and simple exercise to demonstrate: Have each member of the class repeat their name, address, and phone number three times in a normal talking voice. Offer a reward to anyone who could hear their neighbors phone number and can repeat it. You are safe to offer anything because no one can do it. Everyone talking at the same time is the same as no one talking.]

Process: Students will first be led in a group discussion about the nature of feelings. Younger students cannot distinguish between physical feelings such as cold and hunger and emotional Objective: Students will demonstrate an underfeelings such as love and happiness. Be careful standing of the enigmatic and communicative not to make too rigid a distinction as there is power of visual elements in art by using LINE a gray area between these ideas. After a short to describe specific feelings. discussion, children should be invited to BRAIN STORM, with the teacher listing as many feelCore Standards: MakingStudents will play ings on the board as seems appropriate to with art materials and will begin to order stimulate some thinking on the subject. Primary them by basic art elements and principles. grade students will want to tell specific stories PerceivingStudents will view artworks and about some of the feelings. Let them, within talk about basic art elements and principles. reason. 14

Gary Smith, The Great American Cowboy

ArtLines Can Show Feelings

When a sufficient pool of feelings has been written on the board, have a student come to the board and interpret one of the feelings with a drawn line that seems appropriate to that student. There are no correct or incorrect lines. This is a purely subjective task to be invented by the students. Some encouragement can be used to get students to think for a moment so they can determine how they feel the right kind of line might look. Remember, artists have the right to change their mind. Let several students engage in this process in front of the class while the teacher models and facilitates the mental process of using an element in the visual language (line) to communicate a sense about a specific feeling. At this point, it is appropriate for students to apply this idea on their own. Give each student a piece of newsprint which they fold into quarters, thus indicating four spaces on each side of the paper for thumbnail sketches. Have students trace on the folded lines in the paper to outline the thinking space that is to be used. Students should first label the bottom of one space with the name of the feeling they have chosen. Reassure the students that they can experiment with many feelings and use more paper if needed. Children of all ages may get anxious about choosing the right one. Help students spell the word correctly without setting up an anxiety-ridden atmosphere. The feelings are already written on the board, so they can copy the words. If a child has a new idea for a feeling, have her tell the teacher and write it on the board. If any students persist in wanting to choose their feelings privately, or even secretly, let them. When each student has chosen a feeling, stop and take a breath, and remind the students about the three direction names they have already learned for lines: diagonal, vertical, and horizontal. Demonstrate how a horizontal line does not necessarily have to be straight but can wander around the space, gaining an emotional quality as it goes, but ending on the other side

of the space, and thus, creating a horizontal movement. Students should now choose one of the three movement directions and draw a line from corner to corner, or top to bottom, or side to side, which looks to them like the feeling they are trying to discuss. Students should continue doing this exercise until everyone has at least four ideas on paper. If an individual only has a single idea to choose from, no matter how poignant, it is not Detail of Ars Moriendi only that persons Peter Myer best idea but it is also his worst idea. Students must have at least two ideas to chose the better and at least three ideas to choose the best. Many students will be unable to continue to the next line until they have shown it to the adult and other students for verification. Encourage students not to cross the line over on itself, thereby making a lot of small shapes, because later they will be using color to distinguish the two shapes created by the continuous line through the thinking space. Try not to make a big deal about this point, but acknowledge the effort and encourage the students to move on. Young students may want to fill the space with irrational scribbles. The scribble is a great and powerful visual tool. All children instinctively understand this. It is also plagued with many limitations and built-in problems. If a student chooses a scribble line, she should do so after careful consideration and after drawing some alternatives. 15

When all the students have sufficiently engaged in this inventive process, have each student choose the line that satisfies him most and proceed to the next step. Students will first draw a border line around the edge of a piece of good drawing paper using the Parallel Ruler Border technique. Having students learn to use a ruler to draw a ruler wide border around the edge of their paper is an excellent manual exercise and teaches the use of ruler as straight edge. The border visually frames the art work for exhibition. The paper does not have to be a full 8 x 10; a half sheet is just right for this project. The top and bottom border are effective spaces for students to carefully write the name of the feeling and their name, as artist. After the line is drawn (make sure all the feeling lines go border to border) a black felt-tipped pen can be used to go over the border, the feeling line, and the name of the feeling and the artists name. A wonderful addition to this lesson and a way to introduce the visual element of color is to have students look at the line and the feeling it represents and choose a color that is appropriate to that feeling. With the use of colored pencil, they should color in one of the two shapes that the feeling line has liberated within the borders of the page. Students should be encouraged to mix the colored pencils to get just the right color that expresses the feeling they have in mind. This is a good opportunity to discuss color theory (if you mix too many colors together you get no color at all) and to demonstrate how to carefully color in an area with a pencil without making it be more about texture (scribbling) than it is about color. Using lines to suggest texture is another lesson. (See Gary Price, Activities, this packet, for information on Texture) After the project is completed, have students process their work by showing and telling. Opening up the class for discussion is an important way to begin teaching art criticism in a nonthreatening way, so the students can learn about their own art and the visual inventions made by

other artists. When the class members have finished discussing their work, set up an exhibition in the room or in the hall, or any other appropriate place. The name of your exhibition could be titled Lines Can Show Feelings. ArtInteresting Lines Make Interesting Shapes Objective: Students will demonstrate an understanding of line as an element in the making of shape by first inventing and drawing three lines (diagonal, horizontal, and vertical) through a bordered space on a piece of paper, then by identifying an interesting and compelling shape created by the lines they have drawn. Materials: pencil, drawing paper, colored pencil (or watercolor) and black felt-tipped pen. Process: After drawing a ruled border line around the edge of the paper the width of the ruler, students will draw three lines through the space made by the borderone diagonal, one horizontal and one vertical. Remember that a corner-to-corner diagonal does not have to be straight but can wander around in an interesting way to create a diagonal movement without making the line obviously diagonal. The same is true with horizontal and vertical lines. The goal is to draw interesting, compelling, and enigmatic lines. If students have a vision before they startknow what the end product is they will be more likely to make lines that either capture or liberate an interesting shape. Remember, it is not up to teacher what kind of shape the students make or choose. After the lines are drawn and the students are satisfied that these are the interesting lines they want, have the students look carefully over the paper of lines and find the shape they think is the most interesting. Using colored pencils or watercolor (not crayon), the students should carefully color or paint in the shape. Remind students of color lessons about mixing color to create just the right color, tint, or shade that they desire. Dont let Mr. Crayola Brand limit their 16

choice of color just because there are only 12 colored pencils or only 8 colors in the watercolor set. An artist can always invent more colors. Obviously, some color theory and mixing techniques must proceed this part of the project. (See Robert Marshall, Activities, page 5, of this packet for Background Information on Color.) Black felt-tipped pens can be used to outline the shape. The other lines and border lines can be outlined if desired. For older and more advanced students, this project can be extended to include the idea of TANGENT and ADJACENT shapes. After the first and most interesting shape is identified and colored, students can be encouraged to continue coloring all of the tangent shapes the same color. Tangent shapes are all of the shapes connected to the original interesting shape by a corner. They touch, but do not intersect the lines of the shape. Adjacent shapes are the shapes which share a line or side but not the corner of crossing lines. These adjacent shapes can be colored or painted in another color, possibly with a complementary color of the color of the original shape, creating a kind of tortured and messedup checkerboard design and pattern. For evaluation and exhibition, have students invent a name for their interesting shape and label the paper with its name. Share these shapes with the class or small groups in the class, encouraging the other students to suggest alternative names and maybe even finding their own favorite shape in another students project. After this evaluation process, mount an exhibition of this work publicly. It could be titled, Interesting Lines Make Interesting Shapes. Art and HistoryA Line In Time Objective: Students will demonstrate an understanding of chronological sequence in history (art history) by constructing a TIME LINE illustrating the major episodes of history and the aesthetic product of the various periods. This will be a group project produced over a period of time and will include all the artists and art

work suggested by the Visual Arts State Core. Other pivotal artists and art work can and should be included. Materials: a space in the classroom or hall, whatever chosen medium for the time line and dates (black cut-out lettering works well), examples of time lines. Process: Most older students will already have an idea of what a time line is and how it works. Start with younger students by discussing what 1998, means. The figure means 1,998 years from what? It is usually easier to start in the middle of the Time Line to explain how it works. Find some dates that are somewhat in the consciousness of the students: their birthdays, the teachers birthday, their parents and grandparents birthdays, when the school was built, when the town they live in was first settled, pioneers in Utah, statehood, dates of wars, the Declaration of Independence (4th of July), Columbus and the Pilgrims arrivals, etc.

Peteeneet Academy, Payson, Utah If one starts with the complete time line, then focusing on one part of it (a century or a millennium) is easy to understand. Go from general to specific. Find a place to build the Time Line on the wall or ceiling, but somewhere that wont 17

be disturbed but is accessible to the whole class. Take your time and slowly construct a skeleton on which to build the Time Line. This can be either direct pasting of cut-out letters or can be made on a long piece of butcher paper roll cut down to size. Once students seem comfortable and competent with the concept of the Time Line, it is time to start filling in various events. The Time Line does not have to be exclusively about art history. Each event on the line should be illustrated by the students at whatever competency level they have achieved. If the focus is on political history (as most general academic history curriculum is), there are plenty of illustrations available. The visual record of history is art, as artifact or artists rendering of events or photographs. The point is that students should be invested in the event on the Time Line by doing the illustration of that event on their own. This makes even old and boring events somehow personal. The Time Line can be all inclusive or centered on a limited amount of time. It can attempt to cover all cultures or be specific. Be careful, this is an ongoing project that can take over your room and halls quickly and easily. Obviously the finished product could be very large, never-ending linea story. One way to use this project in other academic areas is to focus on an issue or a field of study and make the time line specific to that. Soon it will become obvious to the students that there are many historical lines which intertwine, run parallel, and get lost and found again. Each culture has its own time sequence. Each academic discipline has its own historical sequence. Geology, Science, Math, Social Studies, Music, Sports, Architecture, Fashion, Transportation, Warfare, Philosophy, and Religion. All of the steps along the line can be illustrated by students. If it seems appropriate to use commercial illustrations, go for it, but remember the goal of the student-generated Time Line is to give the students a chance to buy into, to own, and to participate in some aspect of the historical event.

Some teachers leave the Time Line up as a permanent installation from year to year. Many students will discover they are able to visualize the sequence of events in time much more easily than they are able to learn by rote memorization. Leave the Time Line up in the room even during tests because it is more important to know how to find the information than just to know the information. In a sense, the Time Line is a kind of computer. The exhibition of this project is integral to the process. The Time Line does no good if it cant be seen. ArtThe Amazing Maze Objective: Students will demonstrate an understanding of parallel and overlapping lines to suggest space and depth by creating a maze of parallel line pathways which overlap to at least three levels of depth. Materials: drawing paper, pencil, colored pencil or watercolor, felt-tipped pen. Process: Students should first be exposed to the concept of The Maze. There are many children and adult puzzle books available to show this idea. Other sources for examples can come from many art forms, including Illuminated Manuscripts from early Irish Christian texts, Arabic floral pattern motifs in illustrations and ceramic tile and architectural relief work, Tibetan mandalas, Native American sand painting and weaving, Baroque ceiling designs, Roman, Greek, and Etruscan Architectural decoration, and Pottery decorations from many cultures. For the more current and European uses of these design motifs, see floral patterns of the Art Nouveau movement and the work of graphic designers like M. C. Escher. After students have seen a number of examples of how these parallel overlapping line designs work, have them sketch on some newsprint some ideas of how these overlapping parallel 18

pathways might look. Have students imagine overlapping freeway interchanges or a transparent human circulatory system or maybe even the way vines and garden plants overlap and intertwine. Photographs of these phenomenon are available. Art Nouveau Tile

illusion of overlapping and depth. Young students will need a demonstration of what to do with overlapping pathways by erasing one set of intersecting path lines so one seems to be on top of and hiding the other. When the maze design is completed with the hard lead pencil, the pattern can be drawn over with a permanent felt-tipped pen. There can be any number of pathways coming from the border, including only one which splits and divides. Notice that the border intersections can either be filled in or left open, so the border margin becomes part of the maze or is isolated from the rest of the design. At this point, positive and negative space should be recognized. (See Allen Bishop, Activities, this packet, for ideas about Space) If students have already learned to distinguish the background space from the objects drawn, then have them color or paint in the background shapes, and immediately, the parallel line pathways will stand out in contrast. For more advanced students, some light shading or color shading can be introduced at overlapping intersections to create the illusion of slight shadow. An option for this lesson or an adjunct to it is a group project on a large parent sheet or even on a huge sheet of white butcher paper. (Parent sheets are used by presses for printing and are 3 or 4 feet square.) While butcher paper is not a great drawing surface, its size more than compensates. You may be able to get a roll end of book paper that has a better drawing surface and is large enough. Brown wrapping paper can also be used; it has a nice warm background and texture available for drawing. It should be noted that calling this exercise a Maze does not necessarily imply the product has to be a solvable puzzle. This is an art project and the products function is to be looked at and admired, not necessarily used for something else. The maze projects should be titled and a class discussion be generated to see why each student chose his or her title. The work can be labeled with the students name and age and exhibited in a public place. 19

When thumbnail sketching has given each student some ideas, give the students some good drawing paper and a hard lead drawing pencil (these are not expensive and last a long time) like 6H or 4H. They should first draw a border using the ruled border technique previously described. With the hard lead pencil, lines can be lightly drawn and redrawn without the need to erase, until the final line is determined. Erasers should be used to clean up unwanted searching lines but not until the right lines are found. If students are allowed to erase every mistake, the paper will lose its texture and become torn, wrinkled, and smudged, and the pencil will change the quality of the line as it snags the newly textured paper. Use art gum erasers or kneaded erasers, not the pink smudge maker unfortunately attached to the end of most school pencils. The smudge makers dont really remove the line; they just confuse it, and mess up the paper, and unfortunately, play into the insecurity of most students. Encourage students to take their time and search for the right design, being careful to braid the parallel line pathways in and out to create the

So far, all of these projects dealing with line are to be used to discuss, investigate, and experience the incredible nature of the LINE. They are not attempting to make the line be something else. It is important that young students understand that the marvelously compelling invented line can stand on its own. It does not have to look like a frog, or a landscape, or a farmer digging a hole for it to have value any more than a beautifully executed high C rendered by an Italian operatic diva needs to be translated to be appreciated or that doo wop lyrics in rock and roll need any other meaning than the sound they make. What in the world do the first several phrases in Beethovens Fifth Symphony mean? You know, the Da Da Da, Dum. It is only what it is, and that is certainly more than enough! Visual Art and MusicWHAT DOES MUSIC LOOK LIKE? Hear with your eyes and see with your ears. Objective: Students will demonstrate an understanding of LINE as a visually expressive element by reproducing visually the sound of a specific piece of music using line in all its many qualities to suggest the rhythm, tempo, melody, harmony, counterpoint, lyrics, and mood. Materials: pencil, newsprint, drawing paper, butcher paper, colored felt-tipped pens, colored pencils, or watercolor. Process: This is an exercise in integration and interpretation of two art forms, Music and Visual Art. Students should first be exposed to the music as a visual phenomenon. A variety of music should be chosen. Use student input on the selections so the students are invested in the process rather than a victim of the teachers musical tastes. It is fine to let the students bring their own music, but the class and the teacher

together will decide on which pieces to use. This is a great opportunity to expose students to some interesting musical idioms and to give the students an opportunity to practice focused listening techniques. Choose at least four different styles of music. Instrumental, or music which emphasizes the instrumental nature of the music, may be the best choice. If you use lyrical vocal music, the students probably will focus on the words and voice at the expense of the whole musical experience. We tend to hear only the familiar and filter out the rest. Some suggestions of music are Light Jazz, Classical, International flavor like African Ju Ju music or Jamaican Reggae or Latin Salsa, or Contemporary Electronic Techno music, but any will work. I have successfully used Beethovens

Mrs. B. F. Larsen, Bursts BYU MOA 20

Moonlight Sonata, Stephane Grapellis Djangology, Bela Fleck and the Flecktones Flight of the Cosmic Hippo, and Bob Marley and the Wailers Three Little Birds. Use the music you know and enjoy so you can model deep and astute listening. Dancing, swaying, and clapping along with the music is a good way to engage in more than just passive indulgence. The goal is to get the students inside the music as a compositionally constructed idea. Many of the students have had little experience in focused, concentrated listening, and their attention span is limited. If the teacher introduces a variety of musical experiences over a period of time, even the youngest students will become accustomed to the joy of careful listening. Listening is to hearing what looking is to seeing or touching is to feeling. Listen until you can see. Seeing means understanding. See what I mean? After you have chosen at least four pieces of music (try to find relatively short pieces or play short clips of longer pieces), they should be played to the class as a brief overview. The teacher should model how to listen and see what the music looks like. Model for the students how to deconstruct the music into its separate elements by focusing on the different instruments or on the different compositional parts such as rhythm, tempo, melody, and harmony. Try to avoid seeing pictures. That is another project. With this activity, the focus should be on interpreting the music in pure visual elements, especially LINE. Model for the students how a crash of symbols of a drum roll might look if it were rendered only in line. Point out the rhythm of the piece and show ways to draw it. There are no right or wrong ways to do this. After modeling this process on the board with several different types of music, invite some students to try it at the board. It is usually good to show the students some of your own finished examples or the work of previous students.

When the class seems comfortable with the idea and understands the expectation, pass out sheets of newsprint, and have students fold the paper in half lengthwise. They should draw a line on the fold, creating two long and narrow rectangles of space on each side of the paper. This will give each student four spaces in which to draw (two on each side of the paper). Students should label the spaces by composer and title. Play the first piece through, giving students time to interpret the work with pencil on paper. Encourage them to listen carefully and work methodically. The teacher may want to play the piece through once, just listening with the students, before playing it and drawing. Younger students may want to fill the space with nonsensical scribble. Let them go on the first musical selection but point out that since each piece of music is very different, the next one cant possibly look the same. Encourage students to be imaginative and aggressive. Have students move to the next space and repeat the process with the next musical selection. After going through all four pieces, ask if anyone needs to hear any of it again. The students may have discovered some ways to translate music into line which they understand and enjoy by the time they have done it several times. Let them repeat or start over on another piece of paper. Each student should have four labeled sketches of what they think the music looks like. Each student should then choose the drawing and the music he or she likes the best. This will give you four groups of students, one group per musical selection. Pass out the drawing paper. It can be regular size or cut in half lengthwise. The more linear format suits the sequential progress of the music, but not all students will see it that way. Be flexible. Play each piece again while the students who have chosen that selection draw it lightly on the drawing paper. The final work does not have to be the same as the sketch, but it can be. Encourage embellishments and additions as new sounds are per21

ceived. The students may want to add shape and texture at this point. If you dont listen, you cant hear; if you cant hear, you cant understand; if you cant understand, you cant see the music; and if you cant see the music in your mind, you wont be able to draw it. After all the students have finished their drawings, pass out colored felt-tipped pens. Here is a great opportunity to discuss some color theory. (For information on color theory, see Robert Marshall, Activities, page 5, this packet) Have students go over their drawing with colored pens. Crayons are not fine enough to be very expressive, but watercolor and colored pencils work well. After the lines are penned in, have students notice the negative spaces left between the lines; and while the music or part of each piece is being played, they should determine what colors or textures should go into the spaces. Try to limit the colors to a kind of color scheme. Remember, all the colors mixed together is no color. Some students may want to invent an arbitrary symbol system that can be applied to any musical selection. If a student seems to be blocked by this project, and some are, ask them if the sound is high or low and what kind of line is high or low. Is the sound soft or jagged and what line does it look like? Does the rhythm repeat itself and what line captures that repetition? Most hesitant students can overcome their reluctance by answering specific visual questions. It is the WHOLE complexity of the thing that throws them, but the specific is understandable. Some students will want to invent a repeatable visual language. It gives them a sense of security. To continue this project to the next level, have students work together as groups to create a large butcher paper mural of the specific music each group has chosen. This will give you four

groups and four murals. Each mural will have several artists with several different visions of the music. This requires cooperation and compromise. You may have to develop some group problem-solving strategies to accomplish this. Try to keep everyone involved and include some visual input from each student. The finished product does not have to be large, but the longer the butcher paper, the easier it is to have many students working at the same time. When the mural is completed with composer and title and even date and country of origin labeled across the bottom, have students compare the murals and discuss what they think was successful and unsuccessful in each project. When processing evaluation of student work, have students find both strengths and weaknesses in the work to avoid politicizing and group bashing. Now the works must be exhibited. Students also may want to post something about the composer and the musicians involved. Make sure each student in the group is credited with authorship.

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Exploring Shape
Frank Huff, Drive-Inn GRADES 1-5. This lesson is adaptable to grades included here as the teacher deletes or adds to areas of interest, and considers cognitive abilities. It is assumed that cooperative learning structures are in place in the class. Teachers will lead the students in a brief introduction and discussion of the work. Information on the back of the poster can be used according to the age of the students, and interests which have been explored in prior art exchanges. The teacher can explain the concept of blocking in, model the search methods necessary to find the artists five ws (who, what, where, when, and why), and other skills necessary to understand elements of this lesson. OBJECTIVES: ART HISTORY (AH): While working in cooperative groups, students will have the ability to identify the circles, squares, and triangles in laminated copies of contemporary Utah artist works (hey, we all have a great set of posters readily available!), and identify the artists who, what, when, where, and why in a group project. CRITICISM (C): Students will be able to answer the questions: What do I see?; What is this artwork about?; and How do I know?

VOCABULARY: basic shapes, drive-inns tangrams, blocking in, creative SKILLS: Cognitive learning skills will be practiced as students formulate answers, search out infor mation, and contrast and compare opinions. Workplace skills used are communication and listening, and cooperative elements of the group projects. Creative skills will be needed to manipulate the tangram pieces to create an object to use for the final project.

MATERIALS: Utah artists posters cut out shapes AESTHETICS (A): Students will discuss in pairs masking tape the question: What makes a painting of a sign tangram puzzle pieces more or less art like than the actual sign? paper medium of choice PRODUCTION (P): By manipulating tangram scissors puzzles, students will create various objects. glue They will apply ideas gleaned from creating worksheets with the tangram to create a final artwork. 23

INTERDISCIPLINARY CONNECTIONS: History: What time and place where drive-in theaters most popular? Are there drive-in theaters in your town. What is one the theaters story? Language Arts: What would be a great title for a movie advertised on the sign in the painting? What would the movie be about? ADAPTATIONS AND EXTENSIONS: Special needs population: The cooperative group assignment lends itself to peer tutoring. Students working together to solve problems can help one another. Access students: Students will interview parents or other adults to better understand the concept of drive in theaters and design a theater based on their findings. THEME MOTIVATION: A set of building blocks will be set up in the front of the room. One or two volunteers will come up and build an object as suggested by fellow students. The teacher will explain that shapes, as in the shape of the blocks, when put together correctly can create anything (blocking in). INSTRUCTION AND ASSESSMENT: AH: Groups of four students will be given four different colors of paper and scissors. They will each pick a shape and find that shape in the painting. They will then tape the shape they have cut out over the shape on the painting. The group will then find out the five ws about the group and write their answer on the reporting page. The talker in the group will look at the reporting page and explain where the artist used basic shapes and tell the five ws about the artist. Assessment: Each students participation in the group project will be readily visible as the poster is held up and as the handwriting is checked on the reporting page. (Attached). A score can be given for participation.

C: Students will write the answers to these questions in their art response journal, or as a graded writing assignment. Younger students could draw pictures to show their answers. Assessment: Student journal entries will be graded as other entries, assignments as needed. A: Students will be placed in pair and share duos and will discuss the question What makes a painting of a sign more or less art like than the actual sign? They will then pair with another duo and compare answers.

Tangram pattern (enlarge on stiff paper) Assessment: The writer will write a group answer with all four names signed on the page for participation points. P: Students will as a class, create certain objects using tangram puzzle pieces. They will then create their own NOUN - person, place or thing, using the pieces. This structure, which they have blocked in using the shapes, will be the basis of a drawing, or the final artwork, depending on age level. Assessment: Scoring rubric. (on next page) 24

 NAMES: SHAPE: WRITER:_________________________ ____ TALKER:_________________________ ____ TIME KEEPER:_____________________ ____ HELPER:_________________________ ____ ART REPORT PAGE Find the basic shapes in the painting. Place a cut out shape on each one. Answer: 1. How did this artist use basic shapes to block in his/her painting?

2. Why did the artist create this painting? 3. Where is the painting? 4. Who is this artist? 5. What does the painting mean? 6. When was the painting completed?

Whats my score? Neat____ Complete____ Follow instructions Creative total: Whats my score? Neat____ Complete____ Follow instructions Creative total:

Whats my score? Neat____ Complete____ Follow instructions____ Creative_____ total: Whats my score? Neat____ Complete____ Follow instructions____ Creative_____ total: 25

Shapes can be Expressive

Frank Riggs, Tohatchi Objective: Students will demonstrate their understanding that shapes can express ideas and feelings by discussing artists works and by creating a shape-based work that is expressive. Core Standards: ExpressingStudents will explore and create meaning in art. Interpret how art elements and principles express ideas, moods, or symbols in important artworks. Convey an idea or feeling in an artwork by applying art elements and principles. Materials: slide or overhead of Riggs Tohatchi paper pencils or colored media colored paper Show the slide or overhead of Frank Riggs sculpture, Tohatchi, and have the students discuss what shapes they see. Have them tell what they like about the way the shapes are combined. Let them express how they feel about the sculpture and why they think they have those feelings. Lesson: Ask the students to choose an emotion such as happiness, sadness, anger, love, fright, bravery, etc. Then have them cut out shapes from colored paper or make a drawing using only shapes to express that feeling. The criteria is to use three or more shapes (they may repeat the same shape, or they may use a combination of different shapes), each shape should express the emotion they are trying to portray, and the shapes should be connected or overlapping, not

scattered around on the page. Explain that the arrangement of the group of shapes is as important as each individual shape. Encourage the students to try several different arrangements before picking their favorite.

Conclusion: Give the class an opportunity to critique each others work by trying to see if they can discover the feeling (or a related feeling) the artist was trying to express. Explain that it takes practice and skill to learn to express emotions through shapes. 26

Miro www.ics.uci.edu/~eppstein/pix/bar/miro sions your artwork makes.

Social Studies
Objective: students will recognize the use and value of shapes in many facets of our society. Have students name as many shapes as they can. Draw them on the board. Show Frank Riggs sculpture Tohatchi, and discuss what kinds of shapes he has combined to create his sculpture. Explain that artists use shapes to create beauty. Read the artists biography, and have students make comments about events in his life or the landscape or buildings where he lived that may relate to the shapes in the sculpture. Jesus Moroles, Spirit Columns rockportartcenter.org/sculpture2.html Optional: Show Frank Riggs sculpture, Tohatchi, and discuss what kinds of decisions the artist had to make to create this piece of art. Write the ideas on the board. Then have the students use those ideas to create their own drawing or to create their own sculpture. You can make small shapes from card stock or use materials you can find such as cardboard, cardboard tubes, cans, boxes, or styrofoam. Draw some shapes on the board that are connected with famous or common buildings such

Follow the above lesson idea but include other abstract sculptors such as Joan Miro and Jesus Moroles. Have students create sculptures using whatever media and tools you have access to. Web sites: Moroles hawthornegallery.com/html/jm_body.htmlrockportartcenter.org/sculpture2.html Joan Miro, Bird II

Secondary Variation

www.ics.uci.edu/~eppstein/pix/bar/miro/Bird2.html

27

as the Washington Monument, the Pentagon, the St. Louis arch, the state capital, or whatever other building shapes your students will recognize. Ask students if they can name any of the buildings that go with these shapes. Discuss why these shapes may have been chosen for these buildings. Ask the students to identify other familiar shapes they see in architecture. Explain the significance of shapes in the construction of buildings. For example, why do many homes have pitched (triangle) roofs, why are some domes, some flat, etc. Ask your students to think of some advertisements they have seen that use shapes or symbols, such as Nike, Volkswagen, the CBS eye, Toyota, Pepsi, the McDonalds' arches, etc. Have some of the students draw symbols on the board and see if the class can identify the companies or organizations these symbols represent. Discuss the reasons why companies use shapes as part of their identity. Also discuss why these shapes may have been chosen to represent the organization and what meanings may be connected to the shapes.

Allen Bishop, Ordering Chaos

used by permission of the artist

Activity: Have each student draw and cut out a shape that has meaning for him or her. Then have the students cut out two other copies of their shapes to share with classmates, so each student has three shapes. Have them create a symbol using their own shape and the two others they received. After they complete this activity, refer to Frank Riggs sculpture, Tohatchi, and discuss what they think of the sculpture, or have them make comments about what they think interested the artist about this specific design. (See also the lesson on Allen Bishops La Semilla Brota, this packet or his other artwork at www.ylemart.com.) Optional: Let students choose one of the symbols created as an official classroom symbol. Another possibility is to have each student, or each small group of students, write to a corporation to find out how its corporate symbol was developed.

Draw on the board the universal No or Not Permitted symbol (the circle with a diagonal line across it) and the man and woman restroom symbols. Ask students to identify these shapes. Give the students a chance to discuss what other ways shapes are used in our society.

28

Geometry/Art Objective: Students will demonstrate their understanding of geometric shapes by constructing two- and three-dimensional shapes. There are various ways to approach this activity, depending on the students age. For young students: Have them make shapes out of cardboard or cardstock as part of lessons on specific geometric shapes. (For example, triangles, circles, rectangles, squares, etc.) Either as part of the same lesson, or after having made several different kind of shapes, show the students the slide of Tohatchi. Have the students identify the shapes used in the sculpture. Talk about the artists interest in shapes. (See Biography)

After cutting the shapes out, students should carefully measure the size of the original shape and make a rectangle 4x the total length or circumference of the shape plus 1/2, for overlap. If they have chosen to make a triangle, they should make four equilateral triangles, two with borders on all sides, one with borders on two sides, and one with a border on one side. Have the students fold the borders up, so they become tabs. The students should glue the edge of the rectangle to the tabs or glue the four triangles together, making a three-dimensional shape. Once students have mastered the technique, they can make simple sculptures by combining shapes. For advanced students: Show the students the slide of the sculpture Tohatchi. Have the students figure out what measurements they would need to determine the volume of the sculpture. Then have the students measure some complex shapes around the school and determine, or estimate, their volume. (The slide also can be used as an example of how specific shapesand geometrycan be used in the real world.) To complete the activity, plan ahead, and have the students save shapes they have made during geometry lessons. Using the shapes for reference and ideas, the students should plan a sculpture similar to Frank Riggs (made up of simple, geometric shapes), considering proportion and shape relationships in their design. Give the students graph paper and have them create a two-dimensional pattern for their sculpture. Each student should also make a sketch of the finished sculpture on a separate piece of paper. Have students exchange patterns but not sketches, and see if they can figure out the shape the pattern will make when put together. Students can check the accuracy both of the patterns and of the drawings they make of other students 29

Then have each student choose one of the shapes the class has learned. This time, have the students cut out two of one shape, adding borders around the edges, as below. Adding borders is good practice in using rulers; however, if the students cannot add the borders themselves, have some preprinted shapes for them to cut out.

sculptures. The activity can end there, or the students can make their sculptures out of cardboard or stiff paper. Have the students create a simple display of their sculptures, individually, or as a class. Students may want to include the size, color, and appropriate environment for their sculptures. You may wish to continue the activity by having small groups choose a complex geometric shape, draw a pattern, and execute the shape in some medium. In addition to cardboard or other flat materials, the students may want to use a com-

student-made geometric shapes

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ColorBecause I Like Red!

Phillip Barkdull, Designed Landscape, Symphony in Color In teaching children, we sometimes forget that some curriculum areas, like art, provide the perfect setting for encouraging imaginative responses. If, that is, we dont tell children what they should do. Color choice is a perfect example. Objectives: Students will learn that color choice is a decision an artist makes. They will be able to identify realistic color as opposed to less-realistic color. They will demonstrate their understanding of color choice by creating an artwork that demonstrates either realistic or arbitrary color choice. Core Standards: MakingStudents will play with art materials and will begin to order them by basic art elements and principles. PerceivingStudents will view artworks and talk about basic art elements and principles. The Art Criticism and Aesthetics sections can be completed as small groups, giving more students a chance to participate. Art Criticism: Show the class the transparencies of Snow Canyon by Robert Marshall and Designed Landscape by Philip Barkdull. Ask students what they can see that is the same or almost the same in each painting. Then ask students what is different about the two works. If a student does not mention that the one has colors that look real and the other doesnt, ask which one is more realistic (looks like what they would see if they were there). Aesthetics: Then ask the students why the Snow Canyon piece looks more realistic. (You may have students who have some reasons why they

think Designed Landscape is more realistic. Thats okay, they just need to be learning to find the reasons why they respond a specific way. For example, one student said Designed Landscape looks more real because it looks just like a real sunset.) Ask students why someone would want to paint with really bright colors. Many answers are reasonable. Art History: Ask the students if they can think of a way they might find out why Philip Barkdull used bright colors. Hopefully, a student will suggest you could see what the artist has said or find information about him. Give the students some of the information from the biography. Show them the poster of Moonrise in the Canyon by Birger Sandzen and explain that Barkdull took classes from Sandzen and was influenced by him. You may also want to show the class the poster of Capitol from North Salt Lake, by Louise Farnsworth. She also was influenced by Sandzen. Production: Students will make a painting using a colored medium. If possible, take students outside and have them make several small sketches of a scene they want to paint.(even very young students can do this) Back inside, they should choose their favorite sketch and create a painting using either bright colors that they like or realistic colors. If going outside (or looking through windows) is not possible, students can create a sketch from memory or imagination, or the students can set up and paint still lifes. Have the students organize a display of their work with a simple explanation of their color choice. 31

Color LessonPhillip Barkdull, Designed Landscape

Lesson area Poor Adequate Excellent Student made a perceptive comment(s)

Class discussion Student did not participate Student made obvious or simple comments

Aesthetics Student did not participate Student did not offer a Student supported judg- good reason for ment with information judgement from the artwork Production Student has no completed sketch Student has at least one completed sketch Student completed more than one sketch

Student did not complete Color choice not Color choice clearly the color drawing consistent consistent Student did not write Statement is not an Statement is a clear a statement explanation explanation

Art History Assess the overall learning of the class by asking students to put their thumbs up if they understand why Sandzen chose bright colors for his painting. Review if necessary.

Older elementary students may enjoy learning a little bit about the Fauvists, who influenced Philip Barkdulls painting style. The Fauvists were a loose group of artists who chose to paint in a bright, simplified, and expressive way. The artists were influenced by Pointillism (Georges Seurat, A Sunday on La Grand Jatte ) and Post-Impressionism (Paul Cezanne, Mont Sainte-Victoire; van Gogh) Paul Gauguins choice of color and his style also were strong influences. This group of artists broke with both traditional and, what was at the time, accepted art styles. They were dubbed fauves wild beasts because of the intense colors and rather primitive style they used. Instead of using color to create a realistic perception of color in viewers eyes, they used color as pattern and structure.

For a very enjoyable explanation of the fauves, go to the National Gallery of Art at http://www.nga.gov/feature/artnation/fauve/ index.htm Other Sources for fauvist artworks and information: http://arthistory1.school.dk/frame_Fauvism1. htm http://www.artcyclopedia.com/artists/ matisse_henri.html artcyclopedia.com Look under Style, Fauvists Assessment: You can assess students knowledge of the fauvists by having them identify three traits of the fauvists: bright, simplified, expressive, non-traditional, etc. Give one point for each correct answer. 32

Assessment: The teacher can assess student learning using a rubric such as the one on the following page.

Fauves and ColorSecondary

Show the class the transparencies of Snow Canyon by Robert Marshall and Designed Landscape by Philip Barkdull and ask them to compare and contrast the two works. Then ask the students if they know what art movement influenced Phillip Barkdull. Have students visit the National Gallery site or do research in art history texts on the Fauvists. Discuss Matisses use of color complements and the primary colors of light in Open Window. To maximize the intensity of his colorsand achieve the light he was looking forMatisse organized his picture with pairs of complements. Orange masts rise from blue hulls. Potted plants on the balcony sprout red blossoms amid green foliage. Reflections oppose pink and turquoise, and in the walls these colors are reversed and deepened. Isolated by bare areas of canvas, these combinations generate a sort of visual vibration. Because in composing Open Window Matisse largely used red, blue, and greensin different formshe enhanced the effect of light. These are the additive primariesthe wavelengths of orange-red, blue-violet, and green that combine to make white light. (National Gallery) Matisse also said "don't copy nature too literally." Have students create an artwork in which the goal is not to copy nature but to create a design using color and simplified shapes. They should try using either complementary colors or red, blue, and green. Another thing Matisse said is to Search for intensity of color, subject matter being unimportant. Have students, as a homework assignment, look around them and find some exam-

ples of intensity of color. They should write a short description. As a class, the students should discuss the examples they found, including whether that kind of color appeals to them, as artists.

Aesthetics Aesthetics is the philosophical field that deals with questions such as What is art?, What is beauty?, or What is the function of art?. One related issue is how much control an artist should have over his art. During the past, most art was commissioned, usually by the church or wealthy patrons. Currently, a lot of art is made by the artist as the artist sees fit and then it is offered for sale. However, artists still take commissions for artworks and sometimes disagreements arise between the artist and the person or group that commissioned the artwork. The following is an imaginary scenario. You have a business with a very expensive, brand new office building. You want a paint33

ing to put on the wall in the foyer, so you commission a painting from Phillip Barkdull. A couple months later, he brings in the paintingDesigned Landscape. You hang the picture on the wall and realize the colors clash with the color of the walls and the carpet. Can you ask the artist to change the colors in the painting so they dont clash with the decoration in your office building? Why or why not? What should you do? Older students can use the same scenario with the following additions: You paid a very generous amount for the commission. Does that affect whether you can ask the artist to change the painting? Tell the students the scenario and let them debate the answers. There are no right or wrong answers to aesthetics questions, but students should provide reasons for their answers. Help them to have fun with the debate. If your class works successfully in small groups, dividing them into groups will encourage more participation. Assessment: Have students self-assess their participation as follows: I didnt say much I made comments and I could support at least two of them I made frequent comments and offered strong support for most of them Or, you can have students self-assess their progress in overcoming a weakness they have identified such as a tendency to take over the discussion or to sit and just listen.

34

WatercolorMixing Colors
Robert Marshall, Snow Canyon Objective: The students will explore the media of watercolor and be able to mix various color combinations using glazes and washes. (See Background Information on color) Core Standards: Making, Perceiving Watercolor is an excellent media for blending or mixing colors. There are several ways to mix colors using watercolors. This lesson will describe two ways: washes and glazes. Wash: A wash is an area of color that is usually applied in a quick manner. There are three main types of washes. 1. Flat: an area of color that does not vary in hue (color) or value (lightness or darkness) Dampen your paper before you start so no hard lines form. Mix up more paint than you think you need and, with your drawing board slightly tilted, fill your brush with color and apply the first strip across the top of the paper. Reload the brush and, working in the opposite direction,

repeat the process. Continue until you have covered the entire area. 2. Graded: an area of color that does not vary in hue (color) but will vary in value. It can either go lighter or darker or be a combination of both (e.g., pink to red and back to pink) Mix up a puddle of paint on your palette. Dampen your paper with clean water. Tilt your drawing board, then load your brush with color and stroke it along the top of the paper. Rinse out your brush and add a brush full of clean water to your paint mixture. Stroke this slightly lighter color on the paper. Again rinse your brush, add a brush full of clean water to the paint mixture on your palette, then stroke the progressively lighter color on your paper. Repeat this procedure until you get to the end of your page, where the color should be lightest. 3. Variegated: an area of color that varies in hue (color) and may vary in value, depending on the colors chosen (e.g., red, red-orange, and orange) Mix the colors of paint you will use. Dampen the paper with clean water.Tilt your drawing board, then load your brush with the first color and stroke it along the top of the paper. Rinse out your brush and fill the brush with the next 35

3. The glaze should be put on quickly so as not to blend with the bottom layer of color. Have students experiment with glazes to create color combinations. Using glazes and washes, have the students use the primary colors (red, yellow, and blue) to make secondary colors (orange, green, and purple). Advanced students can create tertiary colors by combining a primary and a secondary color. Students can create an entire color Lee Anne Miller, Storm Spirits on Horizon #6 wheel by completing a varSMA High School Poster Set iegated wash going from one color to its adjacent color (e.g., red, red-orange, color. Again rinse your brush, and go back to the orange, yellow-orange, yellow, yellow- green, first color or on to a third color and lay it on the green, blue-green, blue, blue- violet, violet, and paper. Repeat this procedure until you get to the end of your page, or, do two strokes of one color red-violet). before changing to another color. (Directions from Poochie Myers prosperity.com/ myers/artlessons/lesson3.htm) Have the students experiment with watercolors to create the three types of washes. Note: variegated washes are more successful (less muddy) if the hues chosen are analogous (color families that are neighbors on a color wheel). Glazes: A glaze is a transparent wash of color placed over an existing area of color. There are three main rules in applying glazes. 1. The area of color underneath has to be dry. 2. The color for the top layer or glaze has to be transparent. Note: most student-grade watercolors are generally transparent. Visual Arts - making, perceiving, contextualizing Objective: The student will create a textured art work using the frottage technique. Background information on texture: Texture is the surface quality of an art work and it is usually classified as actual or implied. Actual texture is texture evident on the surface of the art work (e.g., rough, bumpy, shiny, impasto). [See Gary Price Activities, this packet.] Implied texture is the texture displayed within the art work (e.g., objects appear rough, smooth, dull). Art works can contain both actual and implied texture (e.g., the artworks surface is flat and dull but the objects portrayed within the work are shiny and bumpy). 36

Artists use various techniques to create texture within their art works. One such technique, frottage, was developed by the artist Max Ernst. A frottage is created by placing the surface of an art work onto a rough texture and then rubbing a drawing or painting medium over the surface of the work to transfer the textures underneath to the art work. Artists are able to achieve a variety of fascinating lines, shapes, and textures with the frottage technique. Many of these frottage rubbings were then transformed into surreal images. For example, a rubbing of a rough piece of bark may appear to look like a mountain range. The artist can then add other lines, colors, or shapes to enhance the mountain range image. Many surrealist artists used frottage as a starting point for their surrealist works. Note: See Background Information on Max Ernst for information on Surrealism Have the students create a frottage by placing a thin sheet of paper over various textures and then rub a piece of charcoal or crayon to transfer the textures unto the paper. Using the same sheet of paper with the texture rubbings, have the students use their imagination and draw their fantasy dreams, creating real and unreal images. Have each student tell the class about their dream-drawings and have them decide which dream-drawings match the narrative description.

Background Information on Max Ernst (18911976) Born in Cologne, Germany, Max was the son of a school teacher. The destruction created by World War I had a tremendous effect on Europe; and many artists, like Ernst, rebelled against those who had led the younger generation into the war. In 1920 he went to Paris where he joined the Dada art movement, whose intent was to shock the public with images which defied all reason and eventually paved the way for Surrealism. Surrealist artists also wanted to escape reality, and so they relied on their imagination and subconscious to create works with dream-like qualities. Ernsts use of frottage was one way to develop these strange associations, and he relied heavily on the subconscious nature of the process. Physical Science - Geology Objective: The student will be able to identify major land forms associated with geology. Have the students view the image Snow Canyon by Robert L. Marshall. Have the students identify the land forms depicted within the artwork. Have the students identify other land forms (see list below). Students can use other artworks to identify land forms or students can do a brief illustration of the land form. Lynn Fausset, Angels Arch Land forms: beach cave lagoon island headland desert lake river stream gorge bay flood plain levee waterfall rapids bluff glacier marsh gully horn mesa arch dune canyon fault mountain plateau volcano delta geyser plain ocean sea cliff valley butte 37

4. Music Objective: The students will become familiar with the works of the nationalistic composer, Ferde Grof Often, composers use the theme of nature or landscape for the basis of their compositions. One such composer, Ferde Grof, is noted for his love of his country expressed through his musical compositions dealing with the United States and it numerous landscapes. After giving some of the background information on Grof play some of his compositions, and see if the students can identify the geographic region, the weather conditions or the scenes depicted by his music. Ask the students to identify a musical selection that could portray the scene depicted in Snow Canyon by Robert L. Marshall. Encourage the students to locate and listen to other composers who deal with nature as their theme (e.g., contemporary Utah composer Kurt Bestor).

that he ran away from home at the age of fourteen because he did not want to have a musical career. For a while he supported himself with makeshift jobsas a pressman in a bookbindery, as a truck driver, as an usher in a movie theater, and as an elevator operator. He also worked in an iron foundry for a while and then as a milkman. He returned to a musical life when he teamed up with one Professor Albert Jerome, an itinerant cornet player who, allegedly, left him stranded in the mining town of Winthrop in a gulch in Northern California . . . taking all the money and leaving me with an unpaid board bill. To pay his rent, Grof went to work playing piano in a local hostelry for the sum of two dollars a night. After three years his family welcomed him back and encouraged him to pursue his musical studies. He had already begun violin and piano lessons at age five and, by the time he attained maturity, was an accomplished enough violist to be hired by the Los Angelos Symphony Orchestra. In 1919 he was hired as an arranger for a band, and in 1924 he embarked on his own career as a serious composer. His music eventually gained the recognition not only of the public but also of the worlds finest conductors. By 1937 he had made his debut as a conductor himself, in Carnegie Hall, conducting an entire program of his own works. Many of his compositions deal with themes of the American scene and include works entitled the Grand Canyon Suite, Mississippi Suite, Henry Hudson Suite, Hollywood Suite, and so forth.

Ferde Grof Stamp, US Postal Service Issue: September 12, 1997 http://www.centerforjazzarts.org/usps_exhibition3. html Background information on Ferde Grof Grof was born in New York on March 27, 1892. His family was so extensively musical

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Background Information on Color There are two theories associated with color. The light theory: colors are produced with rays of light and consists of primary hues of redorange, green, and blue-violet, and when the primaries overlap, the secondaries of yellow, magenta, and cyan are formed. Note: white is formed when all three primaries overlap.

Generally, warm colors have a red base and cool colors have a blue base, but this formula is not reliable because some colors such as red violet have red and blue in them. Warm colors appear to advance and cool colors to recede. Hue (the color family or name of the color) Color families that usually are given a position on the visual spectrum (usually a 12-position color wheel)

Light Color Wheel

Green Primary Cyan Secondary

Yellow Secondary

Blue Primary

Red Primary

Magenta Secondary

The pigment theory: colors are produced with solid particles, such as paint pigments, and consist of primary hues of red, yellow, and blue. Secondary colors (green, orange, and violet) are formed from primary colors, and tertiary hues (red-orange, yellow orange, yellow-green, bluegreen, blue-violet, and red-violet) are created from a secondary and adjacent primary color. The ability to distinguish colors is evoked by light stimulating the cones of the retina of the eye.

Value (degree of lightness or darkness) Light values are classified as high and dark as low and may be given a numbered scale (e.g., black=0, gray=5, white=10). A tint is the hue plus white, tone is the hue plus gray (or plus its complement), and a shade is the hue plus black.

Intensity (degree of brightness or darknessalso called chroma or saturation) Bright hues are classified as high and dull hues as low and may be given a numbered scale (e.g., dull=0 and bright=10). The intensity can be lowered by There are three qualities of color: hue, value, and adding gray or the complement of the hue. Also, intensity. Another quality of color is temperahues will appear brighter when placed next to 39their complements. Note: bright doesnt equate ture (warmth or coolness of the hue)

to light and dull doesnt equate to dark (e.g., navy blue is dark and bright, wedgewood blue is dull and light). Color schemes (a grouping or arrangement of hues for a particular overall effect) Monochromaticsame hue, varying values. (e.g. black, scarlet, red, pink, white) Complementaryhues opposite each other on the color wheel.(e.g. red/green) Triadthree hues equal distance to each other. (e.g. orange, violet, green) Analogoushues adjacent to each other. (e.g. red, red-orange) Neutralevery hue has these characteristics. (black, white, grays)

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Seeing and Creating Value in Three Dimensions

Dahrl Thomson, Island of Hope Objectives: 1. Students will observe how light reveals form on three-dimensional objects. 2. Students will create a three-dimensional work of art that has various values. 3. Students will be able to identify several works of sculpture that demonstrate the use of value. 4. Students will learn ways to judge abstract and nonrepresentational art. 5. Students will compare and contrast two abstract sculptures. State Core Standards: MakingStudents will play with art materials and begin to order them by basic art elements and principles. PerceivingStudents will view artworks and talk about basic art elements and principles. Introductory Activity: Seeing value on threedimensional objects Materials: a tennis ball a white sheet various other three-dimensional objects a bright light First, ask the students why the moon looks like it is different shapes at different times of the month. Second, darken the classroom. Have students demonstrate the principle they discussed about the moon by shining a bright light (representing the sun) on a white tennis ball (representing the moon) from different angles, so that the sizes of the lit and shadowed areas change. Third, try the same thing with various other 3-D objects. (White objects work best). Fourth, hang a white sheet on the wall so it creates folds. Again, shine the light from different angles and have students notice how the appearance changes in different light conditions. Also, help them identify the different valuesthe darkest, lightest, and medium values. Have students shine the light on their faces from different angles. (Shining the light up from underneath the chin makes scary faces). Fifth, teach the students the definition of value: Value is the art element that describes the darkness or lightness of an object. Value depends on how much light a surface reflects. (Art Talks, second edition, teachers edition, Glencoe). Homework assignment: Find a landscape or architectural feature you can see from near your

3-Day Moon Photo by John French Planetarium Production Coordinator Abrams Planetarium Michigan State University East Lansing, Michigan, USA pa.msu.edu/people/frenchj/moon/index1.html 41

artwork is based on a real object, but is simplified). (Nonrepresentational: the artwork is not based on a real object). Ask which category this sculpture fits into. Can they see a form that reminds them of a real object? Ask students to give their ideas on possible meanings of the title Island of Hope. Show an image of Constantin Brancusis Bird in Space (http://www.guggenheimrg/site/artist_work_md_22_5.html) next to Thomsons Island of Hope. Brancusi is one of the sculptors Thomson lists among those whose work has influenced her. Have students compare and contrast the two sculptures. (This could be part of the discussion, or a writing assignment). Ask them to tell which sculpture they like best and explain their reasons. Aesthetics: Refer to Dahrl Thomsons artist statement and help students discover why she prefers abstract to realistic art. How can we judge abstract works of art? (Possibilities include

Gary Smith, Point of the Mountain home, such as mountains, rocky cliffs, or tall buildings. Observe it at different times of day, especially early morning and late afternoon, just before sunset. Write in your journal what you noticed about the time of day and light conditions when you could see the form of the mountains (or whatever you chose) most clearly. Report your findings to the class. Art History: Show students several examples of sculptures that show value. Some good possibilities include relief sculptures on Greek temple friezes, Stonehenge, the Sphinx, Nancy Holts Sun Tunnels. If possible, find different pictures of the same sculpture showing it in different lighting circumstances, and discuss the differences with the students. Art Criticism: View and discuss the image of Dahrl Thomsons sculpture, Island of Hope (included in this packet) with the students. Pay particular attention to the way value has been created. What other elements of art do the students notice in this sculpture? (Are the lines mainly straight or curving? Does the texture look rough or smooth?) Make sure the students understand the difference between artworks that are realistic, abstract, and nonrepresentational. (Abstract: the

Dahrl Thomson, Island of Hope 42

looking at how the elements and principles of art are used to create interest or beauty of form, the level of skill and craftsmanship in the art technique used, the feeling or idea expressed). Encourage students to discuss their own preferences. Ask them whether, even if they still prefer art that is realistic, looking at and discussing these abstract sculptures helped them to appreciate and enjoy abstract art more than before? Art Production Activity: Creating value in a 3-D work of art Materials: 1 pound of water-based clay for each student various kitchen utensils objects from nature, such as shells, pine cones, sticks man-made objects such as spiral notebook wire, etc. 1. Form clay into a slab, either by rolling it with a rolling pin between two 1/4 sticks, or just patting it to about 1/4 thickness. (One pound of clay makes a slab about 5x 4x 1/4). 2. Create an interesting abstract or nonrepresen tational design by pressing different objects into the clay. Be sure to think about any other elements of art you have learned about, such as texture and line.

Alternative: If you do not have access to a kiln, you could do this on a smaller scale with Sculpey, or use Crayola water-hardening clay, or even salt dough. Assessment for Production Activity: Slab is fairly uniform thickness, about 1/4 ____/5 points The design is interesting and is abstract or nonrepresentational ____/10 points At least three different values are evident in the relief sculpture ____/9 Total ____/24 points Bonus points: Student writes a statement explaining how she used at least one other element of art in her relief sculpture. (5 extra points) Extensions: Students could press about an inch of clay into the bottom of a small cardboard box or something like a plastic Cool Whip container. Press objects into the clay to make a design, as in the above activity. Then pour plaster (about 1-1 1/2 inches) on top of the clay and allow to harden. Remove the box or container and peel away the clay to see the reverse of the clay design. (Indentations in the clay will become projections in the plaster). This lesson can either be followed or preceded by lessons in creating value in two-dimensional artwork, where value is used to create the illusion of form.

3. Create at least three different values on your slab by pressing some objects lightly and oth ers deeper into the slab. (The great thing about clay is that you can erase by smooth- ing and redo till you have the design you want). 4. Make a hole in the back of your clay so you can hang it when it is finished. (Or fired slabs can be epoxied to pieces of wood for hanging and exhibition). Allow clay slabs to dry thoroughly, then fire in a kiln.

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Value Can Be Expressive

Michael Workman, In DarknessNevertheless Illuminated Objective: the students will demonstrate their understanding of value and use value to create a mood, a feeling, or to express an idea in an artwork. Core Standards: MakingStudents will play with art materials and will begin to order them by basic art elements and principles. PerceivingStudents will view artworks and talk about basic art elements and principles. ExpressingStudents will explore and create meaning in art. Show the class the slide of In Darkness Nevertheless Illuminated , and ask: Describe the values used in this painting. What does the value have to do with the feeling or meaning of the painting? Use other ideas from the Background Information on Value, which follows this lesson. Be sure to discuss what clues indicate this painting is not just a nice painting of cows. Show the class some examples of other artworks that use value effectively, such as the SMA Elementary posters Youthful Games by Gary Smith and Road to the River by Maynard Dixon; UMFA Elementary posters A Young Scholar in his Study, School of Gerard Dou, I Have Special Reservations by Elizabeth Catlett and Game of Marbles by Christian Schussle. In addition, past Educator Evening packets have slides , postcards, or transparencies you can use. After discussing how value can be used to create mood and express ideas, have the students choose a person, place, or object to depict that has some meaning connected to it for the individual student. The students should decide how they can most effectively use value to portray the chosen subject. Then the students should each choose a method or media that will create the appropriate values. Possibilities are pencilspreferably a range of hardnesses (Drawing

Elizabeth Catlett, I Have Special Reservations Utah Museum of Fine Arts pencils last a long time and arent very expensive)pen, marker, pastel, or charcoal on white or light gray paper, or white chalk on gray or black paper. However, unless the students are experienced, limit the choices to black, white, and grays. You may want the students to use drawing techniques your class has learned such as crosshatching, shading, contour drawing, etc. Allow the students to be expressive at whatever level of draftsmanship they possess. Even young students can produce interesting works and can explore the use of value in conveying meaning. Variation: If value is an element of art your class has not worked with, you may need to do one or more introductory activities before doing the previous activity. Possibilities include the following: 1. Have the students make a value scale such as the one included in the Background Information. The scale can have from five to ten 44

sections. If possible, have drawing pencils in at least three hardnesses. If you dont own any, you may be able to borrow these from an art teacher or to share them and their expense, with another teacher or two. 2. Have the students explore different media and techniques for producing value. Give each student a large piece of paper and several media such as different kinds of charcoal, pencils, conte crayons, pastels, chalk, etc. Garbage bags make good, cheap throw-away clothes protectors, just tear or cut holes for heads and arms. 3. Present terminology used for value (see Background Information), writing each term on the board and showing the students examples. After the students are familiar with the terms, show the students more artwork and let the students identify the use of value in the artworks using their new vocabulary.

to the expressive quality of the piece, and makes a supported judgement about the successfulness of the artwork. For young students, who dont yet write well, use a spoken critique, which can be as short as three sentences. This lesson works well in small groups in which students share their critiques with other and respond to those critiques.

Critiquing the Use of Value

Objective: The students will demonstrate an understanding of value by critiquing the use of value in an artwork. Core Standard: ExpressingStudents will explore and create meaning in art. Show the class the slide of In Darkness Nevertheless Illuminated , and ask the following questions: Describe the values used in this painting. What does the value have to do with the feeling or meaning of the painting? Use other ideas from the Background Information on Value, which follows this lesson. Have art magazines, posters, or other reproductions available for the students to choose from. Each student should write a critique of the chosen work that describes the artists use of value, tells how the use of value does or does not add 45

White Man's Touch From the 2003 All-State High School Show

Background Information on Value

Value is how light or dark something is. Values range from a high of pure white to a low of pure black. The scale below shows a ten-step value scale; however, the average human can discern about 40 variations in value.

Although it is simplest to look at value as a range from white, through grays, to black, color also has value. For example, blue-violet is a low, dark value while a clear yellow has a light, high value. Artists use value contrast, which is the relationship between the lights and darks in an artwork, to create specific effects or moods. An artwork with low-value contrast will have values similar to each other while an artwork with high-value contrast will have values that cluster at the two opposite ends of the scalemostly blacks and whites or very dark and very light colors. If the value contrast is low, the artwork will appear delicate and subtle, whether the range is lights (high key) or whether the range is of darks (low key). An artwork that has mostly darks is likely to convey feelings of mystery, melancholy, fearfulness, or to produce shadowy or night-time effects. In opposition, lighter values are likely to produce a sense of calmness, softness, lightheartedness, or to produce a delicate or warm daylight ambiance. An artwork with high contrast has excitement, tension, and drama. High contrast also can be used to highlight a contrast of ideas, such as in Michael Workmans piece In DarknessNevertheless Illuminated. Other important uses of value contrast are to establish focal points or to emphasize figures, objects, or ideas being expressed. To demonstrate the use of value contrast in paintings, make some black and white copies of color prints. Without the distraction and added subtlety of the colors, the value contrasts in the works will be clearly evident. If your school copier allows you to darken and lighten the copies, make three copies of the same work, one with accurate values, one that is lightened, and one that is darkened. These changed copies will demonstrate the power of value contrast to the students. Value contrasts also allow artists to suggest space, sometimes just a feeling that a figure is three dimensional (using shading and shadows) and sometimes to create the sense of looking deep within a landscape (objects look paler and bluer or grayer the further away they are). Trevor Southey, Johnnys Apron, detail 46

Symbols in Language and Life

Objectives: The students will understand the use of symbols and will: 1. Identify symbols in a passage of literature, giving possible meanings, or 2. Use a symbol in a short piece of writing, or 3. Choose a personal symbol and discuss in small groups, or 4. Choose a personal symbol and draw that symbol, or 5 Write and illustrate a story using a typical metaphor or other literary device. Unless your class is very comfortable discussing symbolism, start the activity by making a list on the board. The list should have a column on the left of common symbols like black or darkness, light or white, and a list of meanings on the right. Start the list of symbols and ask the students to supply the meanings for each. Then ask the students for examples, encouraging them to explore whatever range of subtlety

they are capable of. Although many symbols have fairly universal meanings, they also can have personal meanings, so there are no wrong answers. The next step is to discuss why and how symbols are used, using some short examples from appropriate writings. At the end of the discussion, the students should realize that symbols enrich the meaning of written and visual art by providing layers of meaning and by tying into our personal experiences. Next, show the class the slide of In Darkness Nevertheless Illuminated , and discuss how the artist has used the cows as symbols for our physical life (see Biographical Information). You may want to include some other artworks that use symbols, such as the following: From the SMA Elementary State Core Art Posters, The Rhinoceros, James Christensen; Entertaining Favorite Ladies II, Jeanne Leighton-Lundberg Clarke; Channel Three, Edith Roberson; Keeper of the Gate, Dennis Smith; New Bloom, Trevor Southey; The Factory Worker, Mahonri Young; and from the SMA Middle School State Core Art Posters, Cottage Industry, Jacqui Biggs Larsen, and Dreaming of Zion, Lee Greene Richards. You will find helpful information about the meanings of these works on the back. In addition, many of the past Educator Evening packets contain slides of art works appropriate for this activity. The biographies of the artists (also in the packets) usually includes some information about the work. After your discussion, assign students whichever of the following activities best suits your curriculum. 1. Assign students to read a poem, a short passage from a longer work, or a short story. Have the students pick out the symbols used by the author. The students should write down the list of symbols, what meanings they have in the story or poem, and what the symbols mean personally. Older students can write an essay 47

James Christensen, The Rhinoceros

that explains the use of symbolism in the work, using specific words, phrases, and ideas to support their interpretation. 2. Assign students to pick a symbol and use it in a descriptive paragraph, a poem, or a nonsense verse. 3. Have students pick a symbol for themselves. Divide the class into small groups and have the students share their symbols and their reasons for choosing them with each other. This is generally a very positive experience for the students and can make the class more unified and can reduce conflict. If you have a student who does not want to share his or her symbol, allow the student to write about the symbol. 4. Have students pick a symbol for themselves and then draw that symbol. They should write a sentence or two on the back about why that symbol represents them. 5. Art/ Language Arts, for young students: Show the class the slide of In Darkness Nevertheless Illuminated, and briefly discuss (on their level) Workmans use of cows and light values to communicate with the viewer. Help them to understand that he has used visual devices to make his artwork more meaningful. Then talk about the kinds of expressions we use in everyday conversation that are metaphors, hyperbole, similes or other verbal techniques that enrich our language. Give the students an example or two and then ask for their ideas. Some possibilities are, If pigs could fly, Im so mad I could strangle her! good as gold, etc. When you have a number of examples listed on the board, show the students some ways people have used these phrases, often in humorous ways. For example: A book cover available at the Scholastic Book Fair this year (1998) has a print of black and white cows scattered against a background of blue sky and white clouds. At the top, the book cover says . . . When Cows

Fly! Another delightful example is the book Tuesday, by David Wiesner, published by Clarion and currently available in book stores. The book has very few words; it mostly tells the story in pictures. The story is about one Tuesday night when frogs take wing and fly around the town. Before dawn, the frogs are back to normal, but the book ends with a page that says Next Tuesday. . . and shows some pigs flying. After showing the students a couple of exam-

Mark Robinson, House Cat ples, have them each choose a phrase or idea to illustrate. They can do a story, like Tuesday, or just one illustration, like the book cover. Have the students share their stories or illustrations with each other and display them where the rest of the school can see and enjoy them. After all, communication is the point of the assignment. Have the students plan the display, using what 48

they have learned about design to make the display accessible and visually attractive and/or meaningful.

predict what they will pass on as parents. When you show the slide, ask if any of the students families have a cow(s). If the students do not know anything about the dairy or beef industry, tell them the dairy industry successfully uses genetic manipulation to produce herds of healthier cows that give higher quantities of milk. They do this by choosing to breed cows that have the best traits and by more sophisticated processes such as embryo transfer. Ask the children to make a list of the best traits for dairy cows. They also can consider what the beef industry wants cows to be like. You can choose to include other animals or plants the students can discuss. Pick topics of local interest such as fruits grown

Genetics/Higher Order Thinking Skills

Objective: The students will understand that genetics can be manipulated through scientific methods to produce desirable traits. This artwork also can be used to gain the students attention for a variety of other science lessons. Show the class the slide of In Darkness Nevertheless Illuminated, and introduce the topic of genetics. Ask the students what they think cows have to do with genetics. If the students do not yet understand what genes are, you will need to introduce them to genes before continuing or before beginning the activity. If your class has learned about cells and will understand the term, call up to the front of the class several children who have different color eyes, skin, hair, and who vary in height. Tell the students that genes are part of each cell in their bodies, and one of the things genes do is carry the codes that determine things like eye color. (If the students are not familiar with cells, just tell them the genes carry codes that determine many things, such as how we look.) Have the students notice how different the children are from each other. Have the rest of the class compare themselves with the other students around them. Ask if the students know where their genes come from. (Half from each parent) Make the discussion of genetic traits as complex or as simple as fits your class and curriculum. Students may enjoy comparing their own hair, skin, or eye color with their parents and siblings. If you have children who do not live with their biological parents, be sensitive to their needs. You may want to broaden the assignment to include using a friends family instead of their own. Other possible variations are to make educated guesses about what their parents look like, or if that is too sensitive a topic, they can

Bosside Rota Remi, as shown on dartreklorlee.com/features.htm locally or flowering plants. You may be able to find wild and hybridized flowers of the same variety to show the class the results of manipulation of plant offspring. Go into as much detail as fits your curriculum. Check the internet for helpful background information, including illustrations. You may have a local dairy farmer who will come talk to your class or allow you to visit his 49

or her farm or ranch, or a local greenhouse. If you are going to involve plants in your discussion, you can use additional artworks such as Mostly Flowers, by Lou Jene Carter, a Middle School poster. Extension: For older students, you may wish to include more information. The following are some sources: 1. McClellan, Jeffrey. Of Udders and Milkers and Students in Rubber Boots BYU Today, Winter 97, page 42. For free copies of the article or the magazine volume, contact Jeffrey McClellan, Associate Editor, at 378-8762, or the offices of BYU Today. 2. Internetuse Genetics to search 3. State Science Core 4. Biology textbooks Variation: Biology/Social Science Older students may be interested in discussing the complex ethical implications of gene manipulation. Most people see nothing wrong with careful breeding for desirable traits in animals, food crops, or other plants. However, science and technology have created capabilities that go far beyond selective breeding. The article in BYU Today has specific information on how the dairy industry uses embryo transfer to produce superior cows. Other possible areas of interest for discussion include the following: 1. The cloning of some animals is likely to become feasible in the near future. What are the biological concerns and what are the ethical concerns? 2. Animals are being produced with specific human genes to make their organs more easily accepted by human recipients or to produce medicines for human use. Is this any different from breeding animals for products like meat, leather, fur, etc.? If so, why and how? 3. The manipulation and/or selection of human sperm or ova to avoid producing children with fatal or severe genetically carried diseases or conditions will soon be a possibility. Would the process be acceptable medicine or is there some-

thing inherently wrong with that much manipulation? 4. Many members of the scientific community assume the possibility of human cloningeither incomplete humans, who would be created for organ donation, or of complete humanswill be achieved in the near future. What are the ethical and legal concerns? This activity can be a class discussion or small group discussions and can involve the students researching a topic and writing and/or presenting a short report. You may need to model or help establish some ground rules for the discussion since some students may have strong feelings about their positions. Have the students help establish the rules, and write them on the board as a reminder.

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TextureSee it, Feel It, Taste It!

Ken Baxter, Mechams Boots Texture is one of the basic elements of art. Its the element artists use to create life, variety, mystery, and definition to shapes. We can see it, feel it, and taste it. Real textures are the kind you can touch or feel. Suggested or implied textures are the kind that are simulated to look like the real thing. Past experiences with our sight and touch prepare us to imagine how something we see might feel. Textures are crested by using the elements of line and value and the principles of repetition or rhythm and pattern. Using the work of art Mechams Boots, by Ken Baxter, ask the following discussion questions to help the students examine the artwork closely and think about it. What are the elements and principles used to construct the painting? How old do you think the suitcase, boots, and trunk are? How can you tell? What story might this picture be telling? Who do you think Mecham is? Notice that the objects have no background. Why do you think the artist didnt include a background? What do you think the artists intent was in painting this work of art? Aesthetic Questions: What is the general aesthetic stance of the artwork? How well does the artwork meet the criteria for that aesthetic stance? More specifically, why would an artist choose to make a painting of old shoes? Are they a valuable subject for a painting? Why or why not? Does the artwork meet your personal criteria for a good artwork? Why or why not? Lesson objective: Students will demonstrate their ability to create visual texture and value by drawing a still life of old objects that includes an old pair of shoes. State Core: Foundations I Standard I, Objective 2 Standard II, Objective 1 Materials: transparency of Mechams Boots by Ken Baxter old shoes other old items for the still life such as a suit case, tablecloth, wooden box several objects with obvious textures such as burlap, worn wood, rough bark, a brick, a rock, something with scales (Sax art supply company has three different sets of texture rubbing plates that are very good, but natural items are great too.) drawing paper 51

 pencil or crayons for rubbing eraser glue sticks Production: Various Approaches to Texture 1. Have students make texture rubbings from real objects or texture rubbing plates, if you have them. Then students should try to replicate the rubbings in pencil or charcoal to simulate the textures. Set up a still life of the old items and have students use what they learned about creating implied texture and incorporate five different textures and five values in the drawing. Remind students that smooth can be a texture. 2. Instead of the still-life drawing, have students draw a table shape on their paper, and then cut out shapes from the texture rubbings and glue them on the paper in a still-life arrangement. Remind students to use what they know about creating a sense of spaceoverlapping shapes, placement in the picture plane, etc. 3. Have students clip at least 5 pictures of textured items from magazines. They should look for items that are rough, smooth, shiny, bumpy, grainy, that have scales, leaves, or grain. Out of each picture they will cut a 1-1/2 square and glue the squares to a piece of drawing paper. Next to the squares they should draw squares of the same size and render the textures in those squares.

4. Have students draw an abstract or very simplified still-life type arrangement of shapes, using only line. Next, they will fill in the shapes with textures, repeating some to create rhythm and unity. 5. Have students find 510 pages of textures from magazines. They will write a poem or a description of their own or someone elses favorite or special pair of shoes. Next, students will make a collage of the textures that relates in some way to the shoes. They can write their poem or description around the shoe collage.

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Assessment: The teacher can assess students learning using a rubric based on criteria such as the following:

NEEDS WORK Very few of the directions were followed Value rendering is not related to actual look of the still life Rubbings are sloppy, difficult to discern and/or there are less than 3 The replicated rubbings are barely identifiable or incomplete Only 2 values are identifiable in the drawing or the drawing is too incomplete to tell Only 2 textures are identifiable in the drawing or the drawing is too incomplete to tell Student has made no or little attempt to repeat textures Overall artwork is disorganized rather than unified

GOOD JOB Part of the directions were followed Value rendering is reasonable Rubbings are slightly blurred or there are 3-4 The rubbings are identifiable in the drawing, but not skillful 3-4 distinct values are identifiable in the drawing 3-4 distinct textures are identifiable in the drawing or some are sloppy The drawing has some repetition of textures, but not enough repetition to avoid competition Overall artwork has some repetition but too much variety to create strong unity

EXCEPTIONAL JOB All of the directions were followed Value rendering is accurate Rubbings are clear, precise, and there are at least 5 The rubbings are replicated skillfully in the drawing 5 distinct values are identifiable in the drawing 5 distinct textures are identifiable in the drawing The drawing exhibits a deliberate and visually interesting rhythm Overall artwork has enough similarities and repetition to be unified

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Copy the textures in the boxes Name

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Textured Clay Relief Sculpture

Gary Lee Price, Irises Objective: The students will demonstrate their understanding of texture by exploring texture in clay and then creating a relief sculpture that incorporates texture. Have some items with varying textures available. (See HELPS at the end of the activity) Blindfold some or all of the students or have them shut their eyes and feel the different objects, paying attention to the texture of each object. They should find as many words as possible to describe the different textures; list these words on the board. When the students have had a chance to touch the various objects, show them the slide of Irises and discuss texture, using ideas from QUESTIONS FOR LOOKING. Tell or ask them what kind of texture the objects and the sculpture have. (Actual texture, as opposed to implied texture, such as in the watercolor Snow Canyon, by Robert Marshall, this packet. Since the students are looking at a slide of the sculpture and not the actual sculpture, they may not immediately grasp the fact that the texture visible in the slide is actual texture they could feel if they touched the sculpture.) Give the students some clay and various tools and objects and have them experiment with creating a variety of textures. Some of the items you brought for them to feel can be pressed into the clay to make interesting textures and different tools and their fingers can also create a wide variety of textures. Encourage students to experiment with a broad range of textures. You can use oil-based clay for this part of the activity

since it can be used and reused, or you can give the students pottery clay or self hardening clay, which cant be reused once it starts to dry out. When the students have had a chance to experiment with texture, assign the students to make a relief sculpture that has texture. You may want to bring in or use some plants or other fairly simple but interesting objects like sea shells, toys, or found objects and to have pictures of animals available. After the children have decided on the subject of their relief sculpture, they should look at their texture experiments and decide how they can best use texture in their sculpture. You may want to review the list of reasons for using texture in sculpture. Have the students make at least three sketches of possible designs and then choose their favorite to use. 56

For this part of the assignment, use pottery clay or self-hardening clay. If you use pottery clay, purchase at least two kinds, one that has grog (ground up hardened clay)it will have a gritty feel and the finished piece will have a sandy lookand one that has a very smooth texture, such as porcelain. The students then have builtin texture as well as the texture they will add. If your students have not worked much with clay, give them a short demonstration on ways to create relief sculptures. (If you have not worked much with clay, experiment with the suggested methods before demonstrating for the students.) The following list contains ways to create relief designs in clay. 1. Scratch or cut into the clay. Different tools will produce very different results. For example, a not-very sharp pencil makes a gentle line; a knife or needle tool, a thin sharp line; the end of a pen, a soft, wide line; the handle of a utensil an even wider, soft line; fork tines make parallel sharp lines; the broken end of stick makes a line with uneven depths and edges. Loop sculpture tools can be used to scoop out gentle depressions or to make sharp-edged troughs. Tell the students to scratch or cut no deeper than halfway into the clay, or the relief may crack apart. 2. Stamp or press into the clay. Small parts to kitchen items often make good stamps, so do the ends of pens or markers, and many objects with naturally occurring textures such as tree bark or leaves, can be pressed into the clay. Rope, twine, or yarn can be laid in a design on the clay and pressed into the clay by gently rolling a smooth tube of heavy cardboard over the design. Lace, ribbon, and bits of material can be pressed in the same way. Carefully pick the end of the material up and pull it gently away from the clay. If the class is using pottery clay, the material can be left in place: it will burn out when the piece is fired. 3. Add clay shapes, coils, balls, etc. To add shapes, first scratch the surface of the clay where the shape will be applied, and moisten the scratched area with water. If possible, do the

Clay Texture Examples

same with the piece to be appliqued. Press the applique firmly onto the back piece. A flat shape can be pressed on with something flat like a small piece of wood, which wont distort the shape. Appliques can also have the edges blended to the background with the back of a small spoon or other tool. Shapes can be attached by stamping the edges of the shape or the center, using a tool, a finger, or a stamp. The important part is that the shape be securely attached, preferably by scratching and slipping (moistening) both the background area and the shape that is being attached. Discourage the students from making skinny, raised shapes; even with care, they are likely to break off during the drying or firing process. To make the relief sculptures, cut the clay into 1 slabs using a purchased cutting wire or one 57

made from strong, thin wire fastened around two short pieces of dowel or pencil for handles. Have the students pat or roll the clay into a 1/2 thick slab. If they are using rolling pins or heavy cardboard tubes as rollers, the students can roll the clay out between two 1/2 thick boards to produce an even slab. The students may want to use a needle tool or kitchen knife to make an exact shape, or they may want to leave the clay in the shape it naturally takes. (If they want to leave the edge as is, they will need to reserve some clay for creating the relief.) To make an exact shape, the students can use rulers or small pieces of flat wood for straight edges and can use a compass or a tracing of a round object for partial or complete circles, or can make a paper pattern of a more complex shape.

Once the shape of the sculpture has been completed, the students should decide whether to smooth the outside edge with a moistened finger or small sponge or to leave whatever cracks or cutting marks exist. Now the students are ready to create the relief using the techniques shown to them. After the students have created their textured reliefs, move the clay slabs on the cardboard, or slide the material onto cardboard or wooden drawing boards, bending the clay as little as possible. If you have used self-hardening clay, follow the directions for hardening that come with the clay. If you have used pottery clay, place the sculptures where they can dry slowly, undisturbed. For the first day or so, cover the pieces with lightweight plastic, then lift the plastic slightly, and then take it off. Make sure the sculptures are completely dry before firing them, or they may break or explode during the firing. You can tell if the clay is drying at an appropriate rate by checking the pieces in the morning and the afternoon. It is easy to look at the clay and see which parts are dry and dull and which are still moist. As clay drys, it shrinks; so you do not want the edges of the clay to dry long before the center of the piece because that will cause shrinkage cracks around the outside. After the sculptures have been fired, have the students glaze the pieces in a solid color, so the texture of the relief is emphasized, have the students paint the pieces or stain them with commercial stains or with dyes made for leather or with liquid shoe polish and then spray them with a ceramic sealer. Have both glossy and flat sealers available so the students can pick the one that best matches the textures of their artwork. Glazed pieces will need a second firing. If you have never glazed clay before, get some instruction.

Gary Price, Wasp

used by permission

Students making round shapes can be given a cube of clay instead of a thick slab. They pat the cube into a ball, then a flattened ball, and then continue to flatten or roll until the slab is 1/2 thick. Have a piece of sturdy cardboard or heavy cloth for each student to work on.

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HELPS Suggestions of textured items rocks of various kinds, including one that has been smoothed by tumbling in a stream or a rock tumbler bark from different trees fabrics sanded, finished wood sticks leaves plastic bowl glass window screen smooth leather, suede hemp string, pearl cotton heavy rag paper slick paper from ads hair or fur fired clay wet clay cornstarch mixed with water oil seeds fruits and vegetables yarns bottle caps and so onuse your imagination! Supplies Self-hardening clay probably can be purchased most cheaply from a crafts and art supplies catalog through your school or district office. Art teachers will have catalogs if you dont. Pottery clay can be purchased from stores such as Interstate Ceramics in Orem. You can look under Ceramics in your local phone book, or check with a local high school or college teacherthey may be able to point you to a good source or may have extra studio clay made from scraps, which you can purchase for a reasonable price. Just make sure you know what conethe clay fires to. (The cone indicates the temperature the clay matures at. It will appear as a symbol followed by a number, like 5. The numbers [and temperatures] go up from

110 and down from 01 014.) If you dont know what temperature the clay should be fired to, you may end up with extremely porous and brittle sculpturesunderfiredor you may end up with distorted or even melted sculptures overfired. You can expect to pay about $5.25 for a 25-lb bag of ready-to-use clay, although many stores give discounts for purchases of 50 lbs or more. One 25-lb bag of clay will be enough for 12, 1 x 6 slabs, which will make sculptures about 10 x 10, with leftover clay for adding the relief. Glazes and sealants can be purchased at any local crafts store or may be ordered. Prices of glazes vary widely because the cost of the colorants varies widely. Small boards may be available at local cabinetry shopsin their scrap barrelsusually free. Skinny pieces of fine-grained woods like maple and birch can be made into modeling tools using a belt sander. A parent may be willing to make these for you. For ideas on useful shapes, look at the wooden tools sold in craft stores or talk to someone who is experienced in working with clay. Tongue depressors and popsicle sticks are useful as is and the ends can be sanded straight by hand. Buy round wooden tooth picks or bamboo skewersthey make fairly good cutting tools and are very cheap. Cellulose sponges are good for cleanup, and they can be cut into 2 x 1 pieces that, when moistened, are useful for smoothing edges and blending joined parts. Pieces of sturdy cardboard can be cut from cardboard boxes. Furniture and appliance stores generally have the biggest boxes; and if asked, store owners may save boxes for you. Material stores or clothing manufacturing plants throw away heavy cardboard tubes all the time. Use a band saw or hand saw to cut to size. 59

Use some parents or the students to collect items with texture; ask for donations of materials, share supplies with another teacher. Yard sales and thrift stores may have items useful as stamps as well as rolling pins, spoons, forks, and knives, and may be a source for heavy cloth at low prices. An art teacher at your school or in your district may be willing to loan tools, give advice, provide firing, recommend a place that will fire the pieces, or to provide advanced students as helpers. Ceramics students from a local college may also be willing to help, as may parents or local potters or sculptors. ArtPressed Flowers Objective: The students will demonstrate their understanding of composition and texture by creating a pressed flower arrangement. The following ideas were gleaned from the book Art From Many Hands by Jo Miles Schuman, Davis Publications, Inc. 1981 Plan ahead because students will need to gather and press flowers six weeks before the actual art project. The students need to be aware of several things before you assign them to bring in flowers. Please go over these points with your students. 1. Some flowers are protected; the State Division of Natural Resources will send you a list. 2. Always ask permission if the flower is growing on private property. 3. When you pick (or better yet, cut ), always leave some flowers for others to enjoy and be as careful as you can with the plant so it will bloom again. 4. The best time to gather flowers is the late morning or late afternoon. Do not pick after

a rain because the flowers will mold when pressed. 5. Cut about 3 to 4 of stem with the flower, and if there are no leaves on the stem, cut a few leaves. As you cut, put the stems in water to keep the flowers fresh. 6. Gather small flowers; one large flower will dominate the arrangement. Thick flowers (daisies and dandelions) will not press well. 7. Be sure to include some interesting grasses and leaves and small bits of moss. 8. Choose flowers and other plant materials that have similar and/or contrasting textures. 9. Press the flowers on the same day they are picked, if possible, and if not, be sure to keep them in water. Have newspaper that is at least one-week old (so the ink will not transfer to the petals) or unprinted newspaper to press the flowers in. Start with a board on the bottom and then layer the flowers between double sheets of newspaper. Place another board on top, with bricks or heavy books, and leave them alone for six weeks.

Show the students examples of works of art and actual flower arrangements and discuss composition and what makes an effective design, including ideas about using texture effectively (you could perhaps have a floral arranger come in). 60

The flowers are fragile when dry, so have your students handle them carefully. They will place the flowers on a piece of mat board that has been cut to fit a piece of cellophane, glass, or plexiglass. Have the students arrange their flowers. The leaves and moss can be used to cover the bare stems of the flowers. Students should consider the texture as well as the color and shapes of the materials. When the students get a composition they like, they carefully use a toothpick and dab glue on the flowers, one at a time. Then they place the glass or plexiglass over the arrangement and bind the glass to the mat board with 3/4 tape. White is best as it doesnt over power the light hues and delicacy of the flower petals. Or, for a much less expensive finish, have the students place cellophane over the flowers and attach the backing to a purchased or studentmade mat. Another possibility is to fold a piece of cardstock, or other sturdy paper, in half, glue the flowers to the front of the cardstock, cover the flowers with cellophane, and then glue a cardstock frame shape to the front of the card, over the flower arrangement. Creative Movement Objective: The students will explore qualities of movement inspired by the artwork Irises. After viewing the slide of Irises (or better, viewing it at the museum) go into the gym and have students choose a space on the floor. Have students explore various ways of moving through their space that the piece inspires (time: slow; space: curvy force: light; flow: free). Discuss with the students what kind of music would help them move that way. Play some (have some prepared) and have students move again. Also discuss the shapes the piece inspires. Have each student keep exploring ideasways to move suggested by the piece. Begin giving them just 8 counts of music over and over again. Tell them to create in those 8 counts a dance

of Irises. Make sure they start and end with a shape that fits. Let them rehearse 5 or 6 times. Have half the group perform while half watches and then let the other half perform.

sojourner.nclack.k12.or.us/studentShowcase.html Science/ArtDrawing the Parts of a Flower Objective: The students will learn the parts of a flower and be able to label them on a drawing and point them out on a real flower. After going over the parts of a flower with the students and having them be able to label the parts, discuss whether they really know that flower; if they really appreciate it and can understand their connection to it. Read pages 51-53 and 119-122 from The Island by Gary Paulsen and parts about Vincent van Gogh in the first chapters from If You Want To Write, by Brenda Ueland. Discuss these with your students and then go to a field or a city garden or to visit the Sundance farm in Midway, and have the students bring sketchbooks. There are great ideas to help the students in books like Nature Drawing: A Tool For Learning by Clare Walker Leslie and A Trail Through Leaves by Hannah Hinchman. Have the students walk around until they find a flower that speaks to them and have them observe it 61

Space
Allen Craig Bishop, La Semilla Brota Art Materials: photocopies on heavy paper of the contour of La Semilla Brota for each student (on next page) scissors tape paint, markers, colored pencils, or crayons blank paper to make map Objectives: 1. The students will use their own aesthetic sense to create a map of a multipieced artwork. 2. Students will learn what is meant by positive and negative space and by break up of space. 3. Students will create their own multi-pieced artwork with a corresponding title and map. 1. Make photocopies of the contour drawing of La Semilla Brota . Explain that this is similar to the map Mr. Bishop sends to galleries and museums so they can hang his work correctly. Pass one to each student and have them cut out the shapes that correspond to the actual pieces that make up the entire work known as La Semilla Brota. Tell the students they will be creating a new map with these shapes and therefore, they will be part of the creation of a new artwork, one that probably will be very different from La Semilla Brota. Have the students color each of their cut-out parts uniquely. (Use La Semilla Brota as an example if the students have trouble thinking of what to do.) After each piece is colored, have the students arrange each piece shape so that it touches another piece shape. These colored Allen Bishop, La Semilla Brota, rearranged shape pieces should be arranged by the student to create a final shape which is different from Allen Bishops La Semilla Brota. Have the students make a map for their original artworks. Have the students exchange their pieces along with the map. Have the students hang their classmates artwork by following their map. Have a gallery show in your classroom (or wherever you decided to hang the pieces) and discuss the variety of pieces created using only one set of basic shapes. 2. SPACE can have several meanings in an artwork. Space is an element of art and is an important part in the creation of the artworks composition. First of all, space can mean 62

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the creation of the illusion of three-dimensional space on a two-dimensional surface. That basically just means the artist uses certain techniques (like perspective, overlapping, vertical placement, size differences, and atmosphere) to create a sense of depth on a flat picture. (see examples of these techniques in Brian Kershisnik's painting, Flight Practice with Instruction) Secondly, space can mean the break-up of space within a format. This means that an artist will divide (or break-up) the space inside the borders of his/ her format with shapes or lines to create an interesting composition. Lastly, space can be used to describe the positive and negative spaces within an artwork. Sometimes described as figure/ground relationships instead of positive/ negative space, the positive space is usually the object or figure in the artwork; and the negative space, or ground, is the space in-between and outside of the object or figure. For example, in

J.T. Harwood's painting Boy and Cat, the boy, bench, and cat are the positive spaces (or figures) and the air or space around the boy and bench is the negative space (or ground). Most people are not aware of the negative spaces in artworks, but they are an extremely important part of the composition in any artwork. Allen Bishops La Semilla Brota primarily deals with the second and third descriptions of space stated above (the break up of space and positive/negative space relationships). Exercise to learn break up of space in a format: First, create an interesting format for the artwork on a piece of paper. A format is the edges of the artwork. In most paintings the format is rectangular, but in La Semilla Brota, the format is irregular. You can have the students create a geometric format by using a ruler or compass to define the edges of their artwork or they can create a more organic format by tracing parts of leaves, shells, hands, etc. Once students have a format, they can begin to design their composition. Second, your students will now learn to break up the space they have enclosed within their 64

format. Again, the students can break up the space with any kind of shapesgeometric or organic. A simple way to break up the space is to draw varied lines from one side of the format to the other. The space within the format will be broken up by these shapes and lines. Last, have students color the shapes they have just created to make an interesting design. 3. Extension: Students can further break up the space by cutting out some of the shapes they have created from their artwork and rearranging them to create a new artwork. If the shape(s) the students cut out touch the edge of the format, they will have altered the format with negative space(s), as Allen Bishop did in La Semilla Brota. Have students document their favorite compositions by creating maps or plans of the artworks. Allen Bishop arranged his composition like a sprouting seed. Students should experiment to see what their pieces can form (you may want to have a game to see how many arrangements your students can come up with) and then give them titles. Remind the students to write the titles down next to their maps, so they dont forget them. Have class members exchange artworks and pieces and then use their favorite arrangement from the maps, and hang the pieces on the wall along with the title. You can have the students rearrange their artworks every day for a week in a library, hall, classroom, or office. Have fun!

the students measure their own artwork made during the art activity explained previously. You may want to expand the lesson by having students measure other odd-shaped items in your classroom or outdoors.

Tessellationsusing math in art

Objective: The students each will demonstrate their understanding of positive and negative spaces by creating an original tessellation. Show the class the slide of La Semilla Brota, if you havent already completed one of the art activities. Briefly discuss positive and negative space. Then show the students a tessellating puzzle or some artwork containing tessellations. Assign one of the suggested activities, using information from the next page, Information on Tessellations.

MathFinding Area
Objective: students will learn how to find the approximate circumference and area of irregular shapes. Review the principles of geometry that allow calculation of circumference and of area. Now show the students the slide of La Semilla Brota and tell the students they will apply the same principles to find the circumference and area of irregular shapes. You may want to demonstrate how to measure these shapes using Bishops piece. Then have Student tessellation from Ms. Woodburn's Sixth Grade Class, Buchanan Elementary. Pierre, SD gw011.k12.sd.us/student.htm

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Possible activities: 1. Have the students explore several shapes to see which ones tessellate and which dont. For example, hexagons tessellate but octagons dont. When theyve found a shape they like which tessellates, have them fill a page and color the shapes to make an interesting, attractive pattern. 2. The students should choose a basic shape that tessellates and modify the shape to make a person, object, animal, or complex design that tessellates. See the internet for some student-generated examples. 3. Get directions for kaleidocycles and have each student make one. Davis Publications has an excellent packet with directions and examples for $13.95 4. After designing a tessellating shape, the students will cut 12-15 of the shapes from heavy paper or cardboard and use them as a puzzle. Let students exchange puzzles with other students and have fun putting the various puzzles together. 5. For advanced students: After the students have created a tessellating figure based on a geometric shape such as a hexagon, have the students create another tessellating figure based on the same geometric shape. The students will then create transitions from the first design to the second design, making a very complex piece of art. See M. C. Eschers art for examples. 6. Have the students see how many examples of tessellating designs they can find in a week. They can make a list or make simple sketches of the designs.

show the students how space is organized in a building format and then how blueprints are created to use as a map for the builders.

Science
Show La Semilla Brota as an interest catcher for a lesson on botany and seed germination.

Social Studies/Architecture
Have an architect visit your classroom and share his or her experiences in the profession with your students. Tell the architect you want her to 66

KaleidocyclesMore Math and Art

Objective: The students will make a patterned kaleidocycle. One very fun manipulation of space is to make a patterned kaleidocycle and then see what the different designs look like. using triangles to form a moveable ring. Show the students some examples of M. C. Esher's work so they can see how he manipulates visual space to achieve interesting effects and designs. Then give each student a copy of the kaleidocycle pattern. (Print these on sturdy paper.) The students should color or draw in a design, filling all the triangles and leaving the parts that say "G" bare. (If the students color on the parts to be glued, they rarely glue as easily because the surface is now slick.) Possible patterns or designs are to create a landscape in the four seasons, one season on each section, a pattern which evolves for each section, or a pattern that has a variation for each section. When the design is finished, students should crease the paper carefully on the lines. To put the kaleidocycle together, put glue along the tabs on the long side. Put the kaleidocycle together around a broom handle or some other cylindrical object the right size. This gives you something to push against so the glue will stick. Then start at the end which has the tabs, and crease the kaleidocycle so the tabs line up against each other. Next, crease at each line that is horizontal across the tube of the kaleidocycle, alternating directions so you have a shape like that below. Now form the creased tube into a circle. Put glue on one of the flaps and glue it in place by holding two sides and touching one finger to the middle. Be careful not to use so much glue that it glues the tube ends together. You want only to glue the tabs to the corresponding section, otherwise, the kaleidocycle will not work well. Then turn the kaleidocycle until the unglued flap is up. To turn the kaleidocycle, press gently up or down on the center section and it will rotate. Now carefully glue the other flap, using a toothpick to place a small amount of glue on the flap and holding as before. This is the trickiest part and sometimes two people can do it better than one. You will want to practice a couple of times so you can do it well. When the kaleidocycle is finished, if you look straight down at it, it will look like the drawing below.

Turn it by gently pressing the center and rotating so what has been the top row goes through and the next row comes up. For a moving illustration: ccins.camosun.bc.ca/~jbritton/kaleidocycle.gif To make more durable kaleidocycles, copy the

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pattern on to cardstock. Before folding, students will need to score the lines. You will need rulers with one metal edge and either dull exacto knives or some other not-too-sharp knife such as a letter opener. Show students how to lightly score the lines before folding them. If you make the kaleidocycles out of cardstock, you will need to use a strong glue such as white glue, tacky glue, or a glue gun. If you have adults such as aides who can help, the glue gun is best. For larger kaleidocycles, enlarge the pattern onto 11 x 18" paper. You can also make kaleidocycles that have only three pairs, and therefore, make a wider kaleidocycle from an 8-1/2 x 11 piece of paper. Enlarge this one or draw one that is 11 long.

Information on Tessellations
A tessellation is a repeating pattern that fits together without gaps. The most common examples are tile floors or counters and brick walls. Artists sometimes use tessellating designs. The students may be familiar with the art of M. C. Escher, which has been reproduced on ties, t-shirts, posters etc., even if they dont know his name. Escher himself became interested in tessellations after a visit to the middle east, where he saw many intricate tile floors. After he returned from his trip, he began experimenting with tessellating designs. You may want to show the students some examples of his and other artists work that uses tessellating designs as part or all of the artwork. In addition to books about M. C. Escher, you may find other books with helpful information about tessellations such as Introduction to Tessellations by Dale Seymour and Jill Britton, Dale Seymour Publications, Palo Alto, Ca., or M. C. Escher Kaleidocycles, Pomegranate Artbooks, Inc., available through art catalogs. Also, search the internet using Tessellations and M. C. Escher as key words. Students may enjoy playing with and/or making their own tessellating puzzle. The puzzle can be part of or instead of the outlined activity. Puzzles are available at many educational toy stores. The DaMert Company of Berkeley, CA makes several versions of a puzzle called Busy Beetles. The 64-beetle size sells for about $12. There are an infinite number of ways to create tessellations, but the easiest is to start with a grid of some kind, such as the following examples, which were created using the graphic program in WordPerfect and then reduced in size to use as illustrations. Another way to start a tessellation is to use a grid of dots.

For a geometry lesson, you can choose a shape or shapes the students are learning about, such as scalene triangles, and have the students experiment to discover how scalene triangles fit together to make a tessellating design, as shown below.

These simple designs can become interesting when other shapes are drawn within each shape. 69

To make more complex shapes, simply take one shape which can tessellate and modify the shape, making each modification of the shape have an opposite or compensating modification.

paper and color them with any appropriate medium. Added details make the designs more interesting. If you have the computer capability and want your students to gain experience with computer graphics programs, have students scan in their designs and copy and paste to make a full-page tessellation, as shown below. This was scanned into Photoshop and inserted into Quark but it could also be inserted in Word or a WordPerfect file. Even black and white printers can be used to produce interesting variations of the tessellation. You could tie this activity into a lesson on the art element VALUE. (See Activities for Michael Workmans In DarknessNevertheless Illuminated, this packet, for background information on VALUE and more ideas for teaching VALUE.) If you have a color printer, advanced students can explore all kinds of ways to vary their tessellations. Even exploring color possibilities on a color monitorwithout printing the designs can help students see, and therefore understand, the differing effects color can produce. (See Activities, Robert Marshall, Snow Canyon, this packet for information about COLOR and ways to teach the effective use of this art element.)

Have the students sketch out their tessellating design or object. As shown below, fish can create a tessellating shape that fits the space of a rectangle made from two scalene triangles.

Students can make the final tessellating design by cutting out shapes from different colors of construction paper and gluing them to paper backing, or they can draw the shapes on white

70

Human Proportion
Georgi Melikhov, Victory Day in Berlin Proportion is the power that brings out the smile on the face of things. -Le Corbusier Proportion refers to, portion or part in relation to the whole. The relation between things or magnitudes, as to size, quantity, numbers, etc. The relationship between parts or things, especially harmonious, proper, or desirable relationship, balance or symmetry. Artists design proportions within a work to best express content. In art or science or math, proportion refers to how parts relate to each other and to the whole. Human proportions affect architecture and furniture design. Much of what we perceive as desirable or beautiful is based on the proportions of the human body. After all, everyones favorite subject is themselves, and if we can see our self in a work of art or a building or the landscape, we will usually like it. The comparative relationship of the parts of a composition to each other and to the whole is a major part of what artists do to create.* The historic attempts of philosophers and artists to discover or establish mathematical rules of proportion that would lead to aesthetic compositions are older than the ancient Greeks. Similarities in proportions within groups of people have permitted fashion designers to standardize clothing. Modern mass-produced plywood or plastic furnishings are also designed to suit average proportions. The Classical Greek sculptor Polykleitos created noble athletic figures in which the height of the body was pre-

Georgi Melikhov, Victory Day in Berlin cisely eight times the length of the head. This rule was not intended so much to reflect reality as to perfect it. Much of the Classical Greek Parthenon was constructed according to the principle of the Golden Section, which states that a small part must relate to a larger part as the larger part relates to the whole.

Scale and Ratio

Objective: Students will demonstrate an understanding of proportion in visual art by drawing a portrait of a human head (self-portrait) which reflects the generic proportions of the human face. Materials: Pencil and good drawing paper and a face or two to look at. To introduce the topic, show the students an assortment of artwork featuring reasonably 71

realistic people such as Victory Day in Berlin, Georgi Melikhov; Little Mother, J. T. Harwood; A Compromise of Freedom and Control: Self-portrait, Connie Borup; Aetatis L Self-Portrait, Bruce Smith; Jane Dallin-the Artist's Mother, Cyrus Dallin.(sma.nebo.edu) Process: Demonstrate to the students how to draw a full frontal view of the human face. Begin with the common face shape of the egg or ovoid. With very young students this is not a particularly easy shape to draw. The proportions, relationship of the big end and the little end of the egg shape is subtle and the transition lines between top and bottom need to possess a fluid quality to integrate the two disparate ends. There will be an insistence on drawing faces as circles. Point out that the face is not separate

under the bangs rather than at the top of the head. Thus the round smiley face we are all so familiar with. Point out that no one is completely chinless, thus the egg shape...no one has an ear to ear U shape for a mouth and lips require more than one line and that no one has two little black dots for eyes. The smiley face is a symbol of a face, not a likeness, just as the five pointed pentangle is a symbol for a star but actually looks nothing like the astronomical body called star. While the child schema of the two eye dot smiley face is delightful and cute, if students are not taught to draw with some proportional reality they will soon stop drawing all together. They will not be able to withstand the critical onslaught of their peers. Very few people who continue to enjoy making art into adulthood persist in the child schema. Perhaps with the exception of the Swiss artist Paul Klee. As adult viewers of art, we are not very entertained by other adults who produce the naive and unsophisticated art of children. In fact, even Paul Klee never thought that he had achieved the child- like nature. Perhaps that is because he was not a child. We only approach this subject here to get past our adult need to allow children to keep on being children. It is strange that we dont persist in this mind set in literacy and math. Starting in Kindergarten or earlier we want children to learn adult ideas of alphabet and word writing and numeral counting, and we become alarmed when a child refuses to learn to do it our way. However, in art we are loath to let children lose their naive and immature approach to visual communication. This undermines both the empowerment of the next generation and the valuing of art as a legitimate form of communication in our society. It is easy to observe both of these issues at work in our own culture. Now back to this project! After demonstrating the egg head, have students fold a piece of drawing paper into quarters, revealing four thinking spaces. Draw the lines on the folds 72

This photograph clearly shows the egg shape of the head from the whole head but is part of it. To draw a face the artist/student must first draw the shape of the whole head to have a place to put the face. Point out that a circle shape does not allow the face/head to have a chin and how strange we would look without chins. The great problem with young students is that they perceive the face to start at the hair line or

This is an example of child schema drawing by Kaycee in the first grade (The other drawings are by Kaycee in the second grade) to create the spaces. Lead students in drawing the loose searching for the shape approach, to finding the shape they want. If a student draws dark lines, she has no chance to adjust the lines. Start light and work toward darker and more and more accuracy. No need to erase the light, searching construction lines. Erasing mistakes and errors is a literacy issue not an art issue. Learn to draw light and go darker rather than draw dark and ruin the paper by trying to erase, which isnt really possible anyway. Even if the line is gone, the texture of the paper has been changed and accepts the graphite differently. Use the whole arm, and not just the fingers or the hand. Look for smooth, consistent curves in the egg shape. We are not looking for an ellipsoidal oval but rather the ovoid form where one end is larger and one end smaller in its curvilinear diameter. OK, enough all ready! This redundant information is included only to help readers see that other disciplines use these art ideas and define them more specifically. Personally, I really like to teach children words and ideas, no matter how obscure or apparently trivial, which their parents dont know. Practice the ovoid (egg head) form at least four times and turn the paper over and practice four more times on the other side. Have students look at different people around their work station and practice drawing (searching for) the specific ovule shape of their head. The hair may

This is an example of Kaycees face mapping done after practicing the egg shape and eight mapping practices. It takes some time. camouflage the top curve of the head. If you happen to be lucky enough to be bald, have students draw the shape of your head or bring some other chrome dome in as a model. After the students have demonstrated some proficiency in rendering the egg head demonstrate on the board the basic human facial proportions. See illustration. Depending on the text or the artist these generic proportions will slightly vary. Depending on the individual being drawn the facial proportions will also vary. Articulate the proportions as well as showing them. Eyes are about half way between the top of the head (not top of face) and the bottom of the chin. The bottom of the nose is about half way between the eyes and the bottom of the chin. The bottom lip is about half way between the bottom of the nose and the bottom of the chin. The space between the eyes is about the same size as the width of the eye. The width of the nose is about the same as the space between the eyes. (most people with wide noses also have wide apart large eyes). The width of the mouth is about the width between the pupils of the eyes while looking straight ahead. 73

This is an example of Kaycees generic girl face. The proportions are easy to remember even if only loosely accurate. As students grow in skill and perception the proportional schema will refine itself. Here we are only introducing the idea of human facial proportions. Have students make four more thinking spaces on another piece of drawing paper. Avoid using cheap, untenable paper like newsprint for drawing. Also be careful about make a distinction between sketching and drawing. We

dont want to send the message that the process of learning is less important than the product learned. Practice should take place on the same or similar paper that the finished project is to be on. On one side of the paper have students draw four generic face maps. Do not try to draw eyes or nose or mouth. Just make little scribbles or lines which approximate the size and placement of the facial feature. We perceive a drawing of an eye to be an eye primarily because of where it is located and its proportional relationship to the rest of the drawing. Have students do this four times. If they seem to start being bored have them study their classmates face and render their proportional schema.

This is an example of using RembrandtsChiaroscuro to create depth Turn the paper over. In one of the thinking spaces have students do a self-portrait based on the generic schema. A self-portrait is a picture of the only person that you can never actually look at. Therefore, to make it look like the artist, specific characteristics such as freckles, length and value and texture of hair, hair decorations like ribbons and berets, hair style like braids, moussed spikes, crew cut and pony tails and size and color of eyes and so forth can be used to get the portrait to be specific. After they finish the first self-portrait, have students draw portraits of specific classmates sitting close enough to get a full facial frontity view of 74

This is an example of a face mapping portrait of a boy at Kaycees table.

their neighbor. After two quick renderings of friends, have them draw in the fourth thinking space a portrait of their teacher. Most students revel in the drawing of their teacher. As they get older they want to satirize the teacher. This is not a bad thing. It is not possible to draw a funny, satirical, cartoon of a person without knowing how to draw it proportionally correct in the first place. To end this project have students render a large self-portrait on a good sheet of drawing paper using all of the proportional techniques they have learned. These finished projects should be suitable for exhibition. In my second grade class this project can be done in one or two 50- minute sessions. Most of the students will be finished with all of the schemes and all of the practice drawings in less than a class period. The second class period is always devoted to the finished rendering. Since some students work faster than others, have the quick ones(not necessarily better) do a Rembrandt-like textural shading in the background to bring the face forward in the picture plane. This is called chiaroscuro, an Italian word for light and dark and a technique for manipulating value to create the illusion of depth and to increase the dramatic atmosphere of the work, but thats another lesson. Evaluation and Exhibition: One of the effective

ways for students to learn about criticism and evaluation is to have them evaluate each others work in non-threatening, kindly ways. Since the facial proportions or arbitrary let the students determine if each other have come close enough to fulfill the demands of human facial proportions. Related Projects: This self-portrait project works well with color blending lessons. To color the human face with any hope of realism, students must be able to perceive the color the they are looking for. Have students look at the skin on their arm and try to mix colored pencils to achieve this same color. (find a lesson on color mixing). To pursue the idea of anatomical proportions, have students look at the rest of the human body relationships. A schema for body proportions exists and can easily be learned and incorporated into a lesson on human gestural qualities. If the whole human body seems too complex, try doing a lesson on the proportion of the human hand. Obviously, each persons hand is different, but there is generic proportional schema which is what we recognize as a hand. After a general schema is explained and demonstrated, the best way to master the process is to observe the phenomena in nature by looking at your own hand and drawing what you see. The proportions of the human face and hand are probably hard wired into our brain before birth as a survival strategy rather than a learned perception based on observation. This should make these lessons pretty easy and most students very accommodating because deep inside they suspect the truth of these ideas. Vocabulary: Proportion, Harmony, Self-Portrait, Chiaroscuro, Schema, Bibliography: Understanding Art, by Lois Fichner-Rathus. Serious Drawing: A Basic Manual , by Casey FitzSimons. Constructive Anatomy, by George B. Bridgman. Figure Drawing: The Structure, Anatomy, and Expressive Design of Human Form, 4th ed., by Nathan Goldstein.

This is Kaycees self-portrait.

This work was done at the end of the section on face proportions. No instruction was given in how to draw eye, nose, mouth or hair.

Playing With Proportion

Objective: Students will examine artworks in which the human form is depicted in non-typical proportions. Students will create an artwork that uses distorted proportion and will analyze their response to the assignment. Once students have a reasonably clear idea of what typical human proportions are, they can decide whether to use those proportions or to deliberately distort proportion. Show the class some examples of artworks that use distorted proportion such as the following: Ava, Cass C. Barney Self in Studio, Lee Udall Bennion Fantasies of the Sea, James C. Christensen all at sma.nebo.edu Jeanne Hebuterne With Necklace and others, Amedeo Modigliani at allposters.com Quatre figures sur un Socle, Alberto Giacometti at www.mamrio.com.br/slideshow_1.html Have students discuss how the distortion affects the meaning or affect of the works. Ask: How would the works be different if they were proportioned normally? Have students choose a way to distort the human figure and make at least three sketches. They should discuss the effectiveness of the drawings with another student in the class or with a small group. They should discuss whether the composition works as a whole, so that the distortion is an integral part of the work rather than something superimposed on it. After the discussion, they can choose one of the sketches or rework an idea and then complete an artwork using the medium and approach of their choice. Assessment: Students should keep the artwork as part of their portfolio. In addition to assessing skills the class or student is working on, the

Cass C. Barney, Ava used by permission student should write a short response to the work, answering the question of whether creating an artwork with deliberately distorted proportion is an approach they want to continue to explore or whether the experience has solidified their disinterest in that kind of artwork. Variation: Young children can do the same lesson, just use language they will understand, and assess according to criteria you establish beforehand such as whether they made 3 sketches, the distortion in their artwork is consistent, the artwork fills the page, etc.

Proportion in Animal Sculpture

Silvia Liz Davis, Guest Objective: Students will apply their knowledge of proportion in creating a three-dimensional figure Show the slide of Guest as well as other slides of sculptures of other animals. If possible, bring in several animal sculptures or live animals for the students to observe and touch. Have students measure parts of the sculptures, animals, or photographs of animals to determine typical proportions of different animals and different breeds of dog. See the Science activity for Guest. The measuring step and the whole idea of proportion is likely to be easier if you have done an activity with typical human proportions. If you havent, you may want to start with one. Use calipers, if possible, and have several children of different heights come to the front of the room.

and the prongs folded flat, so the paper is held together but can rotate.) Measure from the top of the head to the chin. Then measure other parts using the head size as the measurement. If your students are very young, they may not quite fit the standard, which is 7 heads tall, 4 heads from hip to heel, 2 heads wide at the shoulders, and 1-1/2 heads across the hips. However, the students will come close, and different students are still likely to be similar in proportion. Have the students choose an animal to sculpt out of soap, clay, wood, or found objects. The sculpture may be a representation of the mythical dog the students wrote about, the breed of dog they chose to investigate in the science project, their own pet, or another animal. (Have good photographs of various animals.) 77

(Calipers can be made out of cardboard, the two arms joined with a brass fastenerthe kind with two flat prongs that can be poked through paper

is as you read or relate several myths to them. For example, the myth of the phoenix, the myth of Persephone, or a creation myth involving the dog, such as "Ulgen the Creator," a Russian creation story, found in a collection edited by Virginia Hamilton entitled "In the Beginning," etc. Discuss and list the components of a myth. Discuss and list the components of a good story. What is the proportion of the beginning and end to the middle of a story? How much description versus dialogue balances a story and makes it interesting? How much detail about character and setting versus the bare essentials? Illustrations versus text only? Dan Hildreth, Snow Shoe Hare First, students will sketch their chosen animal, measuring its proportions and trying to reproduce them. They should make sketches from several angles since the sculpture will be threedimensional. Then the students should sculpt the dogs (animals), using the measured proportions as best they can. Display the dogs and the stories; invite another class or parents to listen to the stories written by the students and to see their artwork. Variation: have students use photocopies of animals and measure the proportions, writing them down on the paper. Then have students sketch the animal freehand, trying to reproduce the proportions correctly. Have each student develop a myth (perhaps about how the dog was created or what part the dog played in the creation) and share it with the class. Students also can work with a partner or in a small group to develop the myth.

DramaRole Play
Objective: Students will participate in role play to develop an understanding of the relationship between pets and their owners. Students will show their understanding of proportion by creating objects with their bodies in groups. Use the following poems or other similar poems you may have or prefer. Look for poems containing character and action. 78 MY DOG by Marchette Chute His nose is short and scrubby; His ears hang rather low; And he always brings the stick back No matter how far you throw, He gets spanked rather often For things he shouldn't do,

Language ArtsMyth
Objective: Students will show they understand what a myth is by creating a myth about a dog(s) and sharing it with the class. Show the slide of Guest and ask for student reactions. Create a background for the piece: Where did it come from? Whose dog was it? Does it possess any magical or mystical qualities?, etc. Ask the class to listen to discover what a myth

Like lying-on-beds, and barking, And eating up shoes when they're new He always wants to be going Where he isn't supposed to go. He tracks up the house when it's snowing Oh, puppy, I love you so. Tom's Little Dog by Walter de la Mare Tom told his dog called Tim to beg, And up at once he sat, His two clear amber eyes fixed fast, His haunches on his mat. Tom poised a lump of sugar on His nose; then, "Trust!" says he; Stiff as a guardsman sat his Tim; Never a hair stirred he. "Paid for!" says Tom; and in a trice Up jerked that moist black nose; A snap of teeth, a crunch, a munch, And down the sugar goes! (The poems are taken from "The Arbuthnot Anthology of Children's Literature,- compiled by May Hill Arbuthnot and others, Scott, Foresman and Company, 1976, page 35. Discuss how each of the dog owners must have felt about their pets. Then have the students, working individually, show how they would feed, pet, bathe, walk, play, etc., with their dog. As a class prepare and recite the poems together as a choral reading. Use solo, small group, high, low, and medium voices with appropriate expression to give dramatic impact to the reading. Vary the tempo and timing of the reading appropriately as well. Act out the poem(s): As the teacher/leader reads the poem slowly students may: a) role play the dog b) role play the owner

c) work in partners: one partner is the dog, one the owner; then switch roles. Divide the class into groups of eight or nine students each; have each group cooperate to form a dog using their bodies (one person is one leg, a foot, the head, the body, the tail) Can the dog walk, wag its tail, eat, etc.? Create a puppet show based on the creation story or one of the poems (or students might write their own poems about their pets to act out). Or, create reader's theatre scripts based on the creation stories written by the students in the language arts area. Have the students practice and perform for the rest of the classS-

ScienceDogs
Objective: Students will identify the general characteristics of the dog family. Students will identify and explain the unique characteristics (physical and temperamental) of a particular breed of dog and share this information in an illustrated report. Show the class the slide of Guest and discuss the general characteristics of domestic dogs: appearance habits uses in society traditional ways of characterizing dogs 79

List as many breeds of dogs as the class can think of. If possible, display some pictures of these different breeds as well as others that may not have been mentioned. Good information is available on the internet; one good site is: www.dogbreedinfo.com/abc.htm#W Display a drawing and have students name as many parts of a dog they can. Add as much information as seems appropriate. Then compare the proportions of size (height/length) to weight for several different breeds of dogs. Ask students to examine how the different proportions are related to appearance. For example, do dogs with broad faces generally weigh more for their height than dogs with narrow faces? You also may want to relate size, build, coat, etc., to specific roles dogs have been bred to fill. For example, Portuquese water dog, bred to herd fish, and help fishermen. (see photo, previous page)

MathGraphing
Objective: Students will create and explain a graph based on an in-class poll. Students will demonstrate their understanding of ratios by interpreting their graph. Explain how graphs are created and discuss what kinds of information they best communicate. Take a class poll (structure this as you see fit): -how many students own dogs? -how many students own pets? -what breeds of dogs do students own'? After tabulating the results, have the students create graphs based on the information from the poll. For more advanced students, have them design and administer individual or group polls, create a graph with effective labeling and display the graphs. Have students calculate the ratio of students with dogs as opposed to those without. Then they can calculate the ratio of the most popular breed to the least.

Social Studies
Objective: Students will investigate the use and treatment of dogs (or other animals) in a particular culture and share the results of this research. sled dogs www.mountainlake.com/Sleddog4.htm Each student (or in partners) will choose a breed of dog and research its unique physical and temperamental features. They will present their findings in an illustrated report. If your classroom has access to the internet, this assignment can be used as practice in researching techniques for the web. Each student (or team of students), with the guidance of the teacher, should select a world culture to investigate. The students should use the following questions to guide their research: -how are dogs used in this culture? -how are they cared for? -how are (or have they been) they depicted in the art of the culture? -do they contribute to the economy of the culture? -does one breed predominate? 80

Finding a Balance in Art

Raymond Jonas, Abstract Configuration Objectives: Student will be able to identify why people need balance, and explain why balance is important in a work of art. Student will also be able to explain how visual weight is created in the students own work of art., describe different types of balance, and create artwork that shows balance. State Core Standards: MakingStudents will play with art materials and will begin to order them by basic art elements and principles. ExpressingStudents will explore and create meaning in art. Definitions and background for teacher: balancePrinciple of design that deals with arranging visual elements of art equally. It creates a sense of structural stability resulting from looking at images in terms of gravity and mass and judging them against common sense ideas of physical structure. It generally refers to the relationship between the left and the right sides rather than between the top and the bottom. It usually results in weighing dissimilar elements and is responsive to hue (color), value ( light and dark), intensity (bright and dull colors), and shape as well as placement. If a work of art has visual balance, the viewer feels that the elements have been arranged in a satisfying way. Visual imbalance makes the viewer feel that the elements need to be rearranged. central axisImaginary central line that divides a composition in half. The central axis is used to measure visual weight in a work of art. 81

Wayne Kimball, Homo Barbatus Cum Tanto Dolore CapitisBearded Man with Headache this Big

Ray Jonas, Abstract Configuration

There are different kinds of balance: Formal balanceWay of organizing parts of a design so that equal or similar elements are placed on opposite sides of a central axis. (Kimball) Formal balance suggests stability. Symmetry is a type of formal balance. Informal balanceWay of organizing parts of a design so that unlike objects have equal visual weight or eye attraction. Asymmetry is another term for informal balance. (Jonas) Radial balanceThis is a type of balance in which forces or elements branch out from a central point, the axis, in a circular pattern. symmetryType of formal balance in which two halves or sides of a design are identical. (Smith)

Balance is a principle of life. Every animal must balance breathing in and breathing out. The earth stays in orbit because the pull of the sun is balanced by the earths spin. We need balance to function every day. Standing up in a moving train or school bus is a problem in balance. Because of your ability to balance, you can walk on two limbs instead of four. List and explain examples of balance. Balance of power is a good example for fifth graders, who are studying U. S. government. A work of art must contain balance. Visual balance makes viewers feel the elements have been arranged just right. Visual imbalance creates a feeling of uneasiness. It makes viewers think that something isnt quite right. You feel that you need to rearrange something the same way that you feel a need to straighten a picture thats hanging crookedly on the wall. Identify examples of formal balance. (Some wedding invitations show formal balance). Remember that formal balance is when equal or very similar elements are placed on opposite sides of a central axis (most artwork isnt formally balancedthe Kimball piece is close, but not exact). Symmetry is a special type of formal balance where the two halves are exactly the same. Locate objects in science that are symmetrical (many flowers, insects, people, furniture, traditional architecture). Symmetry is stiff and formal. Artists use formal balance to express dignity, endurance, and stability. Because it is so predictable, it can be very dull. Artists often use approximate symmetry (small differences) to make the image more interesting than perfect symmetry. Make a list of things you use that show formal balance. Create an invitation that uses formal balance. Find out which life forms are symmetrical. Examine how radial balance is a complicated form of symmetry. You may want to look at a 82

Tony Smith, Coleus

Introduction activities: Try walking on a balance beam or a board in the classroom. Try it holding a glass of water, or hop with one foot up. Leg muscles shift in weight to overcome the effects of gravity. You balance the force of gravity with muscle force. Examine a balance scale. Try placing objects on one side and see how many objects it will take to match the weight of an object on the other side.

kaleidoscope to see a form of radial balance. Also, examine flowers and plants that follow radial patterns of growth. An orange is a good example of radial symmetry. List at least five objects that show radial balance. Examine the sculpture by Raymond Jonas and other artworks, including paintings, from the Springville Museum. How do they show informal balance? Or do they? Informal balance gives the viewer the same comfortable feeling as does formal balance, but in a more subtle way. It involves the balance of unlike objects. This is possible because unlike objects can have the same visual weight. Informal balance creates a casual effect and seems less planned than formal balance. However, what appears to be an accidental arrangement of elements can be quite complicated. A large shape appears to be heavier than a small shape. Several small shapes can balance a large one. Also, a small but complex object can balance a large simple object. Explain how Jonas uses different-sized objects to balance one another. Is there a part that looks like it might not balance? Do you think that an artist can purposefully create something that looks like it might tip over? Why would the artist want to do that? Explain how the complicated shapes on Jonas piece help balance the tipping large structure on the other side. Examine works of art other than sculptures. Observe how color shows balance. A high-intensity (bright) color has more visual weight than a low intensity (dull) color. The viewers eye is drawn to the area of bright color. An small area of bright color is able to balance a larger area of dull or neutral color. Also, warm colors carry more visual weight than cool colors. Value contrast gives visual weight, also. Black against white has more weight than gray against white. Using Balance in Sculpture Study the mobiles of Alexander Calder and create a mobile that shows balance. You may http://www.flensted-mobiles.com/ want to use objects from nature, wire, and string. Collect natural materials such as bones, pine cones, stones and use wire or a glue gun to attach them to each other. Try to create a design that uses informal balance. Make a sculpture from units of manufactured materials using cotton balls, cotton swabs, foam cups, foam balls, tooth picks, straws, etc. Does your sculpture exhibit balance? How? Make units such as cubes, triangles or pyramids from paper. Group and glue these units together. Be sure to show visual balance. Try using color. Use wood scraps and assemble them with glue. You may want to try painting them with acrylic paints. Be sure that your sculpture shows balance. Fragment and reassemble an object by sawing it in slices, then gluing it slightly off yet still creating balance. 83

Dance With five students, create a shape that is balanced. If one student sticks out a leg, the student on the other side should stick out a leg. Create several other shapes that are balanced. Then move around the floor using different dance movements i.e skip or hop. At a given signal (rapid beats from a drum) create your first balanced shape. Move around again. Then freeze in the second balanced shape. Continue until all the balanced shapes you have created are used in your composition. Using a group, try to create a shape with your bodies that looks like Ray Jonas sculpture. Writing A diamante is a poem that is visually balanced, so it looks like a diamond. Create a diamante using the following formula: 1 word: subject (noun) 2 words: adjectives 3 words: participles (-ing or -ed endings) 4 words: noun or related subject 3 words: participles (-ing or -ed) 2 words: adjectives 1 word: noun, opposite of subject Examples:

Drama Objective: Students will create frozen pictures to represent balanced art. Students will work cooperatively to improvise a story based on their frozen picture. Show students the slide of Abstract Configuration and perhaps a few other examples of balance in a piece of art. Discuss what balance is and how it is shown in each of the work(s). How are the components put together in a way that is pleasing and balanced? Divide the class into groups of eight or nine and invite them to recreate one of the sculptures they have seen, making a frozen picture. Have each group show their frozen picture to the class. Positively evaluate their efforts. Then ask each group to improvise a story based on how the components of the sculpture were brought together. The focus of the story might be creating balance. Have each group share their improvisation with the rest of the class. Next, have each group create a balanced piece of art of their own design. Ask them to assign a meaning to each shape in their creation and how it adds to the beauty and balance of the whole. Each group will share their creation and receive feedback from the teacher and class members.

Child Young, energetic Playing, laughing, tumbling Growth, change, knowledge, development Working, achieving, succeeding Older, wiser Adult Country Beautiful, peaceful Calming, resting, flowering Shade, trees, dust, smog Rushing, hurrying, working Busy, ugly City

84

Gary Price, Cartwheeling Kids

Balance Can Be Tricky

Wulf Barsch, Toward Thebes Balance in art can be trickytoo much or too careful balance may make a composition feel static and uninteresting; too little, and the artwork will make viewers uncomfortable. Start by reviewing the kinds of balance with students: symmetrical, asymmetrical, and radial. (You may want to show them examples of each: SymmetricalBonnie Phillips, Whole Wheat on Tuna, this packet; RadialAnthony Smith, Coleus I, sma.nebo.edu Op & Pop packet; AsymmetricalRay Jonas, Abstract Configuration, this packet. Then show them the transparency of Toward Thebes, by Wulf Barsch. Ask the students to look closely at the different ways Barsch has created a sense of balance in the painting. Encourage students to think through their answers and to notice what the effects of the different kinds of balance are. (For example, the feeling of a solid base that is created by the straight bands of color and two equidistant objects in the bottom section.) If possible, show the class other artworks by Barsch. You can find several others online, or if you can get one, two different catalogs from past shows have many images of his works At sma.nebo.edu in Collection, Artist Name, Barsch Amduat and Toward Thebes in the 2003 Spring Salon Catalog Alpha Draconius At byu.edu, libraries, Harold B. Lee Library, Online Collections, Museum of Art Seven Palms and Cumorah

Divide the students in groups and have them identify ways Barsch has used simple landscape and architectural elements to create his paintings of imaginary, religious, and/ or symbolic places. Each student group should write an aesthetic stance they believe appropriate for Barschs work. Then the groups should share their stances and compile a class version. This aesthetic stance should be written out and displayed as part of the exhibit of artworks. Have postcards, pictures from calendars, or magazine pictures of landscapes and buildings for the students to look at. National Geographic, Smithsonian, Architectural Digest, 85

and House Beautiful are good possibilities. But you may also have or be able to find books with good pictures. Students should choose two pictures: one landscape and one of a building or city scene. Each student should choose just a few elements from each picture to include in his or her imaginary landscape. These items may have symbolic meaning for the student or they may just be visually pleasing. Students should make at least three planning sketches, each a little different from each other. The items should be much simplified, and balance of the visual elements should be a primary concern.

an image of pyramids,

Take an image of sand dunes,

and an image of palm trees:

Combine elements of the three images, and you have an artwork : Wulf Barsch, Amduat

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When the students have chosen a composition, then should lightly sketch the design on a large sheet of good paper and then use a colored medium such as colored pencil, pastel, or paint to complete the artwork. Students should choose a title for their artwork and make a label for the artwork. Students can self-assess their work using a checklist like the one following. The teacher can use the same checklist. The artwork should be exhibited in an area of the school set aside for that purpose. Assessment checklist* _____ Used two images as sources, one a landscape, one a cityscape or a building _____ Chose 23 elements per image source _____ Elements are observable, but not copied _____ Overall artwork shows good balance: the image doesnt lean to one side or the other, but is interesting _____ Artwork is carefully done _____ Artwork is finished

* adapt as needed. For example, you may want to add specific criteria relating to the use of other principles of art, or you may need to define more criteria, such as what constitutes "finished." Variation: Art and Other Subjects. Barsch uses Egyptian plant and architectural forms as well as Greek and Hebrew letters. Have students choose a country, civilization, culture or area of the world that interests them in some way. Or you can use a culture or country you are studying in Social Studies. Assign the students to find information and images relating to that country or civilization. Students will complete the assignment as above, using visual images found in their research. Other artists to use: Hal Douglas Himes, Tabernacle (below)sma. nebo.edu and byu.edu, Museum of Art online collection Rakar Westwww.rakarwest.com/paintings. html

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Variation and Repetition: Found Object Relief Sculpture

Background Information on Variety The creative process builds on knowledge. The more you know, the more resources you have available to you. In both visual and preforming (dance, music and drama) arts, we commonly have themes and variations. Thus, variation and repetition of a theme. Unity is oneness or wholeness. A work of art achieves unity when its parts seem necessary to the composition. Artists frequently stir the viewers interest by creating variety within unity. Variety is diversity; but without unity, it is confusion. Unity results in part from uniformity of visual characteristics (visual elements of line, shape, color, value and texture), while variety is provided by dissimilar properties. The balance between the boredom of too much uniformity and the chaos of uncontrolled variety creates continuity, vitality, and interest in both art and life. Visual unity (oneness) occurs through the interrelationship of all parts of an artwork so that they fit together in a recognizable order. This order may be simple or highly complex. ONE PERSONS CHAOS IS ANOTHER PERSONS ORDER. A composition can be related and unified by repeating and echoing certain shapes, masses, colors, and lines as in Dennis Smiths Barn Swallow. Sometimes a work of art may appear to the inexperienced eye to have little unity. Look again at Dennis Smiths found object sculpture. The apparent disorganization adds to its sense of fantasy, yet the repetition of somewhat similar shapes, values of light and dark, textures and lines produce a unified composition that holds together. The differences between the elements themselves provide interesting variety within the basic unity.

Variation and Repetition, Found-Object Relief Sculpture

Objective: Students will demonstrate an understanding of the visual principle of variety and repetition as an important component of composition by gathering, organizing and exhibiting a found object relief sculpture wall hanging installation. Materials: some kind of a picture frame, either found as a frame or built from found objects. enough found objects to have plenty to choose from. glue, string, tape, pins or any other material 88

Dennis Smith, Barn Swallow

 with which to hang the objects on their back drop Process: The first requirement for an interesting art project is to have an interesting idea. We want this project to be a group, cooperative experience but obviously this could be done individually or in small groups but in this instance we will use a whole class of students and principles of cooperation to complete the project. The first step is to brainstorm the possible themes and ideas. The second step is to build consensus about this specific project. Third is to divide up labor and responsibilities. The fourth step is implementation or the construction of the project . Fifth step is evaluation (what did we learn?). Sixth step is exhibition. If we are going to use this project to learn about variety, repetition, and unity ,then we need to make sure that the idea (theme and material) the students decide on is going to work with the educational learning outcome. Using Dennis Smiths found object sculpture to stimulate discussion, have students decide what would be a good theme and what material would be appropriate to express that theme. Here are some examples from classes of first and second grade art students: Theme: Lines; Material: Strings and Ropes and Twine and Wire. Theme: Pins and Needles; Material: metal, pins, needles, screws and nails. (pin, by itself is a huge idea). Theme: Nature; Material: Leaves. (or sticks or rocks or roots or weeds or grass and so forth). Theme: Recycling; Material: Trash from the playground. Theme: Art; Materials: Art Supplies. Theme: Metal; Materials: anything made of metal. Keep the theme accessible to the age group and the material easy to find (dont overlook the

playground). Remember that a theme can be a visual theme like circles, shapes, textures, and colors or it can be a physical property theme like metal or plastic or wood or it can be a conceptual idea like summer or school or dreams or toys. What we want the students to bring are accessible objects which fit into a predetermined category and can visually discuss the principle of variety. As each student brings in his or her found object ,some criteria needs to be used to determine if it fits within the thematic parameters of the project. Depending on the age of the students, the found object assignment should be more or less specific. I had a group of second grade students who wanted to do metal. The variety

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Pine cone Man, Each pine cone was brought by a different student after they had decided what they wanted to make. second grade.

was unmanageably great. I had everything from straight pins to hub caps to old plow blades and one dad brought in an old truck transmission. We used them all, but for a free-standing GESTURAL FIGURE . I changed the assignment for the variety project for everyone to bring in metal screws and nails. No two were identical, and the objects were manageable enough to fit into the metal frame and be composed into a recognizable design. When the student brings an object (they wont all come at the same time) the group needs to decide if they put one object at a time up or collect them all and then organize them. The difference is very visible in the final product. The one student at a time approach has a very lively spontaneous look while the chance to come up with an over-all composition has a more structured and sophisticated look. Both are delightful and worthy of serious exhibition. One important construction consideration is how to stick the objects within the frame together and to the background. Much depends on the background. If the walls in your classroom dont want to be nailed, pinned to or

This is a view of the finished project. It is about three feet wide. It started with a hooked rug hoop as a picture frame. Over 30 students participated. The theme was art supplies. The title is MEDIUM see detail, next page glued upon, put a backdrop such as foamboard, card- stock, plywood, carpet or such behind the frame. Is it OK to have some of the objects slightly out side the frame? Well of course...the aesthetic police wont come and haul you away if you creatively violate the sanctity of the border that you created. It is always OK to twist the limits that you have invented. It is called Reevaluation. Evaluation and Exhibition: Since the objectives of this lesson are very specific, any critical review or grading can be done as yes or no. For classes of young Elementary students the quantitative grading system works well. Did they do it or not? As students mature a qualitative system needs to take over to see exactly what and how well the students know, master and use the concept in their personal approach to works of art. In this lesson it is obvious if a student or group of students understand the ideas of variety by looking at the found objects they bring to the project. Some discussion with the work group may be appropriate and several days of bringing things in may be required to get the 90

This is a conceptual project. The variety was not in what the things looked like but in how they were used to make art. This a view of the construction. First grade.

idea of variety and repetition in place. A fun exhibition idea for students is to create this project in the hall and get other students to guess what the theme and material ideas are. Related Projects: Besides the relief sculpture work, this project can be done as a fully three dimensional work. Found objects and the principle of variety can be used to build human and animal forms as well as abstract design motifs. A variation on this idea is the Andy Goldsworthy process of found object sculpture that is preserved as a photograph. This is a great way to incorporate the concept of three dimensional variety into a two dimensional idea. It is also a great way to exhibit the idea and a good chance to teach some basic studio photography techniques. Another extension of this project (a very good one in fact) is to use the finished wall hanging as the subject of a still life rendering. The familiarity of bringing and

organizing the objects and composition of the objects makes the drawing and coloring and painting of them as a still life more accessible. Remember: if you can see it, you can draw it Bibliography: Recycled, Re-Seen, by Laura Temple Sullivan, Museum of New Mexico. Hello, Fruit Face, The Paintings of Giuseppe Arcimobldo, Prestel Adventures in Art. Look-Alikes, by Joan Steiner, Little Brown and Co. Wood, by Andy Goldsworthy, Harry N. Abrams, Inc. Andy Goldsworthy at Google images

This is a detail view. Notice the variation and repetition of the size and shape of the objects.

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Variation and Repetition, Found-Object Sculpture Secondary Level

Using much the same information and artists as the previous elementary lesson, you can teach a secondary level lesson on found-object sculpture. The two photographs below show two views of a sculpture made by a student at South Sevier High School using wooden pallets he found behind the school and arranging them using rocks for balance. The repetition is obvious; variation is provided by position, broken slats, and the value changes the light creates as it shines and on and through the slats.

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Variety Creates Interest

Lee Greene Richards, Grandma Eldredges House, Salt Lake City Objective: The students will explore how the elements of art can create interest in an artwork by providing variety. They will be able to define the principle of variety and identify ways artists have created variety in differing artworks. State Core: PerceivingStudents will view artworks and talk about basic art elements and principles. Materials: white or neutral construction paper with an outline of three circlesenough for each student three circles that match the outlines and are the same colorthree per student construction paper in various colors scissors glue drawing paper various media slides, transparencies, or reproductions of art works of differing styles. Next, have the students sit down and ask them to discuss the artworks. Ask them how they enjoyed their tour of the class art gallery. Ask the students what they like and dislike about each artwork. When the students run out of things to say (which should happen quickly) or when the students identify the problem with the so-called art as being that theyre all alike, and boring, introduce the principle of variety.

Pass out the construction paper, one full sheet with outlined circles and three circles for each student. Tell the students you are going to create artworks for a class gallery. They are to glue the circles in the outlines, carefully matching the edges. Ignore any protests or comments the students make. When they are done gluing, have the students pin the papers to a board or tape them to a wall. Now have all the students walk in front of the papers as if they were in an art gallery. When each student has had a turn to Then give the students a chance to choose the see the papers, ask if any of them want another media they want and explore other elements look at the papers. 93

Show the class the slide of Grandma Eldredges House, Salt Lake City and ask the students to identify ways the artist has used the elements of art to create variety, which creates interest. After the discussion, pass out the colored construction paper and have students introduce color and shape. This part of the activity should go fairly quickly, but make sure the students feel free to explore. Have the students get in small groups and discuss how introducing variety in shape and color has increased the interest of the artworks.

that can create variety. When the experiments are done, display the artworks and again, discuss variety. Ask the students which works they find interesting and why. Then show the class the various artworks, having the students identify the elements of art and how the individual artists those elements to create variety. Assessment: You can evaluate students learning by showing them several artworks and having the students make a list of the ways each artist has created variety. Give a point for each appropriate answer. For young students, have the list be generated by the class with the teacher writing the list on the board. Try to give each student a chance to answer and expect specific answers so that students cannot just copy other answers. Variation for Advanced Students: shorten the activity to whatever length and content is applicable. Then have students choose an artwork and write individual critiques of the artwork chosen. Students must specify how the artist has created variety and how the variety contributes to the overall effect of the artwork. Art History Extension: After completing an activity that teaches students about variety, have students examine art from a specific period or movement. Students should look for similarities and differences in the use of the elements and principles of art.

good-quality paper pencils black markers colored pencils, paint, pastels, or crayons If you have not completed the introductory activity on variety, show the class the slide of Grandma Eldredges House, Salt Lake City and ask the students to identify ways the artist has used the elements of art to create variety. Show some other artworks and discuss how variety creates interest. You will need to include the idea that too much variety can become chaos. The standard is use variety for interest and re4petition for unity. When you can tell the students understand the principle of variety, proceed to the production phase of the activity.

ArtExploring Ways to Create Variety

Objective: The students will expand their ability to use the art principle of variety and will demonstrate that ability in an artwork. Materials: slides, transparencies, or reproductions of art works plants, flowers, fruit, vegetables for still lifes inexpensive paper 94

Trevor Southey, . . . of eggs in a basket BYU, MOA

Provide students with an assortment of items such as simple plants, flowers, fruits, and vegetables to draw. Students will create simple still-life arrangements to draw and paint. They should draw their chosen arrangement lightly in pencil, using a variety of lines.(see The Great Line Hunt) After they are satisfied with their drawing, they can use black marker to go over the lines of their drawing. Next, have students use the same still-life arrangement and use color to provide variety. They can do quick drawings or paintings that each focus on using one element to create variety: in addition to line and color, include texture, value, shape, and space. When the students have completed their individual drawings for each element, have the students choose which elements they want to use to produce a carefully finished artwork. They will use the same still-life arrangement and include at least three of the elements to create variety. Give the students good-quality drawing paper and colored pencils, markers, and paints. (If all you have is crayons, use them, but show your students how to blend colors to get more depth and variety of color.) Variation: Use the activity outlined above, but have students divide into six groups. Each group is assigned one art element: line, shape, color, texture, value, and space. One member of each art element group is put together into a group, so each group is now made up of six students, each assigned a separate art element. Each group creates its own still life. Then each member of the group draws or paints the still life using his or her element to create variety. When the artworks are done, have each group display their artworks and discuss the differences the varying focuses have created. Each group should be given an area in the school to display their work. The displays should include a brief explanation of variety in art and of the activity. Variation: Start the activity as suggested, but after students have completed the line drawing,

have them add color to the drawing, and then add value, texture, and shape (the line drawing probably included shape naturally, if not, add it). Finally, the students can add the art element of space by indicating a surface for the still life and by suggesting a wall behind it. Display the finished works and discuss the ways variety has been created. Keeping the Viewers Eyes in the Picture Plane Objectives: The students will create an artwork of a scene from their own experience, carefully planning the visual path of the composition to retain the viewer in the picture. Materials: a variety of artworks (see activity for recommendations) paper good-quality paper pencils paints, pastels, colored pencils, or crayons Discuss with the students the importance of the visual path to a good composition. Show the slide Grandma Eldredges House, Salt Lake City. What do you see first in the painting? Then where does your eye go? Discuss the techniques the artist has used to keep the viewer in the painting (The path leading in, the tree on the left inclined toward the house, the foliage at the bottom of the tree pointing inward, the flowers pointing up to the house, the shutters open, leading one into the house, the circular arrangement of the flower garden that sweeps the eye around in the picture, the darker tree at the top right that again sweeps the viewer into the picture.) Other good examples of visual paths can be represented by showing the following from the Elementary Art Core Poster Set: Calvin Fletchers Wash Day in Brigham City, Dennis V. Smiths Keeper of the Gate, Mabel P. Frazers Sunrise, North Rim Grand Canyon, and Gary E. Smiths Youthful Games. These artworks also provide a good opportunity to discuss the ways 95

an artist can lead your eye back into a painting when the visual path reaches the edge or aims out of the format. Discuss how the use of color affects the visual path by grabbing the viewers attention or gently leading the eye around, up, down, or over. Expressive lines in the painting also contribute to the visual path. (Notice the definitive contour line on the right side of the tree trunk, and the curved contour line defining the flowers in the flower pots.) The students will choose a scene from their own experience. They may select from their own photography, draw from life, or recall from their memory. Their composition should be arranged so the visual path retains the viewer. As they work, remind students to consider the techniques used by Lee Greene Richards and other artists to skillfully guide the eye. Students should deliberately employ some of the same methods and should use color and line to enhance and strengthen the visual path. ArtImpressionism and Post-Impressionism

Objective: The students will demonstrate their understanding of Impressionism and PostImpressionism by creating an art work of feeling in one of these particular styles. Lee Greene Richards studied in Paris during the influential years of Impressionism and PostImpressionism. Discuss these art styles using examples from Van Gogh and Monet, or, use Utah artists such as John Hafen, J. T. Harwood, and ???. Note the ways the artists have produced light, color, and reflected light. Direct the students attention to the light and color in Grandma Eldredges House by Richards. Have students identify the ways he has used sunlight and the effects of sunlight on objects in the painting. Where has he used pure color effectively? Where do the colors seem to blend together in the eye of the viewer to produce special effects? The Impressionists melted solid forms and blurred edges. Where has Richards used this technique ? What is the result? The Post-Impressionists wanted to express feelings, intuitions, and ideas. What emotions, feelings, and moods are expressed in the painting by Richards? Discuss ways he is successful in painting these feelings. Discuss how his own personal relationships, kinships, etc. probably influenced his expression. Impress on the students how our various experiences, emotions, and attachments can affect our painting. Have the students create a painting from their own emotional experience (does not have to be

John Hafen, Harvest Time Near Sugarhouse 1897 96

a landscape) using light and color in either the Impressionistic or Post-Impressionistic style. ArtCreating a Personal Symbol or Signature Objective: The students will create a signature, symbol, or unique expression of themselves to put in their art work. Through the centuries, artists have found unique ways to express their identity in their art work. Some used a unique signature or monogram on their painting, used by such artists as Durer (see illustration). Other artists signed their pieces with a symbol, such as the turtle (see illustration) used by Lee Green Richards, although he did not use it in all his paintings. Discuss with the students other original ways artists have put themselves into their work (Michelangelo representing himself as the Saint Bartholomews flayed skin in the fresco of the Sistine Chapel; Velaquez asserting his own importance by painting himself into his famous Las Meninas). Have students explore ways to represent themselves in their artwork through the use of a

creative signature, monogram, or symbol. They should make a careful rendering of their chosen design and use the design in their next artwork. Possible References libraries can order (the following are listed on this Internet address): http://www.art-amer.com/sigs.html Latin American Artists Signatures and Monograms Colonial Era to 1996 by Castagno Artists Monograms and Indiscernible Signatures by Castagno American Artists Signatures and Monograms 1800 to 1989 by Castagno European Artists Signatures and Monograms 1800 to 1990 by Castagno Artists as Illustrators by Castagno Old Masters Signatures and Monograms 1400born 1800 Dictionary of Signatures and Monograms of American Artists by Falk HistoryThe Public Works of Art Project Objective: Students will write an essay describing President Franklin D. Roosevelts New Deal Program and its effects on artists of the day. Americans were severely affected by the stock marked crash in 1929. In 1932, President Franklin D. Roosevelts New Deal program offered some respite and opportunity for jobs for artists as well as for individuals in other occupations. A number of relief programs were created such as the Federal Emergency Relief Administration (FERA) and the Civil Works Administration (CWA). The Public Works of Art Project (PWAP) was implemented in Utah under the direction of the Womens Division of the CWA. The art assignments benefitted the public because public buildings were enhanced with drawings, paintings,

Alfred Castagne sketching construction workers as part of the PWAP National Archives 97

murals, and sculptures. The artists not only benefitted by having jobs but also by receiving social endorsement from the public. During this time, Lee Greene Richards was given the assignment by the PWAP to design and execute murals for the Utah State Capitol Rotunda (see slide and biography in the Evening for Educators packet PIONEER IMAGES OF UTAH, Murals in the Utah State Capitol Rotunda, Oct. 29, 1997.) Have the students research and write an essay (length to be decided) about the opportunities the New Deal and organizations such as the PWAP provided artists of the day. Judy Farnsworth Lund, an artist and later an arts benefactor, was director of the PWAP Ranch Kimball, Entrance to Zion's 1934 and was involved in the museum project which resulted in the buildRosenbaum created a mural proposal for Box ing of the Springville Museum of Elder High School, Everett Thorpe designed Art. Later, E. J. Bird was director and then Lynn a mural for the Logan Cache LDS Tabernacle, Fausett was until the project ended in 1943. and J. T. Harwood and E. J. Bird produced paintings for the state buildings and for Utah schools. As part of the PWAP, ten Utah artists were given assignments to help the government In addition, the CWAP sponsored an exhibition ascertain what artistic material [existed] in of artworks at the University of Utah in October Utah. The artists and their projects were Edwin of 1934. The exhibit included works done as Evansremovable murals for the Veterans part of the Public Works of Art Project as well Hospital; J. T. Harwoodtwo gallery pictures as artworks by other living Utah artists. Artists of early Utah life; Millard F. Mallinsculpwho exhibited their works include Lee Greene ture and sketches of early Indian life; Florence Richards, Gordon Cope, Henry Rasmusen, J. T. Warepictorial maps of early Salt Lake Valley; Harwood, E. J. Bird, Florence Ware, Minerva Caroline ParrySculpture and sketches of Teichert, Cyrus Dallin, Ranch Kimball, Carlos early Indian life; Henri Mosertriptych Anderson, Frank W. Kent, Cornelius and Rose depicting Utah life of today; Ranch Kimball Howard Salisbury, Joseph A. F. Everett, A. B. sketches of activities of various governmenWright, LeConte Stewart, Mahonri Young and tal branches; Gordon Copesculpture and sketches of early Indian life; Carlos Anderson Waldo Midgley. sketches of places historically important. Biographies of many of the artists who worked with the PWAP are available in past Evening for As the project continued, other artists and Educator packets or on the Springville Museum assignments were given. Irene Fletcher paintweb site. ed a mural for the Logan Library, Howell 98

References: Ostler, Barbara. Lee Greene Richards booklet, Utah Museum of Fine Arts, University of Utah. Swanson, Vern G., Robert S. Olpin, and William C. Seifrit. 1991. Utah Art . Layton: Gibbs Smith Writers Program of the Works Projects Administration. 1941.Utah: A Guide to the State: New York City: Hastings House, 153-187.

Lee Greene Richard, Sunflowers

Greene Richards, and participate in a project collecting leaves and flowers for a poster or display (or drawing some). Though there may be some differing opinions on the identity of some of the flowers or trees in the painting, an enjoyable activity and art crossover project is attempting to identify them and researching the same. Henry Culmer Brush Creek Gorge, Ashley Utah 1886 Each student, or group of students, can be assigned certain flowers or leaves. Collecting the actual flower, leaf, or bark of the tree would be ideal, but drawing these as separate assignments is another possibility. The items collected or drawn should be organized into an interesting and educational display.

ScienceIdentifying Flowers
Objective: Students will identify as closely as possible the flowers and trees in the painting Grandma Eldredges House, Salt Lake City, by Lee

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Poems and Paintings that Celebrate Nature

Objective: The students will gain a greater appreciation of literature and its connections to the visual arts by reading poems celebrating nature and comparing the poems to artworks. Show the class the slide of Grandma Eldredges House and the slide or poster of Richards painting Dreaming of Zion. Discuss the idealized, rather romantic view Richards has of life and nature. (Although his viewpoint is romantic, he didnt paint in the style of the Romantic painters. You may need to help the students make the distinction.) Have students read aloud poems such as I Stood Tip-Toe Upon A Little Hill, by John Keats; Clouds by Percy Bysshe Shelley; Pied Beauty by Gerard Manley Hopkins; and Fern Hill by Dylan Thomas, which celebrate nature. Many other poems would be suitable: one good collection is Poetry for the Earth, edited by Sara Dunn and Alan Schofield, published by Ballentine Books, 1991. This collection of poems includes poems from poets around the world, ranging from the early Greeks through contemporary men and women.

Have students compare the visual images the poems give them with the images in the artworks. Students may also want to comment on how the feelings and ideas expressed in the poetry and artwork match or are different from their own feelings about nature. Variation: Show the class the transparencies of the artworks and then have them find a poem they believe reflects a similar orientation. The students can read the poems theyve chosen aloud in small groups.

Marilee Campbell, The Dark Side of the Garden 1993

Elbert Eastmond, Pageant of Clouds 1930 100

Making a Rhythm Print

Bonnie Phillips, Whole Wheat on Tuna Objective: Students will be able to identify the repetition and variation of art elements in artworks and how that creates a sense of rhythm. Students will create a group print that exhibits rhythm. State Core: MakingStudents will play with art materials and will begin to order them by basic art elements and principles. Perceiving Students will view artworks and talk about basic art elements and principles. Materials: transparency of Whole Wheat on Tuna paper for sketching designs and making trial prints pencils paint or water-based ink squares of blue styrofoam (get scraps from building sites) sturdy paper for printingfor 1 squares, use 8-1/2 x 11 paper and for 2 squares use 11 x 14 paper brayers or some setup for transferring the paint or ink to the printing surface. A thin slice of pillow foam in a jar lid makes a good stamp pad, but you can also just use small styrofoam plates. Rhythm in art is created by the variation and repetition of elements within a work. To introduce the idea, clap or tap out a simple pattern of sounds for your students. Ask them to repeat the pattern back to you. Do this a couple more times, getting a little more complicated if the students can match the patterns you produce. Ask whether any of the students know what

Bonnie Phillips, Whole Wheat on Tuna the pattern of sounds is called. If no one knows what rhythm is, explain, and write the word on the board. Next, show the transparency of Bonnie Phillips artwork, Whole Wheat on Tuna. Ask the students what creates rhythm in the artwork. They will probably be able to identify the repeating shapes and colors as creating a sense of rhythm. The rhythm in Phillips work is particularly easy to identify. Once the class has the idea, show reproductions, slides, or transparencies of other artworks and have the students identify what elements create a sense of rhythm in those artworks. Two good artworks are Cottage Industry

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by Jacqui Larsen and Barn Swallow, by Dennis Smith, from this packet. If the students have trouble picking out the elements that create rhythm in the other artworks, ask questions such as What shapes do you see in more than one place? Once students have a firm grasp of the concept of rhythm, move on to the production portion of the lesson. Explain that Phillips made her artwork by painting on material. They are going to make a similar artwork by printing on paper. Give each student a piece of scratch paper, and have the students fold it into 4 thinking spaces. In each space the students should make a simple line design. Each design must show at least one change from the previous design. Then divide the students into groups. The groups can approach the assignment two ways: 1. Each student can choose his or her favorite design and then the group can work out a way to make them fit together a serendipi tous approach. 2. The group can choose the designs that work together best so the overall design is more planned. Both approaches can result in great products. Give each student a piece of blue styrofoam that is the same size, 1 x 1 or 2 x 2. ( Using their pencils to make the lines, the students should create their chosen design in the block. Then they should make a trial print on scratch paper in the color of their choice to see if they need to add anything to the design and to see whether the color is what they want. Have them make another print next to the first one, practicing lining the two up. When color and position decisions have been agreed upon by the group, each student should print a section of the group rhythmic print. Remind the students that they may want to rotate their block so that the design changes direction. Exhibit the prints with a brief explanation of the principle of art, rhythm, which they embody.

Assess using a rubric similar to the one on the next page. Middle-level Students: Follow the same lesson plan, but once the students have made one print, allow them to make a second print. The second print should involve two-color printing. The students can make one block be a solid color so when the second block, the one with the design, is printed on top, the lines in the design will be the first blocks color rather than the color of the A B

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paper. If the print is made with opaque paint the block would look like A instead of B. Or, if they use transparent colors, the students can make the second block have a pattern too. They should print with the lighter color first. That would look something like this: A + B = C. (computer simulations dont do the process justice, but the examples should give you an idea of what will happen.

2A + 2B = 2C

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Rhythmic Collages
How can viewers judge the quality of artworks like Larsens? One of the jurors for the 1998 Spring Salon is a nineteenth-century specialist from the famous Christies auction house in New York. Does knowing that he and the Utah juror awarded this artwork first place affect your judgement of the piece? (Institutionalist aesthetic theoryart is good if an institution, someone from the artworld, says the artwork is good.) What other aesthetic theories can be used to examine this artwork? How does the criteria used for judging artworks change with changes in the aesthetic theory? What criteria would you use, and why? How does the artwork meet or fall short of your chosen criteria? (Be specific) Definitions: Collage: an artwork made by gluing various materials such as fabric, photographs, paper, etc. on a surface. Montage: an artwork made by combining a wide variety of materials. Assemblage: an artwork made from odds and ends of junk or found objects. Postmodernism: A group of artistic approaches based on a philosophical movement that attempts to deconstruct or take apart models and understand the biases and context for the ways we have understood things in the past. Postmodernism is a reaction against the scientific positivism that is based on a belief that a given set of truths exist and are only awaiting discovery. Instead, postmodernists seek to understand the world by exploring what affects our comprehension and interpretation of events and their meaning in our lives. It

Jacqui Biggs Larsen, Cottage Industry Discussion Questions: What kind of media is used in this artwork? What other artworks are you familiar with that use more than one medium? Why do you think the artist has used so many different kinds of media? How would the artwork be different if it were an oil or acrylic painting? Identify the ways the artist has created visual rhythm in this piece. How does this visual rhythm relate to the meaning of the work? What do you think the items in the artwork stand for? Do viewers have to only have the same meaning as the artist did when she made the artwork? Why or why not? (Read or summarize at their level, some of the information about this artwork to the students.) Does knowing the artists ideas about the meaning of this artwork change your ideas or broaden them? Do you feel any different about the artwork?

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is a reevaluation and restructuring of how we view ourselves, our actions, and the world around us in relation to current and personal context. Feminist: art which protests the stereotypical depiction of women and their roles. Feminist art usually is instrumentalist; it is intended to instigate political change. In addition, feminist art is non-hierarchical in that it asserts that traditional feminine crafts such as quilting or needlework are as worthy as are painting or other fine arts.

Visual ArtA Rhythmic Collage

Objective: The students will demonstrate an understanding of the principle of rhythm through creating a collage that has interesting rhythm. Core Standards: MakingStudents will play with art materials and will begin to order them by basic art elements and principles. PerceivingStudents will view artworks and talk about basic art elements and principles. ExpressingStudents will explore and create meaning in art. Show the class the slide or transparency of Cottage Industry. First, ask students to define rhythm. Then ask them to find ways the artist has used rhythm in the work. (For example: the quilt squares, the three doll dresses, lines out from the blue dress, ruffles of dresses, repetition of figures along bottom, paper dolls, oranges, tickets, numbers, rulers for producing copies.) Unless your class is very young, they also can discuss how rhythm has contributed to the meaning of the piece. (See BIOGRAPHICAL INFORMATION and DISCUSSION QUESTIONS for ideas) Then talk to the class about collage and show them some examples (see Image Sources). After demonstrating techniques for collage, assign students to make their own collage, concentrat-

John Pavlicek, Coda I BYU online Collections ing on creating an interesting rhythm in the artwork. (This same assignment can be used for any of the principles of art or as a culminating activity for a unit on the principles of art. To change the emphasis, just use additional artworks during the discussion that demonstrate the principle(s) chosen. [The artworks in this packet have been chosen with specific principles in mind.] Then have the assignment be directed at the principle(s).) Materials for collage: a wide variety of materials such as newspapers, magazines, old maps, music, photocopies of photographs, photocopies of animals, trees, plants, insects, etc. A good source for drawings and photographs to copy are old encyclopedias, family photos, old newspapers or magazines. The papers work best if they are fairly neutral, so you may 105

 want to limit magazine pages to black and white. In addition, the papers are more likely to be interesting if they are old and show wear or use. However, some students may decide new items fit their ideas or feelings better. Paint, varnish or stains may be brushed on after the papers are attached to the backing acrylic painting medium to glue papers on (can be bought from art supply storesI used the 40% off coupon that Roberts Crafts always has available inexpensive brushes for applying medium (3 for $1 at the dollar store) sturdy paper for the backing of the collage scissors cheap paper for planning collage Artists and Image Sources: Kurt Schwitters kurtschwitters.org/kurt-schwitters-001.html Cecil Touchon touchon.com Hannah Hoch yellowbellywebdesign.com/ hoch/gallery.html Romare Bearden beardenfoundation.org/artofbearden/collage/ collage.html Claudine Hellmuth www.collageartist.com/ portfolio.htm Exhibition of 27 collage artists collagemuseum. com/ksu-02/ If you have not made collages yourself, make a couple so you are familiar with the techniques. Making a couple samples will help you understand the complexity of design possible and the unique characteristics of collage as well as giving you examples to show the class. Give each student a piece of cheap paper and let them choose several items from the variety of media available. Students should plan out their collage by placing the individual pieces on the cheap paper, arranging and rearranging them until they have a composition they like. The items can be trimmed to whatever size or shape

suits the design. Remind the students to create a sense of rhythm in their artwork. If you are having the students focus on other principles as well, put a list on the board and have students run through the list before attaching any pieces to the good paper. (Even if some activities have a specific focus, students should try to use everything they know about the elements and principles of design that apply to any given activity.) When students have checked their designs, they can begin gluing. They should start with the undermost layers, and brush an even coating of medium across the backing, place the chosen item on the backing, smooth it carefully, and then brush a coating of medium over the item. (Students can make notes, and they can take the items off the planning paper one by one and place them face down on their desks, so they

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Andrew Lassetter, Bob Dylan Award of Merit All-State High School Show, 2003

will be in reverse order.) After the items have been glued to the backing, place waxed paper and a heavy book or stack of magazines over the collages and allow them to dry overnight. Weighting the collages prevents severe buckling. Have students critique their own artworks. Then display the artworks and have the class discuss the many ways the artworks show rhythm. Students should create an exhibit of the collages somewhere the whole school can see the works. Include a poster telling viewers about collage. The poster can explain what collage is and can incorporate comments from the students about their experience making collages. Extension: For advanced students or for students who have created collages previously, show Cottage Industry and discuss, using QUESTIONS FOR LOOKING and the BIOGRAPHICAL INFORMATION. Then have students create a multi-media artwork. You may choose to supply the makings or have students gather their own. The students can be asked to bring interesting items, some of which they plan on sharing, to increase the variety of materials available. If possible, provide access to a few tools such as a drill, a band or jig saw, pliers, hammers, etc. These tools can increase the complexity and quality of student work. If you are not comfortable with the tools, you may have a parent or another teacher who can come help. Anything that is not too heavy can be attached to the work. Some possible additions to the items suggested for collage are the following: fabrics of all kinds and textures string, yarn, rope, thread, wire small plastic animals, cars, other toys thin sheets of wood nuts, bolts, nails wheels, handles, machinery or appliance parts dishes or other kitchen items dolls, doll clothes, army men, robot-type toys boxes, containers, packaging, cardboard tubes dried plants, plastic or silk plants and flowers

small stones, branches, natural objects frames, art objects anything else you or the students can think of Students should be given plenty of time to experiment with the items they choose and with the organization of the work. Encourage students to explore a wide range of possibilities and to be creative in attachment of materials. Multi-media works often are intricate and complex in meaning as well as in physical design. However, multi-media works can also be abstract in nature. Display the finished works where other students can see the artworks. Include artist statements with the artworks and have some kind of open house to invite the parents to. Students should be prepared to discuss their individual works with viewers at the open house.

Rhythm Patterns in Music/Dance/Art

Objectives: The students will demonstrate their understanding of rhythm by replicating and creating rhythm patterns through clapping, dancing, and through identifying and creating rhythmic patterns in art If possible, have the Gershwin song I Got Rhythm playing while the students come into class. Cut colored construction paper into strips, using a separate color for each size strip. One color should be whole sheets, which equal a whole note. One color should be cut in half for half notes, one color in fourths for fourth notes, etc. Teach the children how to count and clap each colored piece of paper. For example, if blue is a whole sheet of paper, for blue, the students clap once as they say one, then move one hand away from the other in rhythm as they

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count off two, three, four. It is easiest to start with four-beat measures, but 3/4 time also works well. When the children can reliably clap the correct rhythm for each of the note values, as designated by the different colors and sizes of paper, show the children with the paper strips how different arrangements of strips add up to the same four beats as the whole notethe whole sheet of paper. Now put two colors (note values) in a simple pattern and have the children clap the rhythm with you. (Use a short space to indicate the end of a measure.) When the children master a pattern, increase the difficulty of the next rhythm pattern. Now that the children understand how the rhythm patterns work, you can have several of the children create their own patterns, arranging the pattern first in colored paper and then clapping the rhythm with the class. If the group is getting very good and still enjoying the activity, try clapping a rhythm and then having the students replicate the pattern in paper, or let students take turns being the one to clap the pattern and the one to copy the pattern with the colored paper strips. Teach the children terms as you go along whole note, half note, quarter note, etc. Besides learning about music, the students will be learning simple fractions. Teach the students whatever musical terminology you are comfortable with or get a teacher with more music experience to help you, and as always, suit the difficulty to your class level.

dren, they may need suggestions from you to get started, but let the students do as much as theyre willing to.) Have individual students pick a movement to match each note value. The movement should match the length of the note. For instance, the whole note movement must have some action that is sustained through the four beats such as slowly curling upward from a squat to stand on tiptoe with arms stretched overhead. When the movements have been chosen, have one or two students create a rhythm pattern using the colored paper strips. (As with the clapping, start with simple patterns and work up to longer and more complicated patterns at a speed appropriate to the students skills.) First have the class clap the rhythm pattern, and then have them use the chosen movements to dance the rhythm pattern. At any point after the children have begun to repeat patterns accurately, you can introduce rhythm instruments. If you have professionally produced rhythm instruments available, use them. If not, make your own. (See page **, Larsen Activities for ideas.) The students can accompany the movement patterns. Encourage students to explore dynamics, especially if you have an assortment of rhythm instruments, which vary widely in the amount and kind of sound they produce.

The activity can end at this point (it may have taken several lesson times to reach this level of competency), or you can continue the activity by allowing each child or small groups of children When the children can clap the rhythms success- to make up movement patterns using their own fully, add motion to the patterns. (If you have movements for the different note values and never done movement activities with the chiltheir own choice of pattern. Give the students a 108

limit such as four measures of four (16 counts), and stipulate that the movements chosen for each note value must be used consistently for that note value. Have the students take turns sharing their patterns. After each student does his or her pattern once, have the class try to clap the rhythm as the student repeats the pattern, or if you can, beat out the rhythm on a hand drum or with rhythm instruments or improvise on whatever surfaces are available. The next activity can be used after or in conjunction with the music activities that follow. To use the knowledge the students have gained from the preceding activity to help them understand art, have the students look at the colored paper as visual rhythms. Make several arrangements with the different colors and sizes including one that is four whole-note pieces, one which has two whole-note and four half-note pieces, and one which has an interesting variety of colors and shapes. Ask the children which arrangement is more interesting and why. Tell the students that artists use rhythm just like musicians and dancers do. Show the class slides or reproductions of artworks and ask the students to pick out the different ways artists have created rhythm in their works. For very young students, you may want to concentrate on only a couple ways rhythm is created visually, such as color, repetition, and size. Some good examples from this and other Educator Evening packets are Cottage Industry by Jacqui Biggs Larsen and Whole Wheat on Tuna by Bonnie Phillips, (this packet) Immigrant Train by George Ottinger, Richards Camp by J. T. Harwood, Handcart Pioneers First View of the Salt Lake Valley by C. C. A. Christensen, (Oct. 29, 1997 pkt) The Dark Side of the Garden by Marilee Campbell, (A Feminine Perspective, May 1995 pkt), Cadmium Crest by Roman Andrus, (Journey of the Imagination, Oct. 1994 pkt), and many others.[all our now available at sma,nebo. edu] The activity also works as an excellent introduc-

tion to Abstract Expressionism, Minimalism, or Color Field art, which often use pattern, proportion, and color in ways the students can relate to their experiences with rhythm. The dance activity for Danquart Weggelands painting Pioneer Home, (Oct. 1997 pkt) also can be incorporated in the preceding rhythm activity or be used as a

Roman Andrus, Cadmium Crest related or follow-up activity. To carry on the activity to include a section on art production, give the students construction paper in different colors. The simplest way is to already have the paper cut into pieces that match the note values used in the earlier part of the activity. Have each student arrange the pieces into an interesting visual design. You may want to try clapping some of the artworks to see if the sound has as interesting a rhythm as the visual arrangement does. Another possibility is to allow the students to cut whatever shapes and sizes of paper they want to use. Just remind them to use the clapping and movement experiences to help them create an interesting rhythmical piece. Extension: For older students, the clapping section can become complex quickly and can be 109

followed with a more complex version of the movement activity. Students may be able to discuss how movements that fit the different note values tend to vary in character with the length of note. This observation can then be translated into a more sophisticated discussion of rhythm in art. These students also should be able to identify other and more subtle ways artists create visual rhythm as well as making more complex artworks themselves. You can choose to include the use of rhythm instruments after the first clapping section. DramaOne at a Time A Rhythm and Sound Machine Objective: Students will use rhythm and sound to create a machine. Students will cooperate and to be more aware of surroundings by playing the game "One at a Time." Show the transparency of Cottage Industry and ask the students to name all the ways rhythm is created in the artwork. Explain that in drama, rhythm is created by repetition and by the tempo of sound, movement, and shapes Demonstrate the game "Machines." Explain that you will be the first part of the machine by rhythmically repeating a sound and a movement with some part of your body. (You may stand, sit, lie down, etc., but you must be able to continue to repeat the movement and sound for about a minute.) Invite five or six students to add on to the machine you have started, one at a time, each person will repeat his or her own sound and movement, so it fits in with the whole machine. Other parts may be added on in any direction. Within a few seconds, you should have a machine" with six or seven moving parts that each make a sound. Divide the class into groups of six to eight and have each group take turns extemporaneously developing a machineas you modeled for them. Have the students evaluate the performances, discussing how timing and rhythm

played an important part in the success of this exercise. Using ideas from the painting, brainstorm and list different household chores. Invite each group to invent a machine that will do one of those household chores. For example: ironing, sewing, mending, dishes, laundry, quilting, cooking, sweeping, dusting, folding clothes, etc. Next, brainstorm different household environments: mansion, cottage, beach house, apartment, condo, townhouse, basement, etc. Discuss how these same chores might need to be done differently in each environment. What chores might need to be done more often, not at all, or the same in each of the environments? Divide the class into groups of five or six. Play "One At a Time." Assign each group member a number. The group decides which home environment they will be working in: cottage, mansion, etc., and if the weather is hot, cold, just right, very humid, rainy, snowy, etc. The leader will call out a number; the student who has been assigned that number begins to do a chore. After a few seconds, the leader will call another number assigned to one of the students in the group. The first student will freeze and the next student will begin doing the chore he has decided to do. Continue in this manner until each group member has had a chance to begin. Then randomly call out group members' numbers for a minute. Once students understand the game, stop calling the numbers. Only one person may move at a time. Coach from the side, reminding students to limit movement to one person at any given time and to keep attention focused on remembering what environment they are performing the chores in. Have the students evaluate the performances using the following questions to establish criteria: Did the group stay focused? 110

 Was there a rhythm to their playing? Does the repetition involved in many house hold chores create a rhythm? How did rhythm make you feel? Were we able to see clearly what it was the group was doing? Could we imagine what the environment was like from their playing? Make Your Own Rhythm Instruments Some rhythm instruments will need to be made by an adult or by experienced students. Other instruments can be made as a class project. Maracas can be made from pop bottles containing different small itemsthe different items will make different sounds. Experiment until you like the sound and then use plastic tape to tape the lids on. Wood blocks can be made from blocks of hardwood you get free from cabinetry shops; different-sized blocks and different kinds of wood will make different sounds. Cut dowels to 10-12, sand them lightly, and oil them to make nice rhythm sticks. Cut rectangular sticks into 12 pieces, and if possible, cut, or have someone else cut, notches into the edges of all or half the sticks, so that when one stick is run down the notched one, it makes a noise. If you know someone with a lathe who is willing to help, the sticks can have turned ridges instead of notches. Make tamborines from disposable plastic plates and smal jingle bells. Use a hole punch to make 68 holes in the rim of the plate, then wire the bells loosely enough that they jingle. If you can purchase used or new bongos, cut them apart and have two drums for every set. Make drums out of large cans tipped upside down or remove the bottom and cover one end with stretched thin leather. Put sandpaper around blocks of wood. Attach inexpensive cabinet knobs to one side, so theyre easy to hold. ShakersPut seeds inside plastic Easter eggs and glue or tape the two pieces together.

Attach large seed pods to a simple handle, so they dangle like bananas; they make a sound like wind. Make a thunder maker by purchasing a sheet of 10 galvanized metal, covering or bending over the raw, sharp edges on the cut sides. ** Make drumsticks from different-sized dowels that have been rounded on one end. These drumsticks can be used to play anything that makes an interesting sound. In addition to wood blocks, drums, or metal sheets, students can strike chairs, the floor, or other surfaces. Make brushes for drums, metal sheets, etc. by attaching lengths of frayed painting hanger wire to a dowel or other handle. Experiment with other brush fibers. Cut a coconut in half with a band saw or a hacksaw. Sand the cut surfaces lightly. Sew metal sleigh bells to elastic loops that will fit wrists or ankles. Use several sizes that sound good together. Attach large sleigh bells loosely to some kind of wooden handle. The bells should be free enough to ring clearly. Cut metal tubing to lengths, drill two small holes near the top and thread strong cord through and tie in a loop. Use dowels or metal rods to strike the tubes. If you know someone with perfect pitch or with a trained ear, have them help you determine the lengths of the tubes. You can create a pentatonic scale, common in native music, or you can create major or minor chords using 3-5 tubes.

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EmphasisThe One Thing I Want You to See

John Hafen, The Mountain Stream 1st 3rd grade Objective: Students will create a work of art that demonstrates they understand the principle of Center of Interest. State Core Requirements: PerceivingCreate an art work with a dominant object, idea, or element or focal point by manipulating its size, painting it in a complementary color, repeating it, or making it contrast with other objects in the work. ExpressingSelect some student art based on a common theme, visual element, or principle they share and display them in a portion of the school that has been turned into an art museum. Materials: transparency of John Hafens Mountain Stream The Paper Bag Princess, by Robert Munsch or any simple story that has one main character, print of J. T. Harwoods Boy with a Bun from the poster set 2 sheets of paper for each student black construction paper pencils, markers, colored pencils, scissors, glue Discussion: Read The Paper Bag Princess, and discuss with the students the structure and content of the story including the title and pictures, which make the princess the main character and center of interest in the story. Ask: Why isnt the dragon or the prince the main character? Show: the Boy with a Bun poster. Ask: What is the main thing in this picture? Why? Have students point out things like the following: the boy is the largest thing in the picture, you can see his whole face, he looks like he is looking at you, he is lighter than the background, he is in the middle, etc.. Discuss the other objects in the picture and why they couldnt be considered the main objects.

Tell: When a picture has one thing that is the most important, that thing is called the Center of Interest. Show: Transparency of John Hafens painting, The Mountain Stream Ask: What do you think the artist named this picture? 112

Accept all responses until a student has guessed the right name or comes close, then tell the class the title. Ask: Why is this a good name for the picture? Is the stream the Center of Interest? How did Mr. Hafen make the stream the Center of Interest? Have students bring out things like it is in the middle, the trees on both sides direct your eye to the stream, the bright blue sky in the background attracts your eye to the stream, the stream is moving toward the viewer, etc.. Tell: Boy with the Bun, and The Mountain Stream are done by different artists. Read: Some of the biographical information in the packet or on the back of the poster about John Hafen and J. T. Harwood and their importance as Utah artists. Ask: What are some things you like about John Hafens art? J.T. Harwoods? Are there some things you dont like? Why? Discuss: Can you tell these pictures were painted a long time ago? How? Both these artists painted many artworks, but what principles of art did they both use? Did they use some of the smae ways to create a Center of Interest in their paintings? Review and write on the board some of the ways to make a picture have a Center of Interest. * object is a larger size * object or area has brighter colors and/or contrasting colors * object or area is placed in the middle * focus has the same thing on both sides or is surrounded by repetitious objects Project: On one of their sheets of paper, have students draw an object of their choice and color it with markers. (Encourage them to color it in completely with nice solid coloring.) Have them outline it with a black marker. Explain they will be cutting this object out so they dont need to draw any background. Have them cut out the finished object.

Next have them put their object on the other paper, without gluing it down, and decide what kind of background they want to draw. Be sure they experiment with the direction of the paper to see which way it will look the best as the Center of Interest. When they have decided where they want to place their object on the paper have them trace around it with a pencil and set it aside. Now they are going to draw a background to go with their object, and color it with colored pencils. Let them know the background can fill the whole paper even where their Center of Interest object is going to go and be like a new drawing. Remind them of the principles discussed that will help make their Center of Interest object stand out such as contrasting color and repeating objects. The colored pencils will automatically be less intense that the marker colors. (Encourage the students to color their background picture neatly, and not to leave too much blank paper.)

James T. Harwood, Boy with a Bun 113

After the background paper is finished, they can glue on the Center of Interest object. Assessment: Have some of the class members show their work and use one of the following evaluation methods: 1. Let the other students guess which Center of Interest methods were used, and discuss how successful the picture is. 2. Have the student tell which techniques he/she used and tell whether or not the assignment was successfully accomplished and why. Conclusion: Glue finished pictures on black construction paper and display them in an area designated for the display of artwork. Have some students write an explanation of Center of Interest, and then put it on a poster to exhibit with their art. Extensions: Have students write a short story with one main character.

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EMPHASIS IN ART
Richard J. Van Wagoner, Donor Bank Discussion Questions: What is this painting of? Why do you think the artist painted a bunch of wrecked cars? How do you feel about the painting? Does knowing the title, Donor Bank, affect how you feel about the painting? In what ways? Is this painting making a comment about our society? What do you think the artist intends to say? Is this painting primarily about beauty, truth, or form? What clues does the artist give? Where is the center of interest in this work? What elements of art have been used to create the center of interest? Making an element or an object stand out. A center of interest is an area that dominates an artwork and draws viewers eyes to it. This interest may be created by using a color that is bright, intense, or different from other areas, by converging lines, by an area of calm in a busy artwork.

Identifying Emphasis in Art

Objective: The students will demonstrate their understanding of emphasis and how it is created by the use of various elements of art by identifying emphasis in various artworks and discussing the ways artists have created that emphasis. They also will be able to discuss the effects of using emphasis/center of interest in an artwork. Materials: a large variety of slides, posters, postcards, or other reproductions of artworks. These artworks should exhibit a variety of ways the artists have created a center of interest or have used emphasis. Some possible examples are Donor Bank, Richard Van Wagoner, The Mountain Stream, John Hafen, both this packet; Mostly Flowers, Lou Jene Carter, SMA MS Posters

This activity focuses on developing an understanding ACTIVITIES of the ways elements of art are used to create emphasis and the numerous ways this emphasis Emphasisprinciple of design that makes one can be created. To discuss these two ideas, stupart of the work dominant over other parts. The dents need to know what the elements of art are element noticed first is called dominant; the and be able to use that vocabulary in a discuselements noticed later are called subordinate. sion. If your students have not yet learned the 115

necessary vocabulary, you will need to do one or more of the activities from the Elements section of this packet. The Elements of Art Book is a good place to start. If you think it will be helpful, have the students briefly review the elements of art and write a list on the board. Now show the students several artworks, one at a time, and have the students identify and then discuss the ways the artists have created a center of interest and/or used emphasis in the works. Ask students to be very specific in their discussion of the use of the elements of art. When you are sure the students understand, you can divide the class in groups and have them discuss several more artworks. If your students are old enough to read well, have them work as a class to write a list on the board of ways the elements of art are used to create emphasis. Let them write it in language they use. Keep a copy of the list for the next activity. This activity leads naturally to an art activity giving the students opportunities to experiment with ways they can create centers of interest or emphasis.

with, give them another sheet of paper and let them make a careful rendering of the design. Display the finished designs so the students have a visual record of everyones ideas. The display can serve as the inspiration for or springboard to another art activity in which the students create more complex designs with a center of interest, or students can create a more refined version of their original design, or students can use the ideas to help them design and execute an interesting still-life drawing or painting or an artwork of any other subject matter theyre interested in. Assessment/ReviewFor a Fun Review and Self-Assessment activity, divide the students into small groups and give them reproductions of a variety of artworks. First, challenge them to find an artwork that does not have a center of interest. Then challenge them to find an artwork that does not have emphasis. If they think theyve found one, they should share it with the class and see if the class agrees or disagrees. The nature of the group work should help point out to students any weaknesses in their understanding of emphasis and center of interest and, hopefully, give them the understanding theyre lacking. Variation for Advanced Students: use the earlier exercise as a review. Then have the students evaluate their past or in-process work in terms of emphasis and center of interest. They can write a short critique of a piece, indicating what is successful and what needs to be improved. After critiquing the work, they can finish the artwork if its in-process or they can begin a new work, improving upon their use of emphasis. Extension: After completing the previous activity, show students reproductions of sculptures in various media and styles. Show them sculptures by Henry Moore, Giacometti, Louise Nevelson, Calder, Ray Jonas, Cyrus Dallin, Avard Fairbanks, ** and have the students examine and discuss the use of emphasis in these 116

How Many Ways Can You Create Emphasis?

Objectives: 1. The students will explore ways to create emphasis or a center of interest. 2. The students will create an artwork that has emphasis or an area that is the center of interest. Materials: good quality paper, various media After completing the previous activity, pass out paper and lay out the media. Students should explore various ways to create emphasis and center of interest, using the list the class made previously to give them ideas. Encourage students to explore at least six different ways of achieving emphasis. Then have the students use their favorite design and try several variations on it. When they have a design theyre pleased

works and compare it with paintings, drawings, or prints.

You may want the discussion to include why the construction is needed, how it is affecting businesses along the freeway, how the construction is being completed, what peoples reactions to the increased difficulty of commuting are, how better planning might have eliminated the need for such a large construction project, what administrators and politicians can learn from the situation, how industry and businesses linked to the construction are benefitting, or what the benefits and or drawbacks of the finished freeway system will be. Pick whatever areas most pertain to your class study. After your discussion is finished, assign students an activity that goes along with your curriculum. The list below gives a few possibilities: 1. Have the students build a freeway interchange. Divide the class into groups and have them choose a slip of paper from a jar. Each slip of paper should contain a drawing of three or more roads that intersect. The students must plan a way to create an interchange. After planning, the group must submit the plan to a group of students designated to oversee the project, for approval. Then the students can build the interchange. The building process can involve only the completed interchange or can go through several stages, mimicking the process involved in working on existing roads. If so, students should consider ways to make the roads as 2. Have students build a section of freeway. Pass out slips of paper with assignments on them to each student. You will need engineers, city planners, construction companies, etc. The students must work together to design, plan financing for, to construct the freeway section. DramaInterest through Emphasis Objective: Students will create an object using their bodies and use it in an improvisation to show they understand how to create a center of interest or climax. 117

Richard Van Wagoner, Overpass weberstudies online

Social StudiesTransportation
Objective: The students will increase their understanding of transportation in the Twentieth Century by researching, discussing, and building model freeways. If pertinent, several days before the activity, assign students to find newspaper articles, editorials, cartoons, or comments or information from radio and television about the construction on I 15. If focusing on I-15 construction does not fit your situation, pick a local area that is under construction, needs improvement, or that will likely be expanded in the near future. (If you are not using I 15, adapt the discussion and construction to the chosen situation.) To start the activity, show the class the slide of Donor Bank. Using the Discussion Questions and Biographical Information, discuss the authors feelings about cars. If possible, have reproductions of other artworks of his (you can find two about transportation at weberstudies.weber. edu/archive/archive%20D%20Vol.%2018.2 now/Vol.%2018.3/VanWagonerArt.htm) . Then have students briefly share the information they have gathered about I 15 construction.

Show the slide of Donor Bank or La Semilla Brota. Discuss the center of interest or emphasis in each of these paintings. Explain that in drama the same principle applies. Center of interest or focus is taken by movement; strong, bright color or light, or placement on the stage. Brainstorm with the students to list the various components of a car. Working individually have each student move as part of the car would move; or the leader will ask the students to simultaneously move as the part the leader names: door, wheel, windshield wiper, steering wheel, trunk, hood, motor, etc. Divide the class into groups of eight or nine and have them create a car with their bodies. Each car should have a driver, so students can demonstrate how their car runs." Which part of each car is the center of interest? Why? (This

118

UnityNatural Found Object Assemblage

Objective: Students will demonstrate an understanding of the visual art concept of Unity by inventing, designing and creating a natural found object assemblage which which decorates some part of the school grounds. State Core: MakingStudents will play with art materials and begin to order them by basic art elements and principles. PerceivingStudents will view artworks and talk about basic art elements and principles. Materials: Natural found objects like sticks or leaves or rocks. An outdoor play ground. Some hanging or sticking devises like tape or pins, depending on the project. Process: Study the concept of visual unity by looking at art work which demonstrates this principle. In the packet is A. D. Shaws, Twice Told Stories, a good example of how visual elements can bring Unity to a two-dimensional work. The three dimensional version of most lessons are powerful visual examples for very young art students. What we want to do here is have students decorate some element of their playground with natural objects using the ideas of unity to bring a kind of wholeness to the project. Students should look at some of the work of photographer/sculptor Andy Goldsworthy and some of the gardens and outdoor sculptures of Isamu Noguchi (there are many others including Christo). Goldsworthys publications are easily found in most of the local book stores. Some web sources are listed at the end of the lesson. After some brainstorming and deciding on group size and composition of the works details have students select a site on the play ground to organize. This project can be done solo or in small groups or as a large group. Small groups tend to allow more students to get involved. Choose what materials are going to be used, how they will be organized and how they will be applied. Decorating a tree is a good way to go. This is a year round project and can be continued into cold weather. A wonderful side effect at our school is the respect and attention that is generated in other students and some of the core classes are starting to do this as Science or Environmental Awareness or Recycling projects. Remember that this lesson is written to help students learn about Unity but that other emphasis can be focused on. The last step is to have students photograph their work. I use my upper grade photo class to document the lower grade assemblages. Evaluation and Exhibition: Like all installations,

The Leaf Spiral by Josh and Chandler. Photo by Jensen. The Leaf Spiral by Tim. Around and round and around it flows. Around the ground it gently goes. Inside the middle it grows and grows. Where it end the leaf only knows. 119

way to process the work. Have students write (Haiku is a good one) about someone elses project as well as their own. Students should photograph the work and display the photos with their writing in the formal exhibition site designated by your school. If your school does not have such a site, be proactive and get one. Your students deserve a place to exhibit their art work that has more sophistication than their parents refrigerator door. For grading purposes, the involvement in this process is also part of the expected learning outcome. Related Projects: The same idea can be done indoors or by using something besides natural objects. A very entertaining project that each class does each year is to collect the trash on the playground. This seems like something that artists should be doing, keep the school yard looking good. We take the bags of garbage and build The Garbage Man with it. First we organize the trash by color, texture, medium, and size. We also throw away wet, stinky, and useless garbage. Then we cut out a human figure from cardboard and glue the trash onto the cardboard template. These are annual sculptures and each class looks forward to the class chance to make the most interesting garbage man of the year. The students are so compelled by this project that they will actually cheat by bringing trash from home or crawling into the dumpster or begging trash from other teachers trash cans. When the enthusiasm is high, both the learning and the teaching seem to drive themselves. Another project is to bring in found objects which are so unified in their visual aspects and content that we can build a Totem Pole around some cardboard concrete molds (those cardboard tubes used to pour concrete pillars). These are more like obelisks or monoliths but the students like to call them totems. They can be made with anything. Web resources Andy Goldsworthy 120

Josh and Chandler working. Photo by Jensen.

Detail photo by Jensen this work is site specific and is naturally on display. This kind of natural phenomena artwork is an excellent venue for writing as a

http://cgee.hamline.edu/see/goldsworthy/see_an_andy.html http://www.sculpture.org.uk/artists/AndyGoldsworthy http://www.smithsonianmag.si.edu/smithsonian/issues97/feb97/golds.html Isamu Noguchi http://www.noguchi.org/gardplay.html Bibliography: A Collaboration with Nature, by Andy Goldsworthy; Wood, by Andy Goldsworthy; Hand to Earth: Andy Goldsworthy Sculpture, by Andy Goldsworthy. (there are more). Isamu Noguchi: Modern Master, by Bruce Altshuler. Isamu Noguchi: Space and Texture , by Ana Maria Torres. Boundaries , by Maya Ying Lin. Earthworks and Beyond:Contemporary Art in the Landscape, by John Beardsley.

Here are some examples of other projects that focused on unity.

Detail of mobile This is a finished zoomorphic mobile. The sense of unity is derived from using the same medium (aluminum foil), the same thematic content (animals), and the same display device (string). Although the photo does not do the artwork justice, the piece does hold together well and all the visual elements seem to be part of a greater whole.

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This is an unfinished, first-grade found-object sculpture. The attempt at unity is provided by the homogenous use of medium (small pieces of sticks) to create a unified visual impact. Unity of texture, value, color, line, and shape are a product of the medium.

This photo shows a detail of the project. Young students have difficulty comprehending the idea of visual principles. An effective way to introduce the idea of unity is to have students use a medium that is the same or similar so the artwork automatically exhibits similarity of the visual elements of line, shape, value, color, and texture. When they can see a completed, unified artwork, students can more easily understand how unity as a visual idea works. After the students reach this level of understanding, they can try more abstract approaches in which they create the actual line or shape or texture project with pen, pencil, or paint.

122

Remember When: Unity in Art & Life

Arch D. Shaw, Twice Told Tales Objectives AH- Art History, A- Aesthetics, C- Criticism, PProduction Students will be able to: -Examine a new artist, A.D. Shaw, and his style of painting.-AH -analyze how the elements of art can create the principle of art, unity.-P -define the formalist theory and use it to critique the painting Twice Told Tales-A/C -Discover the use of art elements to create unity among artworks from various art movements in history.-AH -create an artwork which expresses a tale from their own lives, which uses various mediums and still obtains unity within the piece.-P -Express ideas of beauty with respect to unity and discuss differences of opinions.-A State Core Links Based on a Foundations 1 (7-12) Standard 1 Explore a variety of art media, techniques, and processes. Create works of art that show the use of the art elements and principles. Standard 2 Objective 1 Describe artworks according to use of art elements and principles. Interpret works of art. Objective 2 Learn how to use aesthetic approaches to compare and discuss works of art. Evaluate works of art based on how they were created, effective use of the art elements and principles, fulfillment of functions, and expressive qualities. Standard 3 Objective 1 Create works of art that show subject matter, themes, or individually conceived content. Express subject matter, themes, or content through applications of art media and by applying the art elements and principles. Standard 4 Evaluate the impact of art on life outside of school.

Materials: A.D Shaws biographical information transparency of A.D Shaws painting Twice Told Tales Various postcard reproductions from different art movements (can be taken for this or other evening for educator packets or any art reproductions in the classroom, just used for comparing art elements and principles) Overhead copy of four reproductions including Twice Told Tales (these should be put together as one big artwork), or tracing paper, or acetate. Paper Various mediums such as watercolor, crayon, oil pastels, pencil, colored pencil, newspaper/magazine, tempera paint, etc. Activity 123

Definitions Plein-air: This type of painting is painted outdoors, usually more immediate and impressionistic than studio-painted pieces. Genre painting: This type of painting shows normal people doing typical day-to-day activities. Unity: This is the quality of wholeness or oneness that is achieved through the effective use

Discuss the meaning of plein-air painting and genre painting. A.D Shaw was a graphic artist/illustrator for a number of years; ask the students if they think this background may have influenced his work as a fine artist. For example, illustrators often have to illustrate people and everyday life; perhaps this influenced his interest in genre painting. Review with the students past elements and principles they have learned. Introduce the new principle of Unity to the students. Ask the students what they think unity is and how they see it in their own lives; family, government, school, friends, homework, nature, etc. Talk about the idea of achieving oneness among many different things. For example, how does a sports team achieve unity or oneness? Next, ask students how the elements of art can be used in a painting to create unity. You can have a group of students stand in the front of the room posed as if in a painting. Then have the rest of the class discuss what creates unity among them, is it the shapes they are creating with their bodies, color of skin, clothing, hair, or is it the personality and attitude of the individuals that they have in common; it could be things that are not seen but just known.

Howard Kearns, Desert Barbershop of the elements and principles of art. Unity is created by simplicity, repetition, proximity and continuation. Formalist Theory (Modernist) : This is the idea of art being done for arts sake. The work of art is a self-sufficient autonomous whole-analyzed as a self-sufficient entity constituted by its harmonious parts. One is concerned primarily with the visual elements and principle of art. The judgment is based solely upon criteria intrinsic to the works own mode of being-a perfect cooperation among all parts of a work. You do not have to know the intentions of the artist or even much about the historical context out of which it developed- what is important is on the canvas and not what it represents(Dr. Donna Kay Beattie, Major Aesthetic Philosophies). Introduce the artist Arch D. Shaw and discuss the different subjects he uses in his paintings.

Art Criticism/Aesthetics
Display A.D. Shaws painting Twice Told Tales, and have the students discuss what they think is happening in the painting and what they think of the painting strictly based on the subject matter. Then introduce the Formalist theory to the students. After they understand that the most important thing to Formalism is the art elements and principles, have the student critique Twice Told Tales using this theory. The basic criticism model should be used: Description, Analysis, Interpretation, and Judgment. Make sure all answers are based on the elements of art. For example, when interpreting the artwork, the shape of different lines will create a mood. Have the students decide what they think the artist was trying to communicate by the lines, 124

shapes, and colors he chose. For example, horizontal lines are usually peaceful, vertical lines very sturdy and strong, diagonal lines seem unstable. Use the final judgment to decide whether the artist successfully used the elements of art to create unity in the artwork.

Hand out a set of four postcards to each table; they can be the same postcards to each group or different postcards. One of the postcards should be Twice Told Tales and the other postcards should all be from different art movements in history: Impressionism, Realism, Minimalism, Expressionism, Ancient, etc. The class has already discussed how unity is created in Twice Told Tales, now have students decide if the same elements are used to create unity in the other works of art. After they have discussed have the students put the postcards together with four corners touching so it creates one large picture. As a class, decide what could be done with the elements of art to create unity among this new work of art. Have a copy on an overhead so the pictures can be drawn on or have a piece of tracing paper or acetate for the students to put over their works and alter them.

Art History

a thousand times. Why is it important or why does it feel nice to reminisce? Have students create a remember when. work of art. The art should illustrate an event that has been retold among friends countless times; it could be an event that brought more unity to the group of friends. Have students illustrate the event using three different mediums- pencil, paint, newspaper/magazine, color pencil, crayon, watercolor/tempera paint, and oil pastels are some choices. The students must use the elements of art in an effective way to unify all the mediums and the subject matter of their work of art. The students artwork can be critique using the formalist approach as review. Assessment -The activity where the students stand in front of the room and decide which elements they have that create unity can be used as an informal assessment of their understanding of unity

Production
Discuss A.D Shaws Twice Told Tales with respect to the title. What do the students think this title means? Ask how many students have ever lived in a small town or in the same town their whole lives. Does a small town have unity, and what do people do to create unity among them? Discuss how this genre scene shows men taking a break from their everyday chores and begin to tell tales or reminisce with these other men they have probably known their whole lives. What kind of tale could they be telling? Ask students if they have ever gotten together with a friend they have always known and spent hours just recounting stories they must have already told

Mimi and Sport from the 2003 All-State High School Exhibit

in design. -The Art History activity can also be used as an informal assessment. -Formal Assessment- After the students have finished their Remember When works of 125

art have them switch with their neighbors and on a separate sheet of paper have them use the Formalist Theory to outline a critique of their neighbors work, have the judgment of the work be based of the successfulness of unity created in the work. Grade this critique on a 1-3 rubric based on understanding of Formalist theory, and the ability to recognize the creation of unity, and following all the steps for critiquing (describing, analyzing, interpreting, judging). -Artworks can be added to portfolios and graded on an analytic rubric rating scale of 1-5. -The artworks and critiques can also be combined into one rubric as well.

a story they have told over and over again, but instead of using various mediums have them try and create unity using only one medium. They can create unity simply by applying the same color in different areas of the picture or by repetition of a type of line. Extension To further explore the area of Aesthetics an activity dealing with the area of what is beauty would be appropriate. Draw a line on an overhead or the white board, the line should represent a continuum. One end of the line should be represented as Beauty or something someone sees as pleasing to look at, the other end of the continuum should represent the opposite, something not so pleasing to look at. Have postcards of various reproductions on hand. Have the students take turns placing the reproductions along the continuum in order of most pleasing to least pleasing. After this has been done have the students then go back and number the works in order of which they feel are the most unified reproductions. Continue with a discussion of whether the students believe that unity plays a large part in whether a work of art is seen as pleasing to look at or beautiful. Is there anytime a painting may be more effective as a more ununified piece of art? For example if the painting is a social statement of some sort dealing with segregation or something related to that type of idea? Secondary Extension: Have students choose a work they have already completed that they do feel is unified enough. They should write a short critique saying why the work is not unified and how they could improve the sense of unity. Then they can rework the artwork or make a similar one depending on the medium and whether it allows changes.

Sources Additional reading: -past evening for educator packets -Barret, Terry. Criticizing Art. Mountain View, California. Mayfield Publishing Company. 1994. -Townsend, Dabney. An Introduction to Aesthetics. Massachusetts. Blackwell Publishers. 1997. -Day, Michael & Hurwitz, Al. Children and Their Art: Methods for the Elementary School. Texas. Harcourt Brace College Publishers. 1958. -Beattie, Donna Kay. Assessment in Art Education. Massachusetts. Davis Publications, Inc. 1997. Variations This lesson is based on a secondary skill level more specifically middle school grades. Various areas can be simplified for elementary level. Students will still be able to understand the same art elements and principles. Instead of having students learn the formalist theory to critique the work and the students use a simplified method. This method could be a Look Again activity where for each area of the criticism model you are simply asking the students to look a bit further into the artwork. The teacher can still gear the students more towards the design aspects of the work if desired. For production students can create an artwork based on

126

Identifying, Understanding, and Creating Unity in Art

Brian T. Kershisnik Fallen Icarus in the Park

Describe the colors and values. What other elements of art has the artist used? How has the artist balanced his work? Is the work unified? How and by what means? Is it important for an artwork to be unified? Why or why not? How do you feel after looking at this painting? Would you like to see other paintings by this artist? What would most interest you about his other paintings? Where would you hang this painting? Why? Does it matter where the painting is? How would the painting be different if it were hanging in your home? Do you believe this painting is good art? Why or why not? ACTIVITIES Objective: The students will be able to identify how the elements of art are used to create unity in artworks and will be able to make supported judgements about the effectiveness of that unity. Materials: slides or reproductions of a variety of artworks including Fallen Icarus in the Park and Twice Told Tales. Background Information: To discuss unity, the students need to be comfortable with the terminology and meaning of the elements of art, so if you have not yet taught them that terminology, you will need to do so before proceeding with the activity. (See the packet from September 30, 1998, or the pages on The Elements and Principles of Art in this packet.) 127

Discussion Questions What is the title of this piece? Briefly tell the story of Icarus. Why has the artist shown Icarus lying in a present-day park? What does Icarus stand for? Who are the people in the back of the painting? Who are the man and woman in the front? Why arent any of them paying to Icarus? What real-life events does this painting remind you of? How does the artist feel about Icarus fall? How does he feel about the people who are ignoring Icarus? What clues indicate how the artist feels? How do you feel about the people who dont notice Icarus? Why? What aesthetic theory or theories does this painting best fit? (Realistic, Expressive, Pleasure, Formalist, Feminist, Institutionalist, Instrumentalist) Why? Describe the kinds of lines you see in this work.

Show the class the slide of Fallen Icarus in the Park and have the students quickly identify or comment on the use of each of the art elements in the work as a review. (Line, shape, color, value, texture, and space) If this is your first introduction of the principles of art, you will need to give an overview of what the principles are. (See The Elements and Principles of Art) Then ask the students what unity means. If your class is young, start by explaining unity in terms of concrete items. For example, if you have manipulative objects you use for math, you can arrange them in several different arrangements, asking the students what unifies the group each time. First show them a group that is all the same color, then a group that is all the same size, then one that has different colors and sizes but share the same shape, or whatever possible combinations you can make. If you do not have items that can be used for this part of the activity, you will need to find some that will convey the idea appropriately. After the students have the idea, move to more abstract ways unity can be demonstrated. Then have the students look again at Fallen Icarus in the Park and identify ways the artist has used the elements of art to produce unity. Some possible answers are the lines are fuzzy, not distinct, the colors are subtle, there is a dark underpainting showing through the surface of the paint, the detail is greater in the foreground and fades toward the back, the brushwork is consistent, the mood is consistent throughout the painting and fits the idea of the piece, the placement of the figures and trees makes your eyes move through the piece, but keeps you within the painting. Dont worry too much about the answers being right, the most important element of this activity is to stimulate the children to think about unity and about how artists create unity. After the students have discussed specific ways Brian Kershisnik has created unity in his painting, show the class slides or reproductions of other artworks and let them do the same with those artworks. Ask them what happens if an

artwork does not have unity. Does it always have to have unity? When might an artist not want to have unity in his artwork? Students also can critique their own works in terms of unity. To include criticism, assign the students to write a critique of an artwork that focuses on how and how well an artist has achieved unity. Another possibility is that if the students have worked with other principles of art, they can critique an artwork, examining all the principles of art. If your students dont yet write well, or if you want to shorten the activity, use a spoken critique. Another possible project is to divide the students into small groups and have them write a short critique of an artwork as a group. The artworks should be some you have a reproduction of that can be displayed. Have the groups write their critiques so they can be read easily, and then have students display their critiques with the artworks in the school halls or library, where other classes can read the critiques. If you teach an elementary grade, the students may be able to use computer time to make polished looking and easily read critiques. Exploring Ways the Art Elements Can Create Unity Objective: the students will experiment with the elements of art to gain an understanding of the principle of unity. The students will demonstrate that understanding by creating an artwork that has unity. To help demonstrate the relationships among the elements and principles, have the students complete the following activity. Give students a large sheet of paper and have them draw an interesting line from one side of the paper to another; then have them notice that just one line has created two shapes. Now have the students draw several more lines that each 128

go from one side of the page to the other, so the lines are more or less parallel. Point out that they have begun to create the principle rhythm. Help them understand how the lines create rhythm, if they dont understand. Have the students draw two lines that go from one side of the page to another, but at an angle to the other lines. Have the students look at how many shapes they now have. Now they should introduce the element color, by coloring one shape. Ask the students how coloring one shape puts several other principles and elements strongly into play. (Color, of course, proportion, value, emphasis, balance, and the space is now more definitely broken up). Let the students color several more shapes. Now the idea of

example, when the students look at each others work, some of the students will have carefully balanced the colored shapes and/or the overall design while others have not. Have the students look for what conveys a feeling of balance. Are some ways static and others balanced but dynamic? What makes the difference? Students should discuss each element and principle and how they relate. Students can add color or lines to try out ideas as they discuss. If you need help understanding the principles of art, read the definitions in The Elements and Principles of Art in this packet. If your students have trouble with one or more of the principles, use introductory activities included with the artworks in this packet. After the group discussion, show the class the slide of Fallen Icarus in the Park and discuss unity; and how it, as a principle, is concerned with the overall feeling of the artwork. Have students look at some artworks and discuss how each is or is not unified. Then assign students to create an artwork that is unified. Offer students several different still-life arrangements to choose from or allow students to create artworks based on their memories and ideas. Several times during the drawing or painting time, stop the students and have them look at their artwork to see if it is developing unity. Have them evaluate what is happening and how they want to continue or change the drawing or painting so it gains or retains unity. You may need to remind them of the many ways they identified that artists create unity. When the drawings or paintings are finished, have the students create a display that has a unified effect as an exhibit. If helpful, allow the students to choose representatives who will confer with them and then make decisions as a smaller group. Art HistoryInstrumentalist Art Objective: The students will understand how 129

positive and negative space is clearly established and the differences between the colored shapes and the uncolored have provided at least some texture, and balance and rhythm are stronger due to the increased number of colored shapes. Have students get in small groups and look at the experiments. The point is not evaluation, whether someone did a good job or not, the point is to start learning about the complex ways the elements and principles of art interrelate. In fact, unless there is significant variation among the experimental drawings, the students will not be able to see the complexities. For

art has been used throughout history to accomplish specific purposes. (Instrumentalist Art) Show the class the slide of Fallen Icarus in the Park and have class members discuss the purpose of this artwork. In addition to its value as a well-designed and interesting artwork, this piece makes a comment about our society or asks us to examine our own lives. Use ideas

Show students other works that make social comments. Some possibilities are, from past educator evening packets, Integration, Harrison T. Groutage, Nov. 1991; War or Peace, Cyrus E. Dallin, and Money Plant, Robert Marshall Jan. 1992; Protest, Cyrus E. Dallin, and , Feb. 1993; You Can Marry Outside of Your Faith. . . By Calvin Grondahl; Cows of Art History: at the end of innocence by Gregory Abbott; Over Three Billion Served by Alex Darias, Oct. 1994; New Americans by Nicholas Britsky, and Johnnys Apron by Trevor Southey, Nov. 1994; and many others. Have students choose one piece and write 1-3 paragraphs about the comment being made. Students should include a problem or current situation they feel warrants addressing. If you want the activity to include art production, have the students plan and execute an artwork that addresses a chosen situation. (The problems do not have to be what we consider Social Problems. Students should be free to choose anything they want to comment on or pose a question about.) This project can be completed by individual students, by small groups, or by the class as a whole. Since one purpose of this art is to communicate or stimulate ideas, make sure the finished project(s) get displayed where the whole school can see the artworks. Students should choose titles for the work(s) in keeping with the purpose.

Ruth Wolfe Smith An Allegory of the 1960 Elections from the Discussion Questions, if you havent already discussed the work and its meaning. Then show Donor Bank by Richard Van Wagoner. Ask the students what kind of social comment this piece is making. (See Activities, Richard Van Wagoner) Then ask students if they know of other purposes for specific works or kinds of art. At this point, the activity can go many ways, a few suggestions follow:

Expand or direct the activity to artworks that are narrative in nature. These works may be about the artists themselves, about a specific person, or about a part of society and normal life. Many examples are available, including slides from past Educator Evening Packets. Show the students several and have them discuss what the artworks tell us about the artist, the person depicted, or the slice of life represented. Move to or include stained glass and other decorations in cathedrals, which helped teach churchgoers religious stories and principles. Show examples and let the students pick out familiar stories. You may want to point out that religious symbols were also used to convey 130

ideas about the people depicted. If it fits your curriculum, go through some religious art, identifying commonly used symbols. When the students understand the idea, make them Symbol Detectives. Dont worry too much about whether they are correct in their identification and explanations, just get them excited about the idea of symbols. You may want to have students choose a particular symbol and research its meaning. For example, the lilies shown in many religious paintings are symbols of the lineage of David, the stem of Jesse. You can also explore symbols in non-Christian artworks. Another possibility is to explore several art movements, examining the focus or purpose of the works and how they relate to the art of the period. For example, the Impressionists were concerned with depicting light and color, primitive art often represents a deity or myth and may be used to thank, as part of worship, as a symbol of dead individuals, as a prayer for game or harvests, etc. The expressionists wanted to give form to feelings.

students identify ways written language or oral traditions are used to give us information or ideas. For example, myths, traditional stories, fables, fairy tales,

Harrison Groutage, Integration

Drama/Healthy Lifestyles Families Can Have Unity

Objective: Students will improvise scenes based on personal family experiences that show an understanding of unity. Show the slide of Fallen Icarus in the Park and tell the story of Icarus. Have the students role play the characters in the story. Then divide the class into groups and have each group role play the story. As a class, brainstorm and then make a list of situations in which if the student had obeyed or listened to the counsel of parents (or guardians), the student would have been safe or stayed out of trouble. Divide the class into groups of five or six students. Have each group choose one of the situations listed from the brainstorming and role play the situation. Have the group discuss the role playing. Then have each group role play their situation again, 131

Language Can Promote Ideas

Objective: The students will understand how various forms of language expression teach or promote ideas indirectly. Show the class the slide of Fallen Icarus in the Park. If you have not discussed the ideas explored by the painting, do so now. This work uses the myth of Icarus, which itself has a message, and it uses the situation of a monumental event happening while people around go about their lives without noticing. The painting is not intended to simply tell us we should be more aware of whats going on around us, it also is intended to invite us to explore our lives and the significant events in them. The artist doesnt give viewers an answer, but he does suggest that we need more awareness. Other mediums are used to teach us or to stimulate thought. Have

solving the problem in a way that restores unity and peace and protects the student. NOTE: Remind students as they develop their role plays that each situation needs a beginning, middle, and end. They need to show: what started the problem how/why the advice of a parent, guardian, or teacher was ignored the consequences Explain that there is always a space of time between an action and our response to it In that space of time we are free to choose our response; however, we cannot choose the response or action of another person. Have the class evaluate the differences between the two versions of each role play.

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Elements and Principles Sketchbook Assignments Secondary

The following lessons are for out-of-class high school sketchbook assignments on the elements and principles. The assignments are on the school web site for the students to view at www.ssh.sevier.k12.ut.us/faculty/SSH%20Art/index.html The pages on the web site have all the images because they can be used for educational purposes within a classroom. Here, weve included only those images we know arent a copyright problem. For the other images, weve included a web site address. The list of elements and principles is somewhat different from the one weve used for the packet, and some of the assignments are geared particularly toward the teachers class (for example, the assignment to draw views of the Sevier Valley), but all can be easily adapted. In addition, You can easily use the same ideas with different artworks. Hopefully, your class will also have fun with the assignments.

Trevor Southey, Full Bloom 133

Line
Definition Line can be described as the path left by a moving point. It is a visual path of action. A line expresses the energy of the person or thing that made it. Lines may vary in length, width, or direction. They can be continuous or broken, thick or thin, regular or irregular, static or moving, straight or curved, or any combination of these. Lines can b grouped to make patterns or textures or to portray shadows. Line is primarily a means for defining visual form. The line that simply designates the outer edge of an area or shape is called an outline. A contour line is a line used to describe the edge of a three-dimensional object in space. It indicates the last visible point on a surface that bends away from the viewer. Lines can be used to create values or textures. Hatching is the placing of many lines next to each other. Cross-hatching occurs when many parallel lines cross each other. Gestural lines indicate action and physical movement. Our eyes follow the active lines as they swirl across the page. For this exercise, draw your shoe three times. (1) Draw an outline of your shoe. (2) Draw your shoe using contour lines. Use the contour lines to show the 3D detail. (3) Draw your shoe using lines to create value. Rhinoceros, Albrecht Drer 1550

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Shape

Definition Shapes are enclosed areas; solid matter that tells us that something is an apple, a cloud, or a person. We readily identify objects by the shapes they present. Shape describes something that is two dimensional. Shapes fit easily into two basic categories: geometric and organic. The geometric shape is precise and sharply defined. Most manufactured and handmade objects are based on geometric shapes. Although we often recognize geometric shapes in nature, most natural objects are organic shapes. Organic shapes reflect the free-flowing aspects of growth and are produced in a wide variety of precise and irregular shapes.

Pablo Picasso, Composition #2

byu.edu

Fernand Leger, Composition Mecanique byu.edu

Many shapes can be simply described as curved or curvilinear (thin curved outlines of shapes), or angular. Curved shapes are graceful; angular shapes suggest strength. Positive shapes are solid, tangible aspects of a composition. Negative shapes are the areas that either surround the shape or exist between shapes. Visually express three emotions using shapes and lines. Create a drawing for each emotion. Original images: Small Worlds VII, Wassily Kandinsky, 1922

http://search.famsf.org:8080/view.shtml?record=51022&=list&=1&=&=And

Pierrot and Harlequin, Pablo Picasso, 1920

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Back to the Basics

at the Springville Museum of Art Artist Biographies
Phillip Henry Barkdull, Designed Landscape: Symphony in Colour Wulf Barsch, Toward Thebes Ken Baxter, Mechams Boots Allen Craig Bishop, La Semilla Brota Silvia Davis, Guest Harrison Groutage, Along the Bear River John Hafen, The Mountain Stream Frank Huff, Drive-Inn Raymond Jonas, Abstract Configuration Brian Kershisnik, Fallen Icarus in the Park Jacqui Biggs Larsen, Cottage Industry Robert Leroy Marshall, Snow Canyon Georgi Melikhov, Victory Day in Berlin Bonnie Phillips, Whole Wheat on Tuna Gary Lee Price, Irises Lee Greene Richards, Grandmothers Garden, Salt Lake City Frank Riggs, Tohatchi A.D. Shaw, Twice Told Tales Dennis Smith, Barn Swallow Gary Ernest Smith, Great American Farmer Minerva Teichert, Hereford Roundup Dahrl Thomson, Island of Hope Richard Van Wagoner, Donor Bank Michael Workman, In Darkness Nevertheless Illuminated

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Phillip Henry Barkdull (1888-1968) Fillmore/Logan Designed Landscape Symphony in Colour 1930 Oil on canvas 30" x 24"

All too often, talented and interesting artists are undeservedly forgotten by history. One such artist is Phillip Henry Barkdull. P. H. Barkdull was born on March 22, 1888, in the small community of Hatton, just outside Fillmore, Utah. He was the second of three sons born to John Henry and Emma Isabell Barkdull. While Henry was a child, his family struggled to make a success of their small farm. During his youth, Henry fell, hitting his head on a railroad track. He suffered a severe hearing loss. Later, a mastoidectomy left him also suffering from bad sinuses and migraines, which continued for the remainder of his life. There were no schools in the rural area where Henry grew up, and his family needed his help on their farm, so he did not attend school. Finally, at the age of 23, he left the farm to begin high school at Brigham Young High School in Provo, where he took up the study of art. He was embarrassed because he was so much older than the other students, so he lied about his age. Even though he was always sickly, he managed to participate on the high-school track team. After graduation from high school, he entered Brigham Young University to continue studying art. However, in 1917, before he could receive his degree, Barkdull was invited by an old roommate to accept a position as Instructor of Art at Dixie Normal College in St. George. But then, his career as an art instructor was delayed by his induction into the Armed Forces. He served for only a few short months before his ill health resulted in a discharge, and he once again began teaching art in Southern Utah, this time at Hurricane High School. Again his tenure was a short one, and he spent the next six years teaching art in various Utah schools.

Next, Barkdull moved to Provo where he taught arts, crafts, and design part-time at Provo High School. He spent the summers attending Brigham Young University and graduated in 1928. He continued teaching at Provo High School for two years after his graduation from BYU. It was during this time that he attended summer classes at Utah State Agricultural College and met Birger Sandzen, a Kansas artist who had a greater influence on Barkdull than did any other artist. Sandzens neo-impressionist technique, with its thick impasto, raw color, and regionalist subject matter presented in almost a Cubist style, sparked Barkdulls imagination and resulted in Paintings [that] shine out like a beacon amidst the foggy grey of many of his contemporaries, according to Dr. Vern Swanson, Director of the Springville Museum of Art. The two summers Barkdull studied under 147

Sandzen resulted in Barkdulls most productive period. Barkdulls Designed Landscape: Symphony in Color clearly demonstrates Sandzens influence. Although formally structured, the painting is saturated with the pure hues and rich pigment of the fauvists. At the time it was painted1930it was a significant departure from the current Utah painting style. This new style of painting was not appreciated by other Utah artists, who thought it was too radical. On the few occasions when Barkdulls works were sent to New York for criticism, they were given favorable reviews. However, a new artistic style appeared and soon swept the country. This style was termed Dirty Thirties because it reflected the negative effects and influences of the Depression Era. Many Utah artists moved directly from Impressionism to this new style, never discovering the Neo Impressionist style. In contrast, Phillip Barkdull had managed to stay with the leading edge of art while hidden away in the art world of Utah, making him an extraordinary artist. It was, however, as a teacher of design that Barkdull made his greatest contribution to the Utah art scene. During the fall of 1930, a teaching position at Brigham Young University was vacated by B. F. Larsen, when he left for a years sabbatical in France. Barkdull was chosen to fill the position. He was listed as an Instructor in Art, teaching the following courses: Graphic Representation, Theory and Practice of Design, Domestic Art Design, and Outdoor Sketching with Oil Color. After his brief tenure at BYU, Barkdull was hired by the Logan School District as Supervisor of Arts and Crafts of the Logan Schools, and he also taught art at the high school part of the day. His busy schedule as both instructor and district supervisor combined with his constant poor health all but ended any serious focus on painting. Persistent health problems resulted in his early retirement in the spring of 1954.

instructor. During this time, he turned to painting watercolors, mostly florals. Due mostly to his battles and concerns with poor health, Barkdull never fully developed his artistic gift. His innovative style and obvious talent were never expressed as they might have been, given the opportunity. Phillip Barkdull died on November 6, 1968, in Logan, without having established his talent and significance in Utah art history. .

Phillip H. Barkdull, Seagulls on Utah Lake 1930

After his retirement, financial problems forced Barkdull to continue working as a private

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Wulf E. Barsch (1943- ) Germany/Utah Toward Thebes 1985 Oil on canvas 24"x 35 3/4"

Wulf Eric Barsch was born in Reudnitz, Germany, on August 27, 1943. Before Barsch was born, his father was drafted into the German army, and Wulf did not see his father until he was 16 years old. Although World War II ended in 1945, Barschs father was a prisoner of war who was moved from Texas, to France, and then to Russia before he was released. All this time, the family assumed he was dead. After the war Wulf, his mother, and his sister unexpectedly had to flee the country, changing their names in order to escape. Barsch received his early art training in Hamburg and Hannover, Germany, from master students of Kandinsky and Klee. An important influence on Barsch, Paul Klees idea that art does not make pictures of nature exactly but it makes something that is a new creation, it makes some feeling or experience with nature a reality, is a philosophy that Barsch incorporates in his own art. During his student years, the painter became interested in the Vienna School of Fantastic Realism and the work of Mark Tobey, a devout Bahai. He later studied Egyptian and Islamic culture and history, and that interest is still evident in the recurrent spiritual symbols in his art. A convert to the L.D.S. Church, Barsch served a mission for the Church in northern California and attended Brigham Young University. Wulf received a master's degree in printmaking from Brigham Young University in 1971 and a Master of Fine Arts degree in painting in 1972. Barsch immediately joined the art faculty at BYU. Barschs achievements include international recognition for his paintings and prints. Winner of The Prix de Rome from the American

Academy in Rome in 1975, Barsch spent the next year, with his family, working in Rome. Other awards include the Printmaking award from the Western States Art Foundation, an award for Excellence in Art from the Snowbird Institute, and the Directors Award from the Springville Museum of Art. Due to his own introspective nature, Barsch believes that each of his works necessitate a private interpretation of spiritual mystical themes from the viewer. Barschs metaphorical paintings introduced a new enthusiasm and recognition for Mormon Art during the 1980s. A leader of the second wave of the Art and Belief movement, Barsch proposes that a culmination of faith, heritage, imagination, and contemporary life is displayed through the use of abstract and geometric designs to emphasize spiritual themes. 149

Dynamic Symmetry, the proportions often called the Golden Mean, undergirds every painting of Barschs. The idea of sacred geometrythe proportions of the universedates back to the ancient canons. It is evident as the underlying design reflecting the eternal order of nature itself. Mysterious, arcane, and, other worldly, Barschs art is geometrical, intellectual, and mystical, but the paint application is just the oppositemodern, direct, wiped, color contrasts, and wet into wet. The effect of these opposites is to create a sense of place in the past relevant to today.

Brigham Young University, in her monograph Wanderings: Abraham, Ulysses, and the Landscapes of Wulf Barsch, describes this thematic approach and Barschs symbolic quest for home: Even at first glance, Barschs landscapes leave a peculiar sensation that the compositions are fragments of a very long sentence and that the vocabulary of the fragments is distinctly personal. . . In classic form these episodic scenes are a section from the middle of the story. . . The syntax of this continuous sentence is an ideal vehicle for expanding Barschs theme. He wanders from episode to episode in the search for home and each incident adds absolutely necessary attributes of self-knowledge and self-control. McConkie explains further: Wulf Barschs environment and his art are an attempt to recreate something he wishes to remember, something for which he searches with the patience of a mystic. His art expresses a universal theme about the home that he believes he once knew and the life-long struggle to become once again a denizen of that society. Knowing about that home, he says, helps explain the present and control the future. They are all really the same.

Wulf Barsch, Amduat, 1982 In an unpublished manuscript on Mormon Art by Dr. Vern G, Swanson, Director of the Springville Museum of Art, he says, Barschs exploration of spiritual-mystical themes, especially the Abrahamic vision, through his own very private interpretations has established him as one of Americas premier religious artists. . . Barschs meditations have propelled him into contemporaneous metaphorical painting. Like most of the masters of this century, he has worked consistently on variations of a theme, in this case, the Hebraic mysteries. Judith McConkie, of the Museum of Art at

Toward Thebes is an abstract painting which, according to Dr. Vern G, Swanson, is based on the theme of Life in this mortal estate, in which, as the Apostle Paul says, "We see through a glass darkly" (I Cor. 13:12). This life appears chaotic to us, as if we viewed a tapestry from the backknots and ends and very little design. But when we, in the next life, can see from the front, the beautiful and intricate design will be clear. Thebes, Egypt's capitol city during politically stable times, symbolizes the idea of order coming out of chaos. A hint of God's design is seen in the Magic Square, influenced by the German artist 150

Albrecht Durer. It was scribbled on while the paint was still wet by Wulf's brush handle. It might represent the 15 Prophets, Seers and Revelators (LDS First Presidency and Twelve Apostles) on the earth at any one time. These numbers add up to fifteen, no matter in which direction they are counted. Though looking chaotic, they are logically organized, if the viewer will but look a little deeper. 492 357 816

The Greek Alpha and Omega letters at the bottom of the picture represent the Lord Jesus Christ. The foundation design beside these letters might indicate the temple in New Jerusalem (Jackson County, Missouri). The numbers "14" and "15" could denote the process of counting up to the prophetic number "Fifteen". Barsch has juxtaposed contrasting art elements to give vitality to his painting. He has contrasted blurred areas against sharp and hardedged sections, neutral, tonal and grayed areas are superimposed against zones of intense chroma. The opposition of naturalistic content with abstract forms, amorphous patches with geometric shapes can also be seen. Carefully considered areas contrasting with geometric shapes can also be seen. Carefully considered areas contrast with carelessly wrought sections that allow for the full range of aesthetic devices to energize Wulf Barsch's work.

Wulf Barsch, Toward Thebes 1985

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 ARTIST: Kenneth "Ken" Bischoff Baxter (1944- ) Salt Lake City TITLE: Mecham's Boots 1973 MEDIA: oil on board SIZE: 30" x 30

Ken Baxter began painting at the age of 12 and has not been distracted from painting since! Although he was born in 1944 in San Diego during WWII, he grew up in Salt Lake City, Utah, where he began studying art in the seventh grade. By the ninth grade, he was winning first place in state-wide competitions. After graduating from the University of Utah with a Bachelor of Fine Arts, he taught high school are while attending Utah State University and earning his Master of Fine Arts. Even thought teaching had its compensations, his love of painting and his unshakable determination to make art his career prompted him to leave teaching and become a full-time artist. Throughout his career, Ken has continually experimented with new approaches to his painting. Successfully mastering a style and, as a result, successfully selling his works have not stopped him from trying new methods or changing his techniques. As a matter of fact, whenever he finds himself comfortable in a style or technique, he plunges himself again into exploring new and challenging concepts. He thrives on testing and playing with unique color combinations and compositions, refining his work but keeping it vibrant and fresh. Currently, his favorite approach to painting is the Plein-Air mode. Without knowing this term, Ken was already practicing this technique as a 14-year-old art student, painting outdoors in below-zero temperatures and huddling in blankets to keep warm. The technique requires facing challenging weather conditions, responding perceptively to the imitate environment, and maintaining intense concentration. The plein-air (open air) technique was started

about 1870 by the Barbazon School in France and was carried on and perfected by the French Impressionists. Today, very few painters actually work plein-air. Unlike studio painting, which affords plenty of time to compose and paint scenes, the goal of plein-air artists is to record quickly the essentials of the scene and to represent the effects of atmosphere and light that cannot be observed in the studio. As he stated in an introductory letter to Vern Swanson at the Springville Museum of Art, today, very few painters actually work in the plein-air for several reasons. The environmental conditions are complex, and unpredictable weather creates challenges such as fly-away canvases, frozen fingers, heatstroke, dust, rain, etc. Also, the goal is to capture the essence of a place as it presents itself during a given time frame. The constant movement of sunlight requires the artist to quickly record this impression, while continually keeping in mind design, surface quality, spon152

taneous brushwork, effects of the atmosphere, and the quality of light. Quite a challenge!

of different cultures has inspired him to travel throughout the U.S., much of Europe, Canada, Mexico, and parts of Indonesia. Scenes of familiar and intimate aspects of everyday life, at home as well as abroad, interest him and intimate scenes are the ones that he most often captures on canvas. Mechams Boots is one of these private glimpsesa pair of old boots, a leather suitcase, and an old trunk in a seemingly casual heap, but making a composition as careful as any still life. The triangular shapes, warm brown tones, and accurately rendered textures create a strongly unified work, kept from passivity by the many diagonal lines and the varied shapes of the hinges, locks, and other details. The popularity of Ken Baxters work is attested to in that he has won numerous prestigious regional and national awards and that his art has appeared in many national publications. He has exhibited throughout the West and in Europe and has placed over 1500 paintings in private, corporate, and permanent museum collections.

Ken Baxter, Sheds Near Herriman, Utah 1994 Kens approach is done with spontaneous and vigorous brushwork. With crisp strokes and painterly assurance, he effectively captures his favorite genre subjects in an impressionistic and airy manner. His expertise, keen sense of mood, and sensitivity to the atmosphere enables him to pin down the season, the time of day, and even the temperature of his work. Of painting outdoors, Ken says, although weather conditions do cause difficulties, they also present the unexpected opportunities which create the distinct qualities achieved only by plein-air. A good painter should provide the viewer with a feeling that makes the invisible visible; a feeling that elevates the common place to the poetic. His desire to understand people and his love 153

 ARTIST: Allen Craig Bishop (1953 ) Salt Lake City, Utah TITLE: La Semilla Brota 1990 MEDIA: oil on canvas and board SIZE: 56 x 88-1/2

Born May 7, 1953, in Moab, Allen Bishop is one of Utah's boldest Abstract Expressionists. He graduated cum laude with a Bachelor of Fine Arts from the University of Utah in 1978, and he received his Master of Fine Arts from the University of Denver School of Art in 1982. The Utah Arts Council awarded him a Visual Arts Fellowship from 1987-1989. Currently, Bishop operates Ylem Art School in Granite, Utah, where he has been the director and an instructor since 1988. He also has taught at Sam Houston State University in Texas, at the University of Denver, at the Visual Art Institute in Salt Lake, and at the Salt Lake Art Center. Bishop views a work of art as a living entity, as an organism caught in the middle of the creative process. He says, "I treat each piece as a new organism, breathing with its own type of life. I do not seek to mimic, but to expand nature; not to plagiarize, but to continue the creative processes of God." Consequently, Allen does not paint within the traditional, rectangular frame, but expands his canvas, making it reach out in all directions like an abstract sculpture. His paintings almost appear to grow in an array of varying shapes and colors. He explains, "my paintings generate a type of life of their own beyond a simple accumulation of shapes and colors." Like La Semilla Brota (Spanish for "budding seed"), they burst forth, striving for life. This organic quality may have its roots in Bishops interest in biology as well as in his reluctance to have traditional formatting dictate the shapes his art will take. Allen involves the art collector in some of his works by fashioning his paintings in movable pieces so they can be arranged according to the desire of the owner. He calls them "permutable" paintings. "Recently," he says, I've introduced elements of time, change and choice by using shaped canvases in rearrangeable, multi-part configurations. This way, I hope to give the viewer/collector increased opportunity to participate in the process of visual communication, thus allowing the 'universal structures' of shape and color to function on a more elastic and democratic level. Bishops nonobjective, geometric, multi-pieced art works involve people in the creative process long beyond their completion. As long as his painting survive, they can be arranged and rearranged into new, living works of art. Colors and shapes cause the eye to move from one area to another, and as these shapes and colors are placed in fresh positions, they create new ways for viewers to see and to interact with the paintings. Bishop still makes some arrangible pieces, but he also is making wood reliefs, several of which are large public projects. For the Science building at Southern University of Utah, in Cedar 154

City, he created a 5 x 25 work entitled Probe. The artwork consists of five shaped wood panels with a low relief of shapes glued to the panels and then painted with acrylics. Another large project was the design of logo panels for the group Leonardo on Wheels, a science and art exhibit that traveled the state. Bishop painted designs on large hexagonal plastic panels for each area of the exhibit such as light, movement, energy, etc. When asked about changes in his art, Bishop cites the movement to wood reliefs as an important area of exploration and says he is including more recognizable shapes in his worknot realistically painted, but clearly identifiable shapes such as birds and snakes. Sometimes the links to realism in his works are subtle, such as his group of works Assent of Man. Although the pieces are painted abstractions, the proportions of each piece, 54 x 24, are reminiscent of human proportions. And, like many of his works, Bishop says Assent of Man has references both to science and religion. He produced the work largely as a response to Charles Darwins book the Descent of Man. Recently, Bishop was part of a team working on the design of the light rail station near Franklin Quest Field in Salt Lake. His assignment was to design the pavers for the station. Another recent commission is a piece to be installed in the new Science building under construction at Utah State University. In addition to the growing list of public artworks by Bishop at places like Red Butte Gardens and South Towne Center, his pieces are in private collections, museums and state collections throughout the state including The LDS Museum of Church History and Art, the Springville Museum of Art, and the BYU Museum of Art.

Allen Bishop, Leonardo on Wheels Allen Bishop, interviews Jerry A. Schefcik's "A View of Four," Utah Arts Council Visual Artist Fellowship Award, 1990. ARTIST'S STATEMENT In science, religion and art, nature is a complex and fertile matrix for both mystery and discovery. My work is grounded in non-objective, internal directions, but I am also attracted to natural, external phenomena. Recognizable subject matter often appears in my work, but I am less interested in natural appearances than I am in the visual exploration of both natural and internal dynamics. Scientific and religious concepts often interact and inform these expressions. It is important for me to be open to a wide range of creative influences and approaches, engaging both rational and intuitive processes. Art making itself is akin to the processes of nature: the building, changing and destroying of forms in the evolution of a more dynamically balanced and, perhaps, a more interesting and meaningful whole. I make paintings, draw155

ings and prints. Many pieces are shaped and painted wood relief panels, often in multi-part, rearrangeable formats. I think of such pieces as visual organisms that can permute/mutate and adapt to various contexts. Some pieces are carefully designed before production; others evolve more playfully from wood and mental scraps, changing over time; often ending up radically different from the original idea. Either way, I sense myself as a link, an agent of change - a small step between what was and what will be. With shape, color, physical materials and internal dialogue, my attempt is to explore and express the themes, mysteries and paradoxes of the universe we are part of. I cannot imagine anything more interesting. Copyright 2002 Allen Bishop http://www.ylemart.com/ artists_statement.htm used by permission of the artist

image used by permission of the artist

Allen Bishop, Big Bang

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Silvia Liz Davis (1957 ) Teasdale, Utah Guest 1994 wood sculpture 28 -/2" x 15 x 19

Born in 1957 in Cupertino, California, Silvia Davis has been a resident of Salt Lake City since 1966. She was born an artist; throughout her childhood she loved to paint and draw and create models out of cardboard, paper, and mud. When she went to college it was with the idea of studying painting. However, she found that she preferred working with three-dimensional forms and discovered that wood was the perfect medium for her. Clay was not restrictive enough; she says she needed the limitations of wood to force her to resolve forms more clearly. Davis has been working exclusively in wood since receiving her Bachelor of Fine Arts in sculpture in 1980 from the University of Utah, from which she also received a Master of Fine Arts in sculpture in 1993. Interested in realism, she works from observations made directly from life. She focuses a geometric clarity on her subjects. "My sculptures are a combination of direct observation and a personal sense of design. Contrast between complex geometric pattern and clearly defined volumes has always fascinated me. I look at bits and pieces of everyday life which I translate into wood. A recurring interest of mine is the coexistence of plants and animals with the man-made environment. I try to make my sculptures real enough so that people can empathize with the subjects portrayed. Simultaneously, I want the work artificial enough so they can be seen freshly. Wood is the artificial element that allows the subject to be seen as sculpture. No subject is too insignificant for me, The world is full of subjects that are looked at all the time but rarely seen. The more

closely I pay attention, the more the world is worth looking at. I never create sculpture out of a void. Instead I try to open my eyes to what is already there." This sculpture, Guest, is made from found woodan old painted door. The wood was laminated and then carved, and the painted areas are the original painted surface of the door. Some of the painted areas were touched up after the carving was finished, to connect the piece. She says using the door to create the dog forced her to use some creative solutions in her sculpting. Davis has worked in a variety of artistic settings: as a sculptor for the Utah Shakespeare Festival, as an instructor at the Petersen Art Center teaching life drawing and sculpture, as an instructor in Woodworking at the University of Utah, as a sculptor consultant for architectural firms, as theater technician, as a free-lance sculptor and scene painter for the Pioneer Theater Company at the University of Utah, and as a sculptor, fossil preparator, and casting technician at the 157

Utah Museum of Fine Arts. Silvia has participated in numerous Utah exhibitions as well as several one-person shows of sculptures and drawings. In 1983, she received the North American Sculpture Award from Denver, Colorado. Davis presently lives in Teasdale, Utah. Her works for sale are currently handled through the Phillips Art Gallery in Salt Lake City and Coda Gallery in Park City and Palm Desert, California,.

Silvia Davis, Colt 1995

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Harrison T. Groutage (1925- ) Logan, UT Along the Bear River 1978 acrylic on canvas 36 x 48

Harrison Groutage was born on April 21, 1925 in Richmond Utah. Groutage spent much of his life on the University level whether it was as a student or a teacher. He attended Utah State University and Weber State before he went on to Brigham Young University where he received his Bachelors Degree in 1953. He then studied at the University of Utah and received a Masters of Fine Arts degree in 1954. Groutage later went back in 1963 and did Post Graduate work at Iowa State University. Between 1952 and 1963 when Groutage did his Post Graduate work he spent a lot of time not only on his artwork and school but getting his feet wet with teaching. Groutage was often very popular with his students not only because of his artistic talents but also because of is facile mind and quick wit. He first taught at Snow College from 1952-53. Then Groutage obtained an art position at Utah State University, which he would keep for over 30 years. While he taught at Utah State he was also a guest instructor for summer sessions at the University of Utah, and Boise Jr. College and held watercolor workshops at Monterey Bay for over ten years. After teaching at Utah State for nine years he was made Head of the Department of Art (SMA web site and Artists listings information). Harrison Groutage is an enormously talented artist and is proficient in many different fieldspainting, watercolor, oils, acrylics, printmaking, ceramics, advertising design, and lettering. His main interests have now turned to painting. He shows great versatility in both oils and watercolors and once said, One must not be married to one treatment, or one method. Desert News

writer Richard Christensen feels more viewers are attracted to his watercolors. The transparency and soft edges, characteristic of watercolor, are handled masterfully, especially in his small paintings (Desert News Tues. March 18, 1980, 8C). However, Groutage didnt paint in only watercolor and oils, nor were all his paintings small, one of his most famous works is a rather large mural. In 1964 Groutage was commissioned to do a mural for Dixie State College in St. George, Utah. The mural was to be place on the side of the new Fine Arts Center designed by architect William Rowe Smith. The mural has been cherished by the students and faculty at Dixie for years, sadly in 2002 the building, which had been condemned was demolished to make way for a new, larger Fine Arts Center(15Bytes: Artists of Utah E-Zine Touches of Fine Art, Dec 2002,p.3). While Groutage doesnt limit the subjects of his work he has shown a great love for landscape. Of this love he states, The existence of sky, 159

water, and land forms, as they defy the elements and man, move me to the expression of ideas in my work. Frequently , I study the same features which inspired our early painters; proving that in spite of the damage inflicted by man (often greater than that caused by all the relentless forces of nature), many of them have remained alive and well (quote from SMA archives, 15 Jan 1991). Groutage has been able to capture landscape and various genre scenes with a technique which expresses great depth of detail with minimal work. Whatever the medium Groutage seems to use he loves the subject of nature. Like many Utah born artists the Western Landscape seems to capture Groutage so that he seems to never leave. I am a confirmed westerner. While my painting derives its inspiration in fields, streams, mountains, rocks and coasts of the west, I paint mainly in Utah. I respond to the western landscape with its special aspects of form, light and atmosphere, an obsession which carries over to the three-dimensional work in wood and stone. In addition to painting, some of my current projects include a series of bird forms and a series based on primitive artifacts of several cultures (MOA archives). Harrison Groutage, who has received recognition for his handcrafts, printmaking, painting, drawing and murals, has had 55 oneman show, participated in 60 group shows, received 55 awards and is included in over 500 private and public collections. Honors and recognitions include: National Academy of design, World Book Encyclopedia, Paramount Pictures, National Watercolor Society, Watercolor USA, Western States Art Foundation, Jackson Hole Art League, Snow Bird Institute, Utah Sate Institute of Fine

Arts, Mormon Arts Festival, Springville Art Museum, Pasadena Art Museum, California Watercolor Society, Utah Heritage Society, and more(Ten Utah Painters, 1984). Harrison Groutage is an experimenter with new techniques and has used this to his advantage, now his works are in great demand throughout the state. Harrison Groutage is best known for his watercolors and dramatic landscapes in oils and acrylics. Groutage has retired from teaching at Utah State University as an emeritus professor in the Fine Arts Department and is missed by all those who were fortunate enough to have him as a teacher. "Grout," as his old students and friends affectionately call him, considers himself an abstract realist. As Carlton Culmsee has noted: "The role of the poet [artist] is to create something new something never before seen on land or sea." Grout rises to that challenge to create new images and compositions of our familiar western landmarks so revered by early painters, reaffirming their dignity with fresh insight by distorting and abstracting with his own creative ingenuity.

 ARTIST: John C. Hafen (1856-1910) Springville, Utah TITLE: The Mountain Stream 1903 MEDIA: oil on canvas SIZE: 26"x 23" john Hafen was born in 1856 in Scherzingen, Switzerland. His family, converts to the LDS faith, came to the United States when Hafen was six years old, determined to join the Saints in Utah. On the way, they spent 12 days in Winter Quarters, Nebraska, and Hafens two-year-old brother died there. They made the rest of the journey by ox team. After reaching Utah, the Hafens settled first in Payson and then after two other moves, established themselves in Salt Lake City in 1868. John was very interested in art from a young age and became one of the youngest and earliest students at the "Twentieth Ward Academy" or "Seminary," in Salt Lake City, a school that included drawing instruction in its lessons. During the next ten years, Hafen was taught by George Ottinger and Dan Weggeland, two early Utah artists who not only became friends with the young Hafen, but also encouraged him to seek traditional training outside Utah. In 1881, a group of young artists, including Hafen, founded the Utah Art Association, which later became the Utah Art Institute. The Association's purpose was to produce exhibitions and provide art instruction. The initial exhibit was the first time artists in Utah had organized and directed their own show. Over the next nine years, John continued to paint and draw and exhibit when possible, including at George A. Meears' sample roomhe was a whisky wholesalerwhere space was available for local artists to display their work, free of charge. In 1890, Hafen helped convince LDS church authorities to sponsor the "French Art Mission," an opportunity to study at the Acadmie Julian in Paris. The trip also was made pos-

Mahonri Young, Portrait of John Hafen sible for several other young Utah artistsJ. B. Fairbanks, Lorus Pratt, and Edwin Evans. The artists' studies in France were subsidized by the LDS church so the artists could improve their skills and paint murals and paintings in the LDS temples upon their return to Utah. Hafen's studies in Paris had a vital impact on his work; like many other young artists of the time, he switched his interest from academic studio work to landscape painting from nature. Espousing his new view, Hafen wrote, "Cease to look for mechanical effect or minute finish, for individual leaves, blades of grass, or aped imitation of things, but look for smell, for soul, for feeling, for the beautiful in line and color." Back in Utah by 1892, Hafen began work on 161

the murals for the Salt Lake temple. Although Hafen did the most work, Pratt, Fairbanks, Evans, and Dan Weggeland all contributed their Paris-honed skills. The next year, the Society of Utah Artists was reestablished with Hafen serving as Vice President. The society's exhibits were well received, with many people willing to pay the entrance fees. Although Hafens paintings from the middle 1890s to about 1907 are now considered masterpieces of Utah art, he wasnt able to support his fast-growing family on what he made from his work. Consequently, he held various jobs and at times received support from the Church in exchange for paintings and drawings, which now make up the impressive Hafen collection at the Museum of Church History and Art in Salt Lake City. Hafen taught at the Brigham Young Academy and eventually settled in Springville with his wife and ten children. Originally the family lived with the Myron Crandall Jr. family because the Hafens couldnt afford to pay rent. Later, Hafen traded a painting for a hilly section of Crandalls land. Alberto O. Treganza, a close friend of the Hafens, designed their home in the Swiss chalet style. The building was paid for by sales of paintings and the bartering of paintings to a local doctor who traded the paintings for work his destitute patients did on the Hafen home. To cover one bare cement wall, Hafen painted a mural of hollyhocks and attached it to the wall. After Hafens death, the canvas was removed, mounted and framed and is now owned by the Springville Museum of Art. The Hafen home in Springville still stands today. While in Springville, his interest in art education led Hafen to donate a painting to the Springville High School and to encourage other artists (including his friend Cyrus Dallin) to donate artwork. This art collection grew and eventually necessitated a building to house and display the art: it became the Springville Museum of Art.

John Hafen, Hollyhocks

Although Hafen made frequent painting and selling trips across the country, he lived in extreme poverty until he moved to Indiana late in his life. There, he was accepted into a group of regional impressionist artists and at last began to achieve success as an artist, including winning a prestigious commission to paint the governors portrait. He lived in an attractive cottage overlooking a beautiful valley, surrounded by friends. However, just as he began to realize his life-long dream of providing for his family through sales of his art, Hafen contracted pneumonia and died in 1910. Ironically, John Hafen is now considered the most appealing of the early Utah stylists, and was called "Utah's greatest artist" by Alice Merrill Hone, an early Utah art activist. He, of all the early Utah artists, best communicated the poetic essence of nature.

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Frank R. Huff, Jr. (1958 ) Kaysville, Salt Lake City, Utah Drive-Inn, Salt Lake City 1997 oil on canvas 39-3/4 x 49-3/4 interesting brushstrokes and texture. With new inspiration, Huff returned to the University of Utah in 1987 to study under Paul Davis and David Dornan for a year. Frank Huff was then painting, and he continues to paint, up to 200 pieces a year. He still draws inspiration from Degas and some of his compositions are as involved and detailed as those of the Impressionist master. He also continues to create works which reflect contemporary life both in subject matter and application. The artist recently moved from Kaysville to St. George, Utah, and has been, according to him, painting prolifically. He plans to paint full time, creating artworks that bring a spirit of peace and excitement to a home or the place where [they are] exhibited. Huff has been featured in the publication Utah Profile as one of Utahs foremost artists and during the Winter Olympics, he was honored as one of Utahs top 100 living artists. Olpin, Robert S., William C. Seifrit, and Vern G. Swanson. Utah Art. Layton: Gibbs Smith, 1991. Huff, Frank Jr. What Makes Good Art? / Frank's Philosophy http://www.frankhuff. com/goodart.html

Drive-Inn, Salt Lake City (1997) exemplifies Frank Huffs interest in capturing abstract and angular patterns. Because he so often paints on location, he captures the atmospheric details of light but is unable to depict figures before they pass through the scene. Huff is known to work in both oil and watercolor depicting landscapes, cityscapes, still lifes, and figures, all with an emphasis on line and the same disregard for nostalgia. His earliest influence was without doubt his father, Frank Huff Sr., who, as a commercial artist, was his sons first artistic idol and the teacher from whom Huff learned the importance of composition and line. Born in 1958 in Salt Lake City, Utah, Huff became as skilled at golf as he is in art. In 1977, he was admitted to the University of Utah on both art and golf scholarships. Although he trained with Alvin Gittens and F. Anthony Smith, Huff was a more dedicated golfer and won more awards and honors in golf than in art. It was not until his success in the 1982 Park City Arts Festival that he decided to invest his time and future in his artistic abilities. In August of that year, he married Jean Russell, of Glasgow, Scotland, and began painting more and more frequently. His paintings began to reflect the influence of Richard Diebenkorn, Edward Hopper, and especially, Edgar Degas. He appreciates these artists for their use of compositionally beautiful and inventive space, and their ability to focus on completely new and contemporary subjects. Degas paintings of ballerinas, for example, depict more than dancing figures. Degas utilizes creative points of view and fully develops his background space with

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 ARTIST: Raymond Jonas (1942 ) Provo, Utah TITLE: Abstract Configuration 1982 MEDIA: Wood SIZE: 45-3/4 x 72 x 60 Raymond Jonas was born in 1942 and grew up in California, where he had many opportunities to see good art traveling exhibitions from Europe as well as the work of local artists. Jonas says he has learned much about art from looking at the work of other artists. His formal studies were completed at the Art Center in California and at Brigham Young University in Utah. He began work as a painter in the 1960s, heavily influenced by abstract expressionism, especially the paintings of Willem DeKooning and Franz Kline. This interest led to a serious study of the paintings, ceramics, and sculpture of the 20th Century master, Pablo Picasso. Although Rays work, for the most part, does not resemble that of Picasso, that single artist, more than any other, has had the most profound influence on Jonas and on his art. While studying crafts at BYU, Ray discovered wood as a medium and began a love affair with form and made over 100 free-form containers. In the 1970s he started making wood sculptures, because wood was inexpensive, easy to work with, and he could make large forms. The greatest influence on his work at this time was Henry Moore. Jonas met Milo Baughman, a noted furniture designer, in Utah in the mid 1970s. Working for him was Rays first experience with the carving and construction of wood furniture. He executed the designs of Milo Baughman and later constructed furniture based on his own designs. This furniture design became the balance of his work in the 80s. For Ray, the furniture was simply sculpture people could sit on. Then Ray

explored the use of metal, especially steel, in fabricating sculpture. At the same time, he continued his work in wood sculpture and furniture. What Ray is interested in communicating through his work is the beauty of the abstract form, which is what excited him about art from the beginning. He says, There are certain combinations of materials, certain shapes, certain proportions and relations of materials and shapesthe creation of forms which can give the viewer an incredible experience with beauty. I have felt this in the work of other artists. They have imbued their sculpture with content or meaning. It is very powerful. It has a life of its own. I strive for this in my own work. I stress craftsmanship in my work and labor to make each new sculpture better. Presently, Ray is combining wood and metal, especially bronze and wood. In July of 1998, Ray exhibited recent works at the Springville Museum of Art in a joint show with his son, 164

Noel Jonas. These more recent works by Ray, Totemic Images, reflect the Northwest American Culture of the past. Jonas draws on several primitive cultures, including early African and aboriginal, for much of his artwork and appreciates the spiritual role this art plays in each of the respective cultures. Jonas work is not political, instructive, or illustrative. Instead, he deals with form for its own sake and finds beauty in its simplicity. Abstract Configuration is a good example of Ray Jonas early work. He chose sycamore because the woods size allowed large-scale work. The separate elements were roughed in with a chain saw and sculptors adz, then refined with a gouge and power sander. The parts are joined together with steel pins and all-thread. By attaching elements, a form even larger than the original tree was realized. Ray says, The initial idea was to make a large form, utilizing a hollow bowl, with a variety of shapes, and setting them at angles to one another. That is all I had to begin withthe idea. From there, it was a matter of relating the parts to each other. I moved the parts around until something started to happen. Then I put it together. It was necessary to make some changes, altering some parts, and even abandoning and reshaping others that were not appropriate to the form. Dr. Vern G. Swanson, Director of the Springville Museum of Art, comments that in Abstract

Configuration the artist has created tension in the work by juxtaposing the almost clinically white finish against the richly textured wood, using both the natural grain of the wood and the chisel marks that resulted from his butchering of the shapes. The artist also has balanced the formal elementssimple, abstract shapesin such a way that the piece has an organic feel to it. These paradoxes are repeated in the relationship of the scale and volume to the visual weight. Although the piece is about six feet by five feet, the white color makes the piece appear light. All these contradictory elements have been combined to create an intriguing piece of sculpture from a few basic shapes.

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Brian T. Kershisnik (1962 ) Kanosh, Utah Fallen Icarus in the Park 1988 oil on canvas 18 x 24

Brian T. Kershisnik was born July 6, 1962, in Oklahoma City, Oklahoma. Because of his fathers employment as a petroleum geologist, he spent his childhood in various cities around the world including Luanda, Angola; Bangkok, Thailand; Conroe, Texas; and he graduated from high school in Islamabad, Pakistan (although in absentia because of an emergency evacuation due to the burning of the U.S. embassy). Kershisnik completed his first year of college at the University of Utah before serving an LDS mission in Denmark. After living with his family in Bergen, Norway, for a time, he returned to the States to pursue his studies at Brigham Young University. While attending BYU, he received a grant to study in London for six months. In 1987, he received his Bachelor of Fine Arts degree in painting and married Suzanne B. Christensen. Brian and Suzanne moved to Austin, Texas, in 1989, where he earned his Master of Fine Arts degree at the University of Texas. They currently reside in Kanosh, Utah, with their two children and a black dog. During his youth, Brian didnt know any artists, and he was in college before the thought occurred to him to make art his career. However, when he started studying art, the seeds of his current work were almost immediately sown, perhaps because they were partially innate and were partially due to his childhood exposure to native arts. Kershisniks love of antiquity and of native art appears both in overt devices, such as his periodic use of the frontal eye on profiles and also in less overt ways such as in his use of the human figure as a symbol that leads the viewer into the story the painting depicts or reminds us of. As well, there are cer-

tain qualities in the paint itselfmuted colors, a softness of line, a glazewhich convey a sense of timelessness. One characteristic of primitive artists that Kershisnik approves of and consciously tries to emulate is the position they take of being watchers and not participators in the scenes they portray. Brian believes it would be arrogant and presumptuous to paint as if he were a participant in marvelous or grievous happenings. Therefore, his painting of the Atonement is not of an agonized Christ; instead, its painted as if he were a viewer of the apostles sleeping under the tree. He feels some artists are too free, are almost voyeurs, while primitive artists make no claim of having seen the events. They keep the art obviously surreal; they make the art a reminder of a story, an invitation to go reread the story. Kershisniks pieces are narrative, but it is impor166

Brian Kershisnik, Fallen Icarus in the Park tant to him to maintain that same element of surrealism in his mind, so he doesnt necessarily have to use historically accurate details. Fallen Icarus in the Park (an idea taken from a Heironymous Bosche painting), like much of his work, tells a story, a truth Kershisnik hopes will increase our awarenessthat critical events, extreme situations happen, but no one pays attention or understands, just as the people in the park go about their lives in ignorance of Icarus fall from the sky. Kershisnik doesnt think about his ideas for paintings too much ahead of time; he believes if he did, his paintings would be less honest. He says he gets his ideas serendipitouslyfrom painting mishaps or from something he heard, even possibly heard wrong (the wrongness doesnt matter, it is where the idea takes him, how it arbitrarily gets him thinking along a certain line). One time he was working on a painting and realized the hand he had painted was the best hand he had ever painted but wasnt in the correct position, so he changed the painting to make the well-painted hand be in the right place. Another time, too much red paint became the focal point of a work instead of a mistake. Kershisnik is introspective but also whimsical.

These two characteristics are evident in his painting The Difficult Part, in which a couple are dancing in an impossible position. The painting is fanciful yet also is a metaphor for the whole manwoman relationship, suggesting the relationship can be both dangerous and also paradoxical. Using metaphors and symbols that mean several things at one time, Kershisniks paintings have an element that prods us, as viewers, to reexamine the meaningful and deep parts of our lives, to look again, to use our accumulated knowledge to understand a little more, to at least look for more within ourselves, and to examine who we are as defined by our understanding of the human experience. Brian Kershisnik doesnt paint from life he doesnt use modelsbut a viewer once commented to him that he believes Brian

image used by permission

Brian Kershisnik The Difficult Part

does paint from life, even more than those artists who use models because he paints the real essence of life. Kershisnik refers to Jackson Pollack, who said he paints from nature because I am nature. Although Brian thinks Pollacks 167

statement is rather arrogant, he does agree his own art is from life because of how the paintings develop out of his experiences and ideas. Paintings should be beautiful, be inviting, create a desire in the viewer to spend the time needed to learn what one should from the artwork, according to Kershisnik. However, he also believes artists shouldnt bow to the lowest common denominator of producing pretty art. In addition, Brian doesnt believe art should be weapon-like, even if it is about some ugliness in life such as rape or the murder of children. All art needs some affection for the viewer, some compassion for the victims; it should be humanizing and should move humanity forward. Whatever the trials in our lives, Kershisnik says, what is most important is how we continue, what we learn from our experiences. He states: There is great importance in becoming human, in striving to fully understand others, ourselves and God. The process is difficult and filled with awkward discoveries and happy encounters, dreadful sorrow and unmitigated joysometimes at the same time. I believe art should facili- tate this truth rather than simply decorate it, or worse, distract us from it. It should remind us of what we have forgotten, illuminate what we know, or teach us new things. Through art we can come to feel and understand and love more completely we become more human. The artists I admireobscure, famous or anonymous have contributed to my humanity through their whimsy, their devotion, their tragedy, their bliss or their quiescence. I seek to be such an artist. As nearly as I can trace, my paintings emerge from living with people (and my dog) and from affection for the processes I use to make pictures. Although my skills of observation and craft are good, there is a fundamental element that makes a picture succeed that is outside of my control. It is a gift of grace every time it occurs and is as

surprising to me as it is to any viewer taken by an image. This element eludes me every time I try to control it. I firmly believe that when a painting succeeds, I have not created it, but have rather participated in it. I paint because I love and because I love to paint. The better I become at both, the more readily accessed and identified is this grace, and the better will be my contribution. The artworld is acknowledging Kershisniks ability to participate in paintings. He has had eight solo exhibitions in galleries that range from the Dolores Chase Fine Art Gallery in Salt Lake City, Utah, to galleries in Texas, Washington, and Oregon. In addition, he has participated in group shows at the Salt Lake Art Canter, the Kimball Art Center in Park City, galleries in Texas, Utah, and New York, has exhibited and won awards at the Springville Museum of Arts Spring Salon and at the Utah Museum of Fine Arts on the University of Utah campus; Brians work was also selected for official exhibition during the state visit of Queen Elizabeth II, at Austin, Texas. Brian Kershisniks paintings are in permanent collections at Brigham Young University, including a painting in the Tanner Law Library, at the University of Ohio, Illinois State University, the Springville Museum of Art, the Museum of Church History and Art, Salt Lake County, The State of Utah, and are owned by Delta Airlines and Nordstroms. He has recently published the book Painting From Life and his artwork can be viewed on the web at: http://www.kershisnik.com/ http://www.guild.com/servlet/Guild/ ArtTeamPage?atid=1810

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Jacqui Biggs Larsen (1962- ) Cottage Industry 1998 Mixed media 48 x 66

Springville, Utah

As a girl, Jacqui Biggs Larsen rode her bike down to the local strip mall and dug through dumpsters for bits of this and that, which she used to make cards for her family. However, when she majored in art at BYU, she was pushed toward a more academic approach, partly by the structure of the art program, which focuses in the beginning on developing basic skills and a visual vocabulary. In her advanced classes she was dissuaded at times by particular teachers from creating the kinds of works she now createsa complex combination of collage, montage, and assemblage that generally includes some drawing and painting. Jacqui Larsen says her works are, like many artists, ways to define the self, to explore who she is. Although her works are Postmodernist (see The Art section, definitions), she says none of the academic work was left behind or lost, just incorporated into the particular kind of work she now does. (She is remembered by classmates as being one of the best draftsmen in their classes.) Her works reflect the complexity of the times, the complexity of womens lives, and in particular, her own complexity. She says she finds herself exploring childhood, sisterhood, maternityin ways that question western traditions of idealism. By replacing representations of femaleness with images of everyday women, I hope to piece together new myths and narratives. In these ways, Larsen is also a feminist artist, concerned with issues contemporary women face. To create her artworks, Larsen uses actual artifactsphotographs, torn-up maps, pins, string, casters, quilts, old savings stamps. She believes these artifacts provide an entrance to her pieces and physically attach them to the here and now. This dual role of the artifacts, being

old but in the present, is representative of what Larsen says is at the heart of our experience contradiction. We are part earthly creatures and part spiritual, and Larsen seeks in some way to bring these realms together. Like many postmodernists, Larsens work is layered with meaning, and although the symbols often have personal meaning, they also are universal enough to allow viewers to understand and to tie the images and ideas into their own experiences. Larsen wants to know why and how she got to be who she isto be aware of choices and possibilities. Viewers who seek to understand Larsens work are likely to find themselves motivated to explore and question as well. Jacqui Biggs Larsens ability to create powerful artworks that provoke us to examine our lives and what they mean has garnered her many awards, fellowships, and grantsmost recently, 169

two grants and a fellowship from the Utah Arts Council, and the first place award in the Spring Salon at the Springville Museum of Art, April 1998. Larsens piece, Cottage Industry, also is a feminist work, in the best sense; it explores issues common to women. The artwork protests the categorization, duplication, and trend following that is particularly strong among women. However, the artwork does not reject all traditional values. The composition uses an antique quilt as the stretched backing. The quilt is mellowed, worn, beautiful, but not a carefully made heirloom. The pieces vary in size and shape not as parts of a particular design, but rather with what must have been available scraps. The doll clothes are from a Shirley Temple doll, the child actress who defined what a beautiful little girl should be for at least two generationsdimples, carefully curled ringlets and a combination of bright-eyed innocence and sweet flirtationa real doll. The numbered tickets along the sides of the piece, the repetition of images, and the joined rulersused to produce two drawings with the same proportionsall protest the production of copies, especially copies of people. Jacqui herself says, In Cottage Industry, I found myself exploring tensions between childhood and societal expectations. Even the title echoes this. Cottage implies a quaint domestic setting, one in which a four year old, like the one pictured ironing (who happens to be me), could grow up unimpeded. Industry, on the other hand, suggests a mechanized, defined outcome or product. I began this piece with a vintage quilt as background. It caught my attention because of its obvious homemade quality, pieced together from sewing scraps and worn clothing, and the randomness of the colors and patterns. The rips and stains, echoes of its history of household use, made the perfect background against which I could juxtapose more mechanized images. The picture frame, for instance, crops the young girl ironing at the shoulders, perhaps reducing her to a specific function.

The three Shirley Temple paper doll dresses, I hope, are more open ended: are they other worldly Muse figures, or societal cutouts suggesting appropriate girlhood activities, such as dancing, gathering fruit, or making crafts? By repeating the image of myself ironing across the bottom of the canvas, I not only echo the rhythm of the repeating quilt squares, but also mimic an industrial production line, one which produces little girls as though from a template. The act of ironing, then, becomes the girls difficult work: how to labor authentically and become a self rather than a product. Jacqui Biggs Larsen, Heavy-Headed Dance 2003
image used by permission of the artist

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ARTIST: Robert Leroy Marshall (1944 ) Springville, Utah TITLE: Snow Canyon 1984 MEDIA: watercolor SIZE: 23 x 33-1/2 (58.1 x 85.2 cm)

and objects in his house, to a series of paintings of pottery, to a series combining pottery and fabriche felt the need to add some rectangles and sharp edges to the ovals and the ellipses of the pots. He says he got very interested in the folds of the fabricthe paintings became like little landscapes to him. The next move, from painting fabric to actual landscapes, came naturally. Robert Marshall, unlike some contemporary artists, is convinced that the landscape tradition is still a viable option and has a justifiable place in contemporary painting. For Marshall, Awareness of the intrinsic (and I believe lasting) beauty of a particular location is always intensified through private rather than collective discovery. Quiet hikes into the landscape intensify our connection with the land in a way that standing on the periphery and observing the obvious can never accomplish. In both his watercolors and his more recent oils, Marshall shares his discoveries and invites us into his private dialogue with the patterns, colors and textures that usually go unnoticed.

Robert Marshall was born in Mesquite, Nevada. He attended Brigham Young University, where he earned a Bachelor of Arts in 1966 and a Master of Arts in 1968. He began teaching soon after graduation at Fullerton College in California. In 1969, he moved to Utah to join the studio art faculty at BYU. He has served as chairman of the art department for 12 years and as director of study abroad programs in London and in Madrid. Marshall believes that as a professor, he can give back to humankind some of what he has been given. Part of the fulfillment he finds in teaching comes from being able to share in the creative processes of others. Marshall is an accomplished draftsman and is knowledgeable in color theory, film making, and in contemporary art history. As a painter, he originally was best known for his watercolor landscapes, but after a time he felt the need to grow and progress, and he took a leave of absence from the university and began working in oils on large canvases. Since that time, he has gone from painting his children and patterns

Robert Marshall, Iridescence 1994 171

His watercolors have a sense of intimacy of place that have been intensified in his latest workslarge, richly colored canvases entitled The Wetland Series. These paintings are often praised for their beauty, although Marshall says these paintings are of areas many people would pass by without noticing. Unconventional landscapes, they are tightly focused examinations of the cycle of life in the wetlandsgrowth, death, and decayan intense look at the natural elements where land and water meet.

dislocate the viewer. He tells us, Interlocking passages of color areas simultaneously confirm and deny the flatness of the picture plane as forms emerge from the paint. I am not however, dealing with contradictions, but rather I want each painting to be delicious and invitinga confirmation of multiple layers of reality. Marshall is interested in helping the viewer to meditate and ask questions that perhaps would not otherwise have been asked. This kind of dimensional interplay is one way by which he can accomplish this goal. Snow Canyon was painted on site during a painting trip Marshall took with students in 1984. It is a delicate but detailed view of the this scenic canyon, just north of St. George, Utah. Although the painting is a watercolor, the rock formations have mass and solidity and a strong sense of agelessness. Marshall has captured both the look and the feel of the areahuge weathered rock faces and dry desert, sprinkled with just enough green to heighten the contrast between inhospitable rock and only slightly more hospitable ground. Marshall says his focus in the painting was on trying to capture the varying textures of the scene. To reproduce the textures he used a technique like dry brush watercolor, with a lot of surface texture, layering of colors, and a little opaque watercolor. The design of the painting leads viewers eyes into the rock formation, following what at first glance appears to be water but then becomes clearly a dry creek bed, shaped by the passage of water it once held. The rocks themselves have intriguing crevices, inviting exploration, and the soft complementary colors of the rocks and vegetation produce a richness often missing in watercolors. It is a painting to be lived with, to return to over and over again.

Robert Marshall, Money Plant 1982 Marshalls paintings are influenced by both Abstract Expressionism and Realism. In the simplest sense, Marshalls paintings are about surface, color, and form. On a more complex level, they are descriptions of realities. Through the contrast of illusionary three-dimensional form and the two-dimensionality of the paints, Marshall hopes to engage and momentarily

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Georgi Stepanovich Melikhov (1908-1985) Kiev, Ukraine Victory Day in Berlin 1960 oil on canvas 31" x 39"

A painter of historical and contemporary Ukrainian subjects, Georgi Melikhov was born in Kharkhov, Ukraine, in 1908. He studied at Kharkhov Art Institute from 1933-34 and at the Kiev Art Institute from 1935-41. After completing his training, Melikhov taught at the Kiev Art Institute from 1945-66 and was head of the art department. In 1948. he was awarded a Stalin Prize for his painting The Young Taras Shevchenko Visiting the Artist K.P. Bryullov. He exhibited his work in shows such as the All-Union Art Exhibition in Moscow in 1947 and 1951, and his paintings are in private collections abroad as well as the Kiev Museum of Ukrainian Art. He died in Kiev in 1985. Melikhov was of a generation of Ukrainian artists who enjoyed a measure of self-expression through painting, which was largely denied to any other section of the artistic community or the population of the Soviet Union as a whole.(Graham, 1988) Under Stalin, Soviet Art was seen as a vehicle for promoting the ideology of Communism, and the government influenced both the style and the subject matter of most official art. European and American Post-impressionist and Modernist influences were seen as corrupt and were rejected. However, by 1950, that control had began to loosen, and the predominant style of painting became a rich Working-Class Impressionism. (Swanson) Although the content of their art was government driven, the artists had undergone many years of academic training as well as serving a long apprenticeship, giving them fine technical skills. This fine art tradition resulted in paintings with sumptuous paint quality and eloA frag ment of Georgi Melikhovs The Young Taras Shevchenko Visiting the Artist K.P. Bryullov Taros Shevchenko (1814 - 1861), a political hero, was known as The great son of the Ukrainian people, a revolutionary-democrat, and an ardent fighter against tsarizm and serfdom. (artukraine.com/historical/sacred_freed.htm)

quent style. (Swanson) This painting, showing a young soldier seated at a piano on the day Berlin fell to the Russians, demonstrates the changes that had taken place in the country. The nine-day battle that took Berlin and crushed the Nazi regime was Stalin and the Soviet army at its strongest, yet the soldier is not shown in a heroic stance but rather in a private moment of contemplation, separated from the battle that had just ended. The painting even seems to suggest a longing for 173

home. The softness of the tonalist palette helps create the meditative feel of the work while the papers strewn about the floor serve as visual interest and remind viewers of the war, contrasting the idea of battle with the peaceful, sunlight scene of a man playing the piano. Sources: sma.nebo.edu Graham, William.1 7 November 1998. www. ukraineart.com/artists.htm

Georgi Melikhov, Victory Day in Berlin 1960

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Bonnie Phillips (1942 ) Salt Lake City, Utah Whole Wheat on Tuna 1981 watercolor on satin 32"x 46"

Bonnie Phillips is a successful artist, a public and environmental art consultant, and an art dealer. She and her husband Denis own and operate the Phillips Gallery in Salt Lake City. Her award-winning art is displayed in museums, collections, and galleries in Utah as well as in Wyoming, California, Idaho, New Mexico, Virginia, and Ohio. A 1965 graduate of the University of Utah, Bonnie and Denis opened their gallery, which sold modern and contemporary art as well as art supplies, and framing materials. More than anyone else, the Phillipses challenged the bounds of Utah taste through their intelligent promotion of less traditional art. While other galleries were attempting to land the most saleable artists for their stable, the Phillips Gallery was the first viable modernist and avant-garde concern in the Utah art market. (Utah Art and Sculpture p. 200) Phillips paints Op art, abstract expressionist, and semi-abstract works. She is best know for her watercolors on satin fabric. She loves the freedom to express herself, and states "I'm not restricted to reproduce exactly what I see. My work goes through a distinctive process, an emotional process. The end product is the essence of what inspired me." Phillips explained to one interviewer that she works slowly and waits for inspiration and continues to work until she feels she can't do it anymore. Phillips has created her own style which has been called "a complex and reticular montage often termed geometric impressionism." While in school, Phillips was taught that less is more. However, she finds simplicity extremely difficult and now she feels "more, more, more," is best. Phillips discovered that Utah people are

Denis and Bonnie Phillips becoming more confident and comfortable with abstract art; "however," she stated, "it has taken courage and education." Whole Wheat on Tuna can be classified as Op art because it denies representation and creates optical illusions. Phillips develops her illusion by using watercolor on satin. This is a technique not seen often. It combines stencil, tape, and resist process to give a luminous, rich transparency. Bonnie Phillips has recently begun to create mixed media artworks using airbrush techniques, painting, drawing, collage and handwriting. According to Lance W. Duffin, of the Salt Lake City Weekly, these works offer an immediate gratification as well as a mental and spiritual challenge. He says Phillips works present an exciting duality, rich in both color and meaning, simultaneously playful and introspective. These works lure the viewer

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through their energy and beauty, to a moment of quiet contemplation. Like many artists, Bonnie Phillips uses her art as a way to search for understanding and meaning. Conversely, she also hopes her art provokes questions in viewers and asks them to search for their own understanding. www.slweekly.com/editorial/1998/ae_981105.cfm Swanson, Vern G., Robert S. Olpin, and William C. Seifrit. (1997) Utah Painting and Sculpture. Salt Lake City: Gibbs Smith

Bonnie Phillips, Balance 2002 176

 ARTIST: Gary Lee Price (1955 ) TITLE: Irises 1994 MEDIA: bronze cast SIZE: 33-1/2 x circular

Springville, Utah

Gary Lee Price was born May 2, 1955, in Twin Falls, Idaho, to Betty Jo Stripling and Delbert Wayne Price. When his parents divorced, Gary went to Germany to live with his mother and stepfather, Theodore Reeder. When Gary was six years old both his mother and stepfather died, so he moved to Idaho to live with his father and stepmother, Nellie Dimick Price. Gary went to both grade school and high school in Montpelier, Idaho. Once Gary graduated from Montpelier High School, he went on to study at Ricks College in Rexburg, Idaho. He then served a two-year mission for the LDS church in southern Germany. Following his mission, Gary studied in Jerusalem for six months through Brigham Young Universitys Study Abroad program. He then studied at the Utah Technical College in Provo (now Utah Valley State College), where he met and studied with sculptor Stan Johnson. Studying under Stan is what drew Gary to sculpture and inspired him to enroll at the University of Utah and study painting, drawing, and anatomy. While he was at the University he studied under Alvin Gittins as well as Stan Johnson. Gary focused on the human figure, his favorite subject to sculpt. In 1982, he earned his B.F.A in painting and drawing. During his high-school years, Gary painted and sold his landscape paintings. Later on, Gary worked as a ranch hand, a farmer, a jewelry salesperson and manager, and worked in Stan Johnsons studio and foundry in Mapleton, Utah. Gary gained many skills through his work including mold making, wax and slurry casting, and welding. These skills would later become very important in influencing the direction of Garys art. Some of Garys earliest subjects include Southwestern and wildlife

themes, such as Buffalo Nickel and Return of Fury. His first recognition came with the Death Valley Art Show, followed by national recognition for his sculpture They Rise Highest Who Lift As They Go. Gary Price is known for his great diversity. His work has been referred to as eclectic because of the diversity in subject matter. For Gary ,art is a quest for beauty, and his work ranges from wildlife, sporting, figurative, and western subjects to that of religious subjects. He works in sizes from pendants to large installations and his style ranges from controlled to impressionistic. About his work Price says, The ability to listen and draw upon the many sources of inspiration that constantly surround us determines our growth. What I try to do is remain open, not pigeonhole myself to one subject matter or style. 177

My work is constantly evolving. On June 13, 1981, Gary married Lanea Richards. Today they have five boys and live at the base of the Wasatch Mountains on 10 acres in Springville, Utah. These five boys contribute to Garys most recent focus in art childhood. Gary believes each child has the unalienable right to a happy childhood. He says, I am trying to make a statement about humanity in my work. I sincerely want to lift the human spirit, mine included. Prices object is to create a work that is harmonious and refreshing to the soul. Gary has contributed to the art world in numerous ways in addition to his personal work. Gary founded the Sculpture to Live By committee, finding sculptures each year to be permanently exhibited in Springville, Utah. Gary has been elected to the National Sculpture Society in New York. Gary has won the Best of Show at the Scottsdale Artists school, and has been featured in Southwest Magazine. Gary believes in always remaining a student and finds the great masterpieces he sees during his travels provide sources of inspiration for his work. Along with living in Germany for two years, he spent six months in Israel, one month touring the jungles and ruins of Mexico and Guatemala, and in 1984, he traveled through eleven different European countries for three months, including a month in Egypt. Gary also has continued his art education by taking various classes from many other fine artists. He says, I believe in schooling and receiving critiques and training from those who know more than I do. I dont believe in groups or organizations that foster one way of sculpting or looking at something. Can we be open minded? Can we create something of beauty or make a statement that needs to be made? These are the things that interest me. Sculpture is a process of learning to listen, trying to see and doing ones best to feel. Irises is one of many bas reliefs Price has created. Gary said, Creating relief sculpture is

extremely enjoyable and rewarding. Having graduated in painting and drawing and then later discovering 3-D, I find that creating these reliefs combines the best of both worlds. Most of Gary Prices relief sculptures are depictions of flowers or plant life. Price believes art is a quest for beauty. About his flower plaques, he has said, One of my greatest passions is gardening. Im fascinated with the idea that we can dramatically control the way we feel about life simply by planting some trees, bushes and flowers. I believe our surroundings and immediate environment have a very strong influence on us. . . I love springtime and cant seem to plant enough bulbs. Flowers, to me, are true masterpieces and these reliefs are my attempts to prolong their beauty. Irises is a bronze cast which clearly portrays Prices love for nature, his ideas about creation, and his interest in scientific patterns seen

image used by permission

Gary Price, Daffodils

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in nature. Price has taken one of natures most delicate creations, the flower, and has portrayed it in one of the most stable and indestructible materials. Prices respect for this type of life is very evident. The irises are contained within a circle and a rectangle, which are a reference to Leonardo da Vincis famous Vitruvian Man. Da Vincis Vitruvian Man is taken from his sketchbook on proportions of the human figure and explains ideas of Pells mathematical series and its relationship to perfect proportions. These geometrical theories are also related to the Golden Rectangle, often used by the Greeks in architecture and sculpture, and today, studied in all sciences. These mathematical sequences are often found today in many creative works as well as in plant proportions. By making reference to these scientific relationships, Gary Price has communicated that these plants can be seen as perfect creations following all the laws of science, but above the ground, they become something less scientific but more delicate and beautiful. Although based on scientific prin-

ciples, Prices depictions of flowers still focus on his idea that art should lift the spirit.

Gary Price, Paper Airplane

image used by permission

Gary Price, Puffed up Prince 179

ARTIST: Lee Greene Richards (1878-1950) Salt Lake City TITLE: Grandma Eldredges House, Salt Lake City 1922 MEDIA: oil on canvas SIZE: 22" x 28"

Lee Greene Richards was born in Salt Lake City, July 27, 1878. Originally named Levi, like his father, he changed his name to Lee, preferring that shortened version for professional reasons. He grew up in Salt Lake City surrounded by artists. His grandmother, Sarah Griffith Richards, was a well-known English watercolorist. His father, Levi W. Richards, was also a painter but did not get much opportunity to paint because of the demands of pioneer life. He was, however, very interested in the art world. Lees neighbors included George M. Ottinger, whose studio the young Richards visited often. In addition, Mahonri Young and A. B. Wright lived on the same block and the three artists became known as the Twentieth Ward Group. They were fellow students under J. T. Harwood, along with John Sears and Louise Richards. According to Mahonri Young, Lees academic drawings were the best of the class. Richards claimed that Harwood so effectively taught the academic methods he had learned at the Acadmie Julian that Richards learned as much from J. T. as from any of his later teachers in Paris. (For biographical information on George Ottinger, Mahonri Young, J. T. Harwood, and Louise Richards [Farnsworth], see SMA Elementary Art Core Posters, 1997) A mission for the LDS church took 18-year-old Richards to England in 1895, where he was able to visit the British museums and see original paintings by the old masters as well as to sketch and paint the lush English countryside. Richards perceptions of the English portraitists during his museum visits impressed the young man so much that he aspired to portraiture himself. After a visit to Paris at the end of his time in

England, Lee Greene Richards came home determined to earn enough money to go back to France and study art. Upon returning to Utah, he worked three years at Zions Savings Bank of Utah before realizing his dream and returning to Paris. He studied for three years (1901 - 1904), first at the Acadmie Julian (which had no entrance exam) and then, after passing the rigorous entrance exam, at the Ecole de BeauxArts in Paris. A successful exhibition career began with the Salon des Artists Francais in 1903. In 1904, he headed the Salon list for honorable mention, becoming the first Utah artist to receive such a distinction. Following this illustrious beginning, his successful career continued with works exhibited by the International Society of Painters, Sculptors and Etchers in London, Manchester, and Burnley, England; and at 180

the Chicago Art Institute, the Pennsylvania Academy of Fine Arts, and the Panama-Pacific Exposition in San Francisco. After Richards return to Utah in 1904, he received many commissions for portraits due to a combination of factorshis undoubted and internationally recognized skill, his family connections to important LDS church and community leaders, and the providential move of John Willard Clawson, an accomplished portraitist, to California. In 1908, Richards married Mary Jane Eldredge, the daughter of a well-to-do Salt Lake banker. The money Mary Jane brought to the marriage paid for a long honeymoon in Paris for the newlyweds. Then in 1910, they moved back to Utah and Lee set up a studio in the combination barn and carriage house at the back of the propertyhis mother-in-laws home. Lee Greene Richards painted many portraits; for those of family and close friends he used a less formal and looser style than for his official com-

missions. However, it was his ability to capture some integral essence of the sitter that brought him recognition in the art world. His personal philosophy of art was that art should be firmly based in the traditions of the past but, while based on certain fundamental principles, it was up to each artist to find the particular adaptation so he may perfectly reveal himself. Although best known for portraiture, Richards also painted still lifes, landscapes, and murals. He often painted his children and used them

Lee Greene Richards Big Cottonwood Stream 1932 as models in his murals, the children posed in appropriate costumes. The early years of the Great Depression saw a revival of historical and genre painting in Utah. Murals were commissioned for the dome of the state capital building, and Richards was one of the artists heavily involved in their completion. With a number of artists working on projects depicting Utah heritage and culture, the number of paintings of pioneers increased. Lee Greene Richards was one of the most active muralist and easel painters in this regionalist phenomena. 181

Lee Greene Richards, Portrait of Artist's Wife Brigham Young University Museum of Art online collections

 ARTIST: Frank Riggs (1922 ) St. George, Utah TITLE: Tohatchi 1990 MEDIA: metal SIZE: 85-1/4 x 38 x 58-3/4 Frank Riggs is one of the most significant nonobjective sculptors of Utah. He is acknowledged for minimalist constructions of painted and highly designed aluminum. Originally, Frank was a New Englander, born in New York City. Later, his father moved their family from the Big City atmosphere to the country village of Chappaqua, New York, where he lived until he left to study design at the Pratt Institute. Then, like for many men of his generation, World War II interrupted and changed Riggs life. As a member of the Air Force, he was stationed in France, but then, with a small group of other pilots, he was sent to Scotland. There wasnt room in the barracks, so Riggs and his group were billeted with townspeople. There he got to know a neighbor woman, never dreaming she would become his mother-in-law. However, when he met her daughter, Rosemary, he decided liking her mother was a good reference, and they married and eventually returned to the United Stateshe with the US Forces and she as one of three passengers aboard a tramp steamer. Back in the States, Frank and Rosemary Riggs moved to the original family seat of Gloucester, Massachusetts, where he worked as an industrial designer. After working there for a time, he moved to Utah because his employer, Milo Baugham, a famous contemporary furniture designer, was invited to establish an environmental design department at Brigham Young University and in so doing, moved his design staff with him. Riggs taught part time at BYU and when Baughman returned to the East, Riggs left furniture design and pursued his lifelong ambition of a career as a sculptor. Although Riggs mother was a painter, she painted portraits and landscapes, and those

were the kinds of art he was exposed to as a youth. He wasnt particularly interested in traditional art. But when he first visited the Museum of Modern Art, he says the art there was a revelation to him, a feeling of Where have you been all my life?, and he knew what direction his art would take. For the first few years, Riggs experimented with many kinds of media. During this experimental period, he made a sculpture for Brigham Young University campus, Windows of Heaven , a 30 high welded metal frame with stained glass inserts. The sculpture is almost classical in concept, based on gothic components Riggs drew from the gothic churches he lovesits like a pipe organ against stained class windows. He built the piece horizontally, and says that when during installation the piece was hoisted by one corner, he was not certain the weld would hold 182

that much weight, but to his great relief it did. One year later, he won an award at the state show, and his career as an artist took off. In 1970, Riggs became a co-founder of Utahs North Mountain Artists Cooperative in Alpine. This cooperative was made up of mostly BYUtrained artists who were interested in Mormon art and who viewed their cooperative in ideal terms. The cooperatives original goal was to build an artists association, art center, and art school in one area near Bull River. Frank Riggs believed the cooperative would be an excellent way to develop Mormon art: If Mormon art ever develops anywhere, theres as good a chance as any it will develop here, he said. Although the idea was worthy, the cooperative was difficult to establish because the artists seldom worked closely together. However, Riggs personal career was successful, and he developed a market at various galleries, including a main gallery in Aspen, Colorado. Although several of the galleries Frank sold through fell victim to the art market slump in contemporary art, he has works scattered throughout the United States as well as in England, Japan, and Sweden. Riggs work is nonobjectivewithout a subject. As a Formalist, he is interested in shapes and design, and says his pieces are not about anything, each exists for itself. For Riggs, the triangle and circle hold great fascination for me, as they have done for others down through the centuries. My sculptures are . . . abstract spatial relationships between these pure forms. I create intuitively by adjusting these shapes until I feel right about their organization. I find a great amount of inspiration from the giant rock formations of the Southwest. He sketches ideas on paper, then makes small models, then often makes larger models, which are either sent to a foundry to be constructed or are constructed by himselfhard, painstaking work, he admits. While starting his art career, Riggs continued to teach part time and says that as a teacher, he liked to take simple objects out of their typical

Frank Riggs, Sentinel 1988

environment so the students could see them as designs instead of merely labeling them as known objects and never really examining the shapes and their relationships. He loves design, particularly three dimensional design, and he enjoyed his years as a teacher. Periodically he runs into a former student who thanks Frank for what he taught, making Frank feel his teaching was successful. It is not just in his teaching that Frank Riggs asks individuals to think and to reexperience the world through different eyes; it is also through his sculpture. His sculptures do not illustrate anything, although they can impart emotion to 183

viewers who will just go with the flow of the work. His titles are chosen after the work is finished; and although some are descriptive of how the sculpture makes him feel, others, like Tohatchi , were chosen because the word sounds like the piece looks. Currently, Frank is working on wall piecesbas reliefswhich he decided, after finishing a couple, are influenced by his memories of Radio City Music Halls 20s Art Deco style. Like many contemporary artists, Riggs is looking back to a previous art movement and translating elements of that style through the medium of his experience into present-day, Postmodernist artworks. He says he is not sure where the pieces will take him, but he is enjoying the exploration, and some other people are apparently enjoying it too because he already has sold some of the reliefs. Frank Riggs and his wife now consider Utah their home. They live in St. George, visiting cooler areas during some summer months, spending time with their three children and eight grandchildren, and hoping for a few greatgrandchildren. Riggs says as long as he can still pick up his tools, he will continue to make sculpture.

Frank Riggs, Untitled 1978 Salt Lake City Parks Administration http://www.ci.slc.ut.us/arts/publicart_2.htm

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Arch D. Shaw (1933 ) Roosevelt, Utah Twice Told Tales 1993 oil on canvas 30 x 40

A. D. Shaw was born October 8, 1933, in Hutchinson, Kansas. He was raised on a farm in Montwell, Duchesne County, Utah. Although he moved to Salt Lake City in 1966 to work for the Utah Education Association and for the Jordan School District in the graphic arts department, his ties to Montwell have always remained strong. His rural upbringing has greatly influenced his work, giving much of his work a western bias. From 1966 to 1984, part of A. D. Shaws responsibilities included doing illustrations, cartooning, and photography. During these years, he was able to pursue painting only on a part-time basis. Finally in 1984, after working 20 years in the field of graphic design, Arch Shaw left Jordan School District to pursue a full-time career in the fine arts. Today, no single subject dominates Shaws paintings. He is a plein-air painter of western landscapes, a genre painter of todays western people, a studio painter of period subjects, and a cartoonist. He has enjoyed success as an artist and has shown his work in galleries throughout the western United States. (Plein air means painted outdoors. Plein air artworks are usually more immediate and impressionistic than studio-painted pieces. Genre paintings show normal people doing typical day-to-day activities.) Arch Shaw has as wonderful sense of humor. He often shows his puckish nature in his paintings. In fact, this is readily seen in his painting Ego Trip: Self Portrait. (See the SMA web site) According to the author Steve Hale, When members of Utahs art colony were asked to paint self-portraits for a show, Shaw obliged with one that portrays a rear view of himself at work. A mirror showing his profile painted with

A. D. Shaw, Ego Trip: Self-Portrait 1986

near photographic fidelity, and a full view of his self-portrait on the easel. The self-portrait is a cartoon. Shaw says he still is basically a cartoonist gone straight." Shaw has a compulsion to paint, and keeps a tight schedule, starting work at his studio by 4 a.m. every morning. He keeps this demanding schedule because he loves the work although he also learned that kind of work habit growing up on a farm. To be a decent artist, he believes, you need two things: a knowledge of the craft and the ability to paint from the heart. (Karras) 185 I have a little saying: If the painting is going

 well, you're having fun, and if you're having fun, the painting is going well. I think you have to maintain the emotion throughout the piece or else you lose it. (Karras) Shaws paintings of rural scenes are popular, probably because they remind viewers of quieter times and give them a sense of peace. "I used to think that people bought my farm scenes because they had a rural upbringing or had spent summers with grandparents, but I found out that wasn't always the case," Shaw said. "I found that a lot of people who've never had a lot of experience with it buy that particular genre because it represents some slowness, some peace in their life, an escape from the everyday hustle-bustle of city life."(Karras) In Twice Told Tales, Shaw depicts three men, farmers, chatting during a break in their work day. The posture of the men tells viewers these men are old friends, comfortable with each other. The title, Twice Told Tales is more evidence of Shaws humor, his understanding of rural life, and of people in general. This is the durable friendship of men with similar back-

grounds, consecrated by the repetition of the stories of their everyday lives. The composition of the painting contributes to the paintings sense of stability and peace. The three men form a triangle, two of the men facing each other while the third looks on. The farm equipment, the landscape, and the mens clothes place them in a typical Western scene. The lack of detail both allows viewers to generalize the scene to familiar territory and to experience the painting as a portrait of a way of life, not of specific people or places. The bare pathway and the gesture of the men create a strong visual interest and a sense of immediacyviewers can place themselves in the middle of the stories. Karras, .Christy Shaw Paints Fastto Freeze a Vanishing West. The Salt Lake Tribune: Sunday December 08, 2002 . Retrieved from www.sltrib.com/2002/Dec/12082002/arts/9103. asp

A.D. Shaw, Twice Told Tales 186

 ARTIST: Dennis Von Smith (1942- ) Highland, Utah TITLE: Barn Swallow 2002 MEDIA: mixed SIZE: Dennis Smith is a versatile artist who works in bronze, oil, metal, glass, and pen and ink. He was born in 1942 in Alpine, Utah, where he lived until 1961, when he traveled to Denmark to live for two and one-half years. While there, he was attracted to the expressionism and humanistic themes of Scandinavian art. Upon returning from Denmark, he graduated from Brigham Young University and continued his graduate studies there until being accepted to the Royal Academy of Art in Copenhagen, Denmark. By 1968, after returning to Utah, Smith had set up his first studio in his fathers old chicken coop and had begun to exhibit his work. Originally, he was best known for his sculptures of children, which exhibit his ability to capture moments of play, reflection, and intimacy. His sculptural pieces range from life-size garden sculptures to small, figurative bronzes

and include mixed media assembleges. Some of these assemblages are marvelous flying machines. Abstract and machine-like, yet whimsical and approachable, these pieces represent the imaginings of childhood. Over the years Smith has created dozens of these fanciful aircraft. He says, "Have you ever wondered what it would be like to fly? Almost everybody has..." These sculptures are dream machines, made of bits of this and thatdelicate and intricate, but able to send children (or adults) aloft. In the late 1980s, Smith turned to oil painting for an inner exploration, a creative exercise where I dont have to prove anything. While Smith may not have felt the need to prove himself with his paintings, the paintings are proving that as an artist, he is not restricted to three187

Dennis Smith, Blue Airship Primary Childrens Medical Center

image used by permission

dimensional art forms. His painting style leans towards Figural Abstraction, and his paintings, though often intensely personal, are built on metaphors universal enough to invite others in, to share their memories and symbols too. Some of his paintings, like Keeper of the Gate (1989), and many of his sculptures, are celebrations and explorations of the freedoms and restraints of childhood. This exploration of childhood and family has inspired artwork that is exhibited through galleries in the United States and is permanently installed in public plazas, airports and buildings. Smith has received commissions from public and private institutions, and his art is located in many locations across the United States as well as in Russia and England. Smith recently joined his son, Andrew, for a very popular exhibit of found- object sculptures at Brigham Young Universitys Museum of Art.

Dennis Smith, Girl Reading

image used by permission

and his views on life. His impressionistic style captures his exuberance for life and embodies his passion for transcendenceexpressed through the spontaneity of children, reflections of the past, and hopes for the future. At the core of Dennis' work is the spirit of the human soul. We often see this represented through the innocence of childhood. To Dennis, the child is a metaphor for life. Children's lives, as they explore the world around them, parallel our lives as adults as we discover our identity in this universe. Each piece by Dennis Smith captures this spirit, still vibrant and alive, frozen in the moment of discovery. ( http://www.smithsculpture.com)

Dennis Smith, Peace Cradle image used by permission

smithsculpture.com

Dennis Smith is as much a philosopher as he is an artist. His work is a window into who he is 188

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Gary Ernest Smith (1942 ) Highland, Utah The Great American Farmer 1996 oil on canvas 60 x 48

Gary Ernest Smith was born in the rural Eastern Oregon community of Baker, in 1942. He attended Eastern Oregon State College and Brigham Young University, from which he earned a Master of Fine Arts degree. He served in the United States Army for two years as an illustrator, and he was on the faculty at BYU and acted as gallery director for three terms. Since 1972, Smith has been self-employed as an artist. He and his wife, Judy Asay Smith, have four children and live in the arts community of Highland, Utah. Gary Smith presents impressive credentials as an artist. Though known for his paintings, in recent years he has also turned his talents to sculpture. His paintings, some of which depict rural America from the turn of the century to the present, and others, which depict early Utah and Oregon 20th-century life, hang in museums, in private, corporate, and university collections, as well as in churches along the Wasatch front. He is extensively published as an illustrator and has received many major commissions for his paintings and sculptures. Dr. Vern Swanson, of the Springville Museum of Art, says Smith as seeks his ends through stylistic experiment. Smith strives for simple, direct statements that capture the essential character of his subject: icon and image are more important than explicit detail. Large bold shapes, Smith says, with minimal detail, are the substance of my work. Most of the detailing in my pictures is implied rather than painted. Termed a Neo-Regionalist by many, Smith works on the basis of reinterpretation of rural, Mid-America themes. While acknowledging the appropriateness of the term Neo-Regionalist, he also feels its too limiting. As an artist he con-

centrates on spatial and coloristic solutions, and his themes are often spiritual, though the interpretation is clearly unique in form and style. The subjects of Gary Smiths art range through three major areasovert and latent religious subjects, landscapes, and evocations of the rural west, each born from poignant personal experiences in his life. Smith admits to being a driven painter who needs the distractions of his musician wife and his children to rescue him from spending all day in the studio. He attributes his work ethic to his upbringing. With his brothers and father, Smith worked on the family cattle ranch and farm. Farming is hard work; I didnt want to do that the rest of my life, he says. I wanted more. I wanted to be an artist. I had no idea what that entailedit was a dream, kind of an unreachable dream. 189

close to the land in which I have such a deep emotional attachment." Smith also says his . . . art is a constant struggle for the new insight, for the more effective technique. It is as changing and evolving as life itself. To unite humanity with the earth through art is like combining the body with the spirit. Theodore F. Wolff, art editor for the Christian Science Monitor, says of Gary Smith, Few artists today see things whole. Most prefer a sliver of the truth and an art defined by theory, passion or imitation. Not so Gary E. Smith. For him art is expansive and holistic, ideal for sharing what is good, beautiful and true, and the best way to communicate ones deepest beliefs and intuitions. Gary Smiths 1997 exhibit, Fields, at the Springville Museum of Art, centered on eight large canvases (he has since added to the suite) that show fields in various seasons and stages one is of plowed ground with a dusting of snow, another of a harvested field with a few scattered bales of hay, and another has furrows echoing the contours of the rolling hills. At the opening for the exhibit, Smith asked for a response to his pieces. One individual said I think you feel the same way about the land I do, but most people overlook such kinds of beauty and never see it. Smith agreed that most people dont see empty fields as beautiful, and says that is why he painted these particular paintings. And its working, he says; people have come in (to the show) and looked around for a while and then come up to him to tell him about a field he needs to seetheir eyes have been opened. That personal insight Smith struggles to attain and to share has successfully expanded to encompass the viewers of his paintings. Careful observers walk away from his paintings with a broader, more appreciative view of beauty and of the goodness of the earth and the people who work it, and of this artist, who paints it. 190

Gary Smith, Guardian Brigham Young Museum of Art online collection Gary Smith has obviously reached his dream. Art is a way of addressing humanity, Smith says, and my works attempt to merge ideas and memories. Smith believes Good art functions on many levels. There is the surface appeal of subject, and below that are layers that may be peeled off, revealing information about the individual artist and the psychology of his era. Theres the subject but theres also the underlying theme. "Of the main themes I deal with in the creative process, productivity and self-reliance seem to reoccur in the rural people I paint. I attempt to portray something of the struggles and triumphs of those who work with a sometimes friendly, sometimes harsh environment. It is important for me to live and work with my family in a rural area. I need to follow the seasons and be

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Minerva B. Kohlhepp Teichert (1888-1976) North Ogden, UT/Cokeville, WY Hereford Roundup 1956 oil on canvas 62 x 108-1/2

Minerva Bernetta Kohlhepp Teichert was born August 28, 1888, in North Ogden, Utah. She grew up on a remote ranch in Idaho, the second of ten children. Her mother, Ella Hickman, was the daughter of one of the bodyguards of Brigham Young. Her father, Frederick John Kohlhepp, had been disowned by his prominent family when he joined the Church of Jesus Christ of Latter-day Saints. From her parents she gained a knowledge of the scriptural stories she would later portray as well as the indefatigable spirit that would characterize her life. In addition to her formal schooling, Minerva was taught by her parents to love reading and to appreciate good music, literature, drama, and art. She and her sister acted out plays in a willow copse on their ranch. When Minerva was four years old, her mother gave her a set of watercolors, and from that time forth, Minerva considered herself an artist. She carried sketch pad and charcoal with her constantly, sketching even the wild horses that were brought in to the corrals. After she was married, she drew everything, including fresh-caught fish before cooking them. Her skilled rendering of life and action is the result of this early preoccupation with drawing.

When Minerva was 14, she went to San Francisco to work as a nursemaid for a wealthy family. During this time she was able to observe great paintings at the Mark Hopkins Art School. After she returned home and graduated from Pocatello High School at age 16, she taught school at Davisville, Idaho, saving money to attend the Art Institute of Chicago. When the time came for her to leave for Chicago, her father refused to let her travel alone. After being set apart as an LDS Church missionary, she traveled east with a church group, the first woman to be sent for art lessons with the official blessing of the LDS Church leadership. In Chicago, she studied under John Vanderpoel, a master of the academic school of painting.

Minerva Teichert, Desert Horses

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She returned home periodically to earn money by teaching or working in the fields so she could continue her studies. When her studies in Chicago were completed, she returned to Idaho to "prove-up" her own isolated homestead, living by herself and sleeping with a revolver under her pillow. She was courted by two young men, one wealthy (whom she rejected) and the other, a cowboy. When she received a scholarship and left for New York City to study at the Art Student's League, she told the cowboy, Herman Teichert, to marry someone else. The League was one of the most important art centers in the world, and Minerva studied under Robert Henri and George Bridgeman, eminent realist art instructors of the time. She periodically used various skills to pay her way. She sketched cadavers for medical schools, illustrated children's books, painted portraits, and performed rope tricks and Indian dances on the New York stage. While in New York she, and other students, had paintings exhibited in the immigrant receiving station on Ellis Island. Minerva became close friends with her mentor, Robert Henri, who called her Miss Idaho. Although her artistic subjects and interests were very different from Henris, she did develop a vigorous style with broad brush strokes that

owes an obvious debt to his bold technique. Though rated with the top artists of the time, she returned to Idaho instead of taking advantage of an opportunity to study in Europe or of stepping into a professional career. Her teacher, Robert Henri, told her to go home and paint the history of the Mormon people. She returned to the West feeling she had a mission to perform. Minerva married Herman Teichert, kept books for the ranch, cooked for the hands, raised their five children, and painted. Her studio was their narrow living room, where she tacked up her canvases to paint. The room was too small for some of her works, which had to be folded as she painted. Since she could not get far enough away from her large paintings to get the correct perspective, she looked at her work through the wrong end of a pair of binoculars. Teichert sent her children to bed at eight oclock each night and then painted until midnight. Some nights, she set the clock ahead so she could send the children to bed earlier and have a little more time to paint. Minerva painted on everything she could find: boards, aprons, flour sacks, the margins of books, walls and doors, and on brown paper bags. She loved to paint the western wilderness

Minerva Teichert, Indian Captives at Night 192

Minerva Teichert, Love Story Brigham Young Museum of Art online collection with its predominance of blues and grays, but seldom painted just the land. Human figures and work animals, usually in a narrative, were her most common subjects. She used neighbors and family members as models, providing herself with a wide variety even though she lived in a rural area. Although Teicherts colors are generally subdued, she frequently used bright red paint to emphasize the central character or focal point. Her paintings are large and mural like, to be viewed from a distance. The strong composition and draftsmanship combine with delicate colors and lines and compelling narrative to produce powerful works of art, which she hoped would motivate people to build Zion. Women figure prominently in Teicherts works. She also did smaller paintings of flowers, still lifes, and scenery, which were usually intended as gifts. Teichert was a prolific painter, painting more pioneer and Indian subjects than any other Utah artist. Today, her best-known works are those published on the covers and in LDS magazines and lesson manuals and her Book of Mormon series of over 40 paintingswhich can be seen at Brigham Young Universityand the huge mural in the World Room of the Manti LDS temple. In addition, the Museum of Church History and Art in Salt Lake City owns several large pieces, including Madonna of 1847. Pinborough, Jan Underwood. Bold Brush. Ensign. 34-41 Salt Lake City St. George Art Museum Brochure. 1992. A Touch of Minerva Teichert. St. George. Swanson, Vern G., Robert S. Olpin, and William C. Seifrit. 1991. Utah Art Layton: Gibbs Smith Information also provided by Miriam Wardle, a descendent of Minerva Teichert

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 ARTIST: Dahrl Thomson (1950 ) Provo, Utah TITLE: Island of Hope MEDIA: Marble SIZE: 16 x 33-1/2x 13 City, Utah, and Figarelli Fine Art, in Scottsdale, Arizona. ARTISTS STATEMENT Finding expression through stone carving, my objective is to create original sculpture that resonates with the viewer. Therefore, I am constantly exploring images, shapes, textures, etc to accomplish this goal. I choose stone for many reasons: it is beautiful in its own right as Gods handiwork; it represents eons of time, change , and travel, symbolizing a bridge between past and present; it can be ground, sliced, hammered, polished, grooved, given myriad textures,. Inspiration comes from anything and everything from a shadow to a curve, to the shape of the rock itself. Nature has an endless supply of forms, patterns, and juxtapositions to inspire me. The timeless beauty of Egyptian, African, and Native American art has greatly influenced the forms I carve, as well as some of the great sculptors: Isamu Noguchi, Francisco Zuniga, Brancusi, Archipencko, Jesus Moroles, and others. However, complete originality is my creed, and I do not copy anyone! I love the hard physical work of carving rock although a fairly slow processit is very satisfying and a source of constant discovery. During the process, I use large and small angle grinders with diamond blades for cutting, diamond cup wheels, die grinders with an assortment of bits and wheels, air hammer and chisels, masonry wheels, etc. Then I move on to the hand tools such as very coarse raspsdown to finer rasps, and from there to sandpaper from coarse to fine. Eventually, I may wax or polish the piece, or leave a snowflake or more natural finish, (which I prefer). As for stone, I use marbles 194

Dahrl Thomson was born May 12, 1950 in Boise, Idaho. She grew up mostly in Moscow, Idaho, then moved to Provo at age sixteen where she has lived ever since. She married her buddy, Al Thomson, and they are the parents of three adopted children from Peru. Dahrl began her study of art at Brigham Young University in the late 1960s, and returned in 1990 to finish her degree through the Design and Illustration program. During that time, she took a sculpture class, and became consumed with her love of sculpture. She stayed an extra year and a half, taking all the sculpture classes she could. Neil Hadlock was the professor she learned the most from, and he is still her mentor. Dahrl started out doing metal fabrication and bronze casting. In 1998, she turned to stone. While exhibiting her work in a Colorado sculpture show, she was fascinated by the work of a woman who worked in stone. The woman invited Dahrl to stay at her home for a few days and showed her a few basic things about stone carving to help her get started. Later that year, Dahrl was awarded a Utah Arts Council grant to attend a marble carving symposium, where she greatly increased her knowledge and skills. She has exhibited her work in many juried and solo shows in Utah and Colorado. She was juried into The Society of Animal Artists, New York City, NY. In 2002 she was selected as one of 220 Utah artists (out of 10,000) for the Official Olympics Exhibit and book: 150 Years of Utah Art, Artists, Springville Museum of Art, Springville, Utah. She has worked as a part-time faculty member and a visiting artist at Brigham Young University. Currently, Dahrl works in her garage studio in Provo. Her work is represented by A Gallery in Salt Lake

from such locales as Colorado, Canada, and Alaska; Limestone from Kansas and Indiana; alabaster from Utah and Coloradoor wherever there is good rock to be found! What is almost as fun as carving stone is having an artwork cast into stainless steel or bronze and giving the original piece another interpretation: that may be a high-tech look or a different color and/or finish. To me its all more fun than Christmas! My philosophy, which stems in part from that of my mentor, Neil Hadlock, is that abstraction can be more powerful than realism. A sculpture that is somewhat ambiguousless explicitis to me far more interesting and tantalizing; it demands my involvement in interpreting what that artwork is about. I find that so much more stimulating than something that is completely spelled out realistically. I also feel that more cre-

ative ability is required in creating art that says something without saying everything. Great art asks questionsmediocre art answers them. My philosophy includes the reasons why I chose stone as my main medium . . .Its history predates man (how many parts of untold life-forms inhabit its dimensions? How many rivers or ravines corridors through countless centuries did it travel to find itself in my possessionor yours?) Stones are the metaphoric bones of Mother Earth; stone has permanence, strength, beauty, integrity; it stores heat and cold and sometimes lightas in the case with translucent rock or gems. Stone has been worshiped, used to mark sacred places, and thought to symbolize eternal life. Every stone is differentand I love that!

"Un/Common Ground" Installation of work by Dahrl Thomson at the Springville Museum of Art Springville, UT November 2000 - January 2001 195

ARTIST: TITLE : MEDIA: SIZE:

Richard J. Van Wagoner (1932 ) Donor Bank 1990 oil on canvas 48 x 71-3/4

Pleasant View, Utah

Richard J. Van Wagoner was born in Midway, Utah, in 1932, lived in California for a few years and then returned to Utah where he received his education. He graduated from Davis High School and Weber College and then received a Bachelor of Arts from the University of Utah. He earned a Master of Fine Arts from Utah State University in Printmaking. Then he received another Masters degree, this one in painting from the University of Utah. In 1959, Van Wagoner began teaching at Weber State College in Ogden. Originally, he taught many different art classes; but later he specialized in watercolor, drawing and painting. He was chairman of the department of art from 1975-1981. Now retired, he continues to paint and exhibit throughout Utah and the United States. During the 1960s and 1970s, Van Wagoner painted figures in landscapes. Later, his work increasingly depicted the western urban landscape of freeways and automobiles against a backdrop of inner-city and suburban vistas. Van Wagoner has always been interested in the ordinary, unposed moments of daily life and in recent years his subject matter has focused on autos, trucks and highways. Donor Bank, his 1990 oil painting, is a perfect example of his shift to painting urban landscapes with automobiles. Van Wagoner says he has always loved or hated cars. He feels the transportation system dominates our lives and is the greatest manifestation of mans interests, needs, and activities. The title Donor Bank reflects this domination by comparing the use of used parts from wrecked cars to the use of donated human organs. The realism of this painting reinforces Van Wagoners comment on the importance of cars in our lives. Artist Statement from weber studies/spring 2001 We are bombarded by the social problems of a complex world. Should the artist comment about the injustices in our society? It seems impossible to me that any artist, aware of the growing social issues of our time, could paint pretty landscapes. It is interesting that pretty landscapes remain the popular genre of our western society. 196

My heroes were discovered early in life. They were courageous, righteous, uncomplicated and magnificent. But the conservative environment of my youth repressed flexibility of thought and an investigative attitude into life. It is taking me a long time to become a citizen of the Twenty-first Century. Having been given all of the answers early, I feared asking questionsto investigate the mysteries was evil. Consequently, my ignorance has been (is) the greatest of evils. Much of my art reflected (perhaps reflects) the sanctity of my ignorance. Experience and time have humbled me. Now, as an old man, light elucidates, not so much in solutions, but in query, wonder and amazement. Existence becomes more complex, but I revel in the questioning. The traditional, academic training that I received earlier in life has provided the tools for developing the surreal, complex imagery of my recent work. In making a painting, I start with an object from nature or from the man-made world. It may be from reality or from my imagination. Perhaps it has no relevance to anything that I have been thinking about. But it must be an object that interests me in ways that I may not recognize or that may be difficult to verbalize. Once painted, the illusion on the canvas causes me to react again in ways that may appear to be irrational. I continue to add images in this fashion until the painting is finished or beyond repair. Some works I keep, as partial answers to my questioning. Others I destroy. I can only hope that viewers become interested in the process and subject of my inquiry. weberstudies.weber.edu/archive/archive %20D%20Vol.%2018.2 now/Vol.%2018.3/ VanWagonerArt.htm

Richard Van Wagoner, Emergence weber studies web site

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Michael Workman (1959 ) Spring City, Utah In DarknessNevertheless Illuminated 1991 oil on board 12 x 20-3/4

Born in 1959, Michael Workman grew up on his familys small farm in Highland, Utah. Although he had a childs natural aversion to chores, he is grateful for his childhood experiences, recognizing their role in the development of his love of the outdoors and of rural life and his strong work ethica background that continues to affect his paintings. As a youth, he became interested in the LDS Church, and after being taught by a neighbor, joined the Church and later served a mission in Melbourne, Australia. After his mission, Workman attended Brigham Young University, majoring in drawing and painting. He worked his way through school as an Architectural Illustrator for Rick Kinateder, of Orem, and he continued to work as an illustrator after graduation from BYU. However, he soon became restless and returned to BYU, where he earned a Master of Fine Arts degree. Like other students, Michael participated in the yearly student art exhibits at BYU, and at one exhibit, a representative of Meyer Gallery noticed his work and asked to represent Workman. He continues to sell his work through Meyer in Santa Fe, New Mexico, and in Scottsdale, Arizona. He also teaches workshops in Utah, Texas, and Arizona. Michael Workman has been an invited artist at several major exhibitions including the Artists of America shows in Denver, Colorado; Northwest Rendezvous in Park City, Utah; Western Classics Show in Scottsdale, Arizona; As They See It Show at the Salt Lake City, Utah, Art Center; and the LDS Artists Exhibit at the LDS Museum of Church History and Art in Salt Lake. In addition, Workman has been featured in several publications including Leading the West100 Contemporary Painters and Sculptors, by Don Hagerty, and in Utah Painting and Sculpture, by Dr. Vern G. Swanson. His work was featured on the cover sheet of the novel Lonesome Land, from Bison Books. Articles about Michael and his work have appeared in magazines such as Southwest Art, Focus/Santa Fe Art Talk, Art of the West, and Utah Business. Michaels many years of work as an architectural illustrator show in the quality and ease of his draftsmanship. The new Dictionary of Utah Art terms Workman . . . an outstanding tonal realist painter who . . . is considered one of the major American Contemporary Tonalist painters. For the last five years Michael has made his living as a gallery artist. He lives in the historic town of Spring City, Utah, with his wife and five children, surrounded by the rural 198

scenery he loves, working on paintings, and dabbling in agriculture with his own small gentlemans farm. Workman started painting cows in graduate school when he was trying to find out how and what he wanted to paint. He chose cows because he had memories of them from his childhood, because they have geometric shapes that are easy to compose, and because they work well as metaphors for our physical existence and can be juxtaposed or set in such a way as to contrast with a spiritual existencethe light. He completed a series of paintings with cows and believes that In DarknessNevertheless Illuminated is the most successful of that series. Workman says he tries to paint so there is as much in each painting as an individual viewer wants to get from it. Therefore, his paintings work as paintings of rural scenes, they also have painterly qualities that appeal to artists and art historians or connoisseurs, and they have a poetic quality, layers of depth and meaning, that center on mans purpose on earth and what life means. It is these qualities that induce Dr. Vern Swanson, Director of the Springville Museum of Art, to label Workman an Academic Visionary. Michael and six other artists recently spent two months in Europe, traveling through England, France, Belgium,the Netherlands, Germany, Austria, and Italy. They went to as many art museums as possible and also spent time in the countryside taking photographs and making sketches. After they returned home and had each completed some works, they had a show of their work at the Springville Museum of Art, called Seven through Seven. Workman says that seeing such a lot of European Art strengthened his orientation and ideas about art because so much of art throughout history is spiritual and religious. Workman says he doesnt see his art as likely to go through radical changes. In graduate school one of his teachers said to Michael that he seemed to

be carefully feeling his way along. Workman believes that assessment of his process of creating is accurate, and he thinks that process will continue. He doesnt want to get stale or to get in a rut of painting what sells, over and over; but he believes he is headed in the right direction, that he has found the kind of work he wants to do. He does expect to produce more figurative work over the next few years, as a result of the art he saw on his European trip. Michael Workman says he made a conscious decision to create artworks that appeal to those viewers without an education in the artsto produce paintings that are successful as attractive scenes and to also have the pieces appeal to artists and to the educated or naturally poetic people who look for and find layers of meaning in his paintings, which contain both universal symbolic meanings as well as being open ended enough to invite the viewer to tie into his or her own experiences and understanding. In DarknessNevertheless Illuminated is a good example of that complexityin addition to being well painted and designed, the painting offers viewers a chance to examine what light and darkness mean to them and to go about the business of increasing their understanding of what life is all about.

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