Communicating Through Printmaking

Year Long Curriculum

Grades 9-12 Printmaking

Selena Zhou Welcome to New York 2016

Allison Shilling
May 2018
 TABLE OF CONTENTS
Communicating through Printmaking
Printmaking Grades 9-12

Curriculum Vision Statement…………...………………………………………………………...2

Art curriculum / course goals……………………………………………………………………...3
Essential Questions………………………………………………………………………………..4
Enduring Understandings………………………………………………………………………….4
Curriculum Map…………………………………………………………………………………...5
Curriculum Content: Three Unit Plans
Unit 1 Artist As A Communicator………………………………………………………...6
Unit 2 Printmaking As Dissemination…..……………………………………………….17
Unit 3 Beyond The Print………...……………………………………………………….26
Differentiation Plan………………………………………………………………………………37
Standards-based scope and sequence chart………………………………………………………39
Program Assessment……………………………………………………………………………..40
Appendix
Glossary of Art Terms……………………...……………………………………………42
Massachusetts Visual Arts Frameworks…………………………………………………45
Bibliography/ Sources……………………………………………………………………46
Billy Collins “This Much I Do Remember”......................................................................49

Jess Atkinson Eavesdrop 2013

1
CURRICULUM VISION STATEMENT

Art is the visual manifestation of human

originality, creativity, and imagination. It takes us
beyond everyday and ordinary experiences prompting us
to think critically, ask questions, collaborate with others,
and expand our fundamental understanding of what it is
to be human.
Art education is the platform from which
students think deeply, broadly, and critically about
themselves, their school community, and the world.
Students interpret and create enigmatic artworks that
reveal as much about the viewer as they do the artist and Allison teaching drawing student

cultural context in which the artwork was made. Art is a means through which students foster a
sense of identity and interrogate the many nuanced facets of themselves. Students learn to work
collaboratively and individually to make and respond to art through multiple voices and multiple
perspectives.
An art educator should facilitate the exploration of the students’ interests and inquiries
through thematic curriculum. Together, the students and teacher challenge ossified
preconceptions of ourselves and the world to form new knowledge that affirms the pluralism that
students, communities, artists, and teachers reflect. An art educator should support and foster the
diversity of her students as contributors of essential knowledge who broaden our perspectives on
the interconnectedness of the world and the complexities of its peoples. The art studio is a
welcoming, safe place where students are inspired to express themselves and enjoy learning.
My art curriculum provides students with opportunities to self reflect, explore, challenge
ideas, and expand thinking. The curriculum provides the structure to work independently and
collaboratively. It is rich with opportunities that promote empathy within the classroom and our
global community. While art education is not the panacea to address global inequality and
suffering, art students dismantle stereotypes, explore students’ pluralistic identities, and develop
individual voices. The curriculum fosters a community of lifelong learners who understand
their responsibilities and take agency in their contributions to the global community.

2
ART CURRICULUM GOALS

The goals of this curriculum are:

● To foster each student’s

unique artistic voice through
empowering original,
creative, and imaginative self
expression inside the
classroom and beyond.

● To foster a safe space where

students can go beyond
everyday and ordinary
experiences think critically,
ask questions, collaborate
with others, and expand their Drawing II students engaging with artwork at the MFA, Boston
fundamental understanding of what it is to be human.

● To encourage opportunities to self reflect, explore, challenge ideas, and expand thinking
through the interpretation and creation of enigmatic artworks as they sit in relation to the
viewer, artist, and the cultural context in which the artwork was made.

● To foster each student’s sense of pluralistic identity and interrogate the many nuanced
facets of themselves through making and responding to art through multiple voices and
multiple perspectives.

● To promote empowered students who learn from artistic precedents to contribute

knowledge, take agency in their communities, and instigate societal change.

● To develop technical skills in a variety of traditional and nontraditional printmaking

media (relief, intaglio, silkscreen, monoprinting, lithography, digital/ hybrid (if resources
allow), mixed media, etc.) and methods (inspiration from observation, reflection,
activism, inquiry, etc.).

3
ENDURING UNDERSTANDINGS

Artists use printmaking to

communicate ideas, feelings,
varying perspectives, criticisms,
and reflections on contemporary
cultural contexts.

Art can be used to disseminate

ideas through cultures and
instigate societal, political, and
cultural change.

Artists investigate the

perspectives of others, which
helps to broaden their own.

ESSENTIAL QUESTIONS

Allison Shilling Children’s Hands 2016

How can the artist grow in a deeper understanding of themselves and communicate that
perspective?

How can art not only document who, what, where and when we are, but express our state of
mind, wishes and concerns? How do artists visually represent non-visual sensations?

With the advent of the internet and abundant sharing of ideas and images (e.g.Instagram), is there
still a role for printing in multiples and what is? How does technology change the relationship
between the viewer and artist and the artwork’s impact on the viewer?

4
CURRICULUM MAP

5
UNIT 1: Artist As A Communicator

Daily Overview Lyon, France 2018

Lesson 1: Overview Effect

Lesson 2: Myself and Place

Lesson 3: One Day in Our Lives

6
UNIT MAP

7
 Artist As A Communicator
Grades 9-12

STAGE I – DESIRED RESULTS

UNIT TRANSFER GOAL

Students will be able to

independently and collaboratively
use their learning to transform the
way they think about themselves
individually and their roles within
the world.

ENDURING
UNDERSTANDINGS

Edward Burtynsky Nickel Tailings #31, 1996

Students will understand that:
● Artists use the creative powers of art for self expression.
● Artists can challenge their own thinking and that of the viewer.
● Art creates a way to work together and reach common goals.
● Humans impact and rely on the landscapes around us, which creates a complex and
intertwined relationship between culture and nature.

ESSENTIAL QUESTIONS

● How can the artist grow in a deeper understanding of themselves and communicate that
perspective? How much can a portrait show about a person?
● How can the visual medium of printmaking be used to represent aspects of my identity?
● How does a landscape reflect who lives there? How can we think about an environment
or landscape from a new perspective?
● How can art not only document who, what, where and when we are, but express our state
of mind, wishes and concerns? How do artists visually represent non-visual sensations?

8
STANDARDS ADDRESSED
The PreK-12 Learning Standards for the
Visual Arts:
1. Methods, Materials, and Techniques.
Students will demonstrate knowledge of the
methods, materials, and techniques unique to the
visual arts.
3. Observation, Abstraction, Invention, and
Expression. Students will demonstrate their
powers of observation, abstraction, invention, and
expression in a variety of media, materials, and
techniques.
4. Drafting, Revising, and Exhibiting. Students
will demonstrate knowledge of the processes of
creating and exhibiting their own artwork: drafts,
critique, self-assessment, refinement, and exhibit
preparation.

The PreK-12 Connections Strands for the Visual Arts:

Alec Soth Charles, Vasa, Minnesota 2003
7. Roles of Artists in Communities. Students will describe the roles of artists, patrons, cultural
organizations, and arts institutions in societies of the past and present.
10. Interdisciplinary Connections. Students will apply their knowledge of the arts to the study
of English language arts, foreign languages, health, history and social sciences, mathematics, and
science and technology/engineering.

ACQUISITION/ UNIT OBJECTIVES

STUDENTS WILL KNOW….

•Printmaking can be used as a way for the artist to develop self knowledge through
reflection and understanding of their identity.
•The artist, through exploration and research, adds insight into an issue and promotes
awareness in ways that are unique and powerful.
•The artist working collaboratively with other artists develops empathy and a more
complex world view.

STUDENTS WILL BE SKILLED AT…

•Controlling a visual environment for thoughtfully considered reference photos.
•Translating their ideas into a variety of printmaking media including collagraphs,
drypoint intaglio, and monoprinting.

9
STAGE 2 – ASSESSMENT EVIDENCE

EVIDENCE
Lesson 1: The final product will be four varied
editions of a 8”x11” collagraph print depicting a
landscape addressing the binary of culture and
nature.

Lesson 2: The final product will be four

editions of an 8”x11” drypoint etching depicting
the artist in a place that reflects an aspect of
their identity.

Lesson 3: The final product will be a class-wide

collaborative book of monoprints depicting one
day in our collective lives. Each student will
contribute a monoprint based on a photo they
took of a moment in their day, not only
documenting who, what, where, and when, but
expressing their state of mind, wishes, and
concerns in that moment.
Pat Steir Waterfall 1988

Rania Matar “A Girl And Her Room” 2010

10
CONTINUUM OF ASSESSMENTS
The student and teacher will fill out a rubric as a summative assessment for lesson 3.

Assessment Rubric Lesson 3: A Day in Our Lives

Excellent Good Average Needs Student Teache

Improvement Score r Score

Photo Student Student took one Student took Student was

Journal thoughtfully took photo every hour many photos for unable to
(15 pt total) one photo every for an entire day an entire day and document their
hour for an entire and experiment did not day through
day and with a few experiment with photography.
experiment with perspectives and perspective and
a wide variety of approaches to approach to
perspectives and subjects. subjects.
approaches to
subjects.

Participation Student Student willingly Student Student did not

(15 pt total) enthusiastically engaged in participated participate in
engaged in discussions of minimally in discussions of
discussions of precedents, and discussions of precedents,or
precedents, and contributed some precedents, and contribute
contributed constructive ideas contributed few ideas on the
constructive on the formation ideas on the formation of
ideas on the of the book. formation of the the book.
formation of the Student did not book. Student did Student
book. Student interrupt or not interrupt or interrupted or
listened and disrespect the disrespect the disrespected
respectfully ideas of their ideas of their the ideas of
responded to the classmates. classmates. their
ideas of their classmates.
classmates.

Creative Student Student Student created Student did not

Approach creatively abstracted from three somewhat create three
(17 pt total) abstracted from their photo three varied prints and varied prints
their photo three prints of varying used some of the and failed to
prints of varying composition and skills learned. use skills
composition and approach to taught to class.
successfully subject and
experimented experimented
with all skills with some skills
learned. learned.

Technical Student skillfully Student often Student rarely Student did not
Mastery handled ink, skillfully handled handled ink, handle ink,
(15 pt total) stencils, paper ink, stencils, stencils, paper stencils, paper
registration, and paper registration, and registration,
operation of the registration, and operation of the and operation
printing press. operation of the printing press of the printing
printing press. with success. press with

11
 success.

Studio Student handled Student handled Student handled Student did not
Habits all art materials art materials and art materials and handle art
(17 pt total) and studio studio equipment studio equipment materials and
equipment respectfully. respectfully studio
respectfully. Student cleaned sometimes. equipment
Student up after Student did not respectfully or
meticulously themselves. always clean up clean up after
cleaned up after Student supported after themselves. themselves.
themselves. their classmates Student rarely Student did not
Student went out sometimes. supported their support their
of their way to classmates. classmates.
support
classmates.

Critique Student Student reflected Student lacked Student did not

(15 pt total) thoughtfully on their insight on their reflect on their
reflected on their experience experience experience
experience journaling their journaling their journaling and
journaling their day and day and printing. They
day and translating it to a translating it to a did not give
monoprinting. monoprint. They monoprint. They constructive
They were were considerate gave some helpful feedback to
considerate and in their feedback feedback to classmates.
helpful in their to classmates. classmates. Student
feedback to Student provided Student provided provided no
classmates. input in selecting minimal input in input in
Student provided prints for the selecting prints selecting prints
exceptional input book. for the book. for the book.
in selecting prints
for the book.

Book Student Student Student Student did not

Contribution contributed a contributed a contributed a contribute a
(6 pt total) strong digital digital image of poorly scanned or digital image of
image of their their print to the photographed their print to
print to the class class book with a digital image of the class book.
book with a title title and their print to the
and date/time. date/time. class book with a
title and date/time.

Final Grade _______/100

12
STAGE 3 – LEARNING PLAN

SCOPE AND SEQUENCE OF LESSONS

Lesson 1: Overview Effect

Students will consider their position and role in the world by “zooming out” and changing their
perspective. Students will challenge the binary story of touched/untouched told by many
landscape artists. They will divulge subtle histories of human impact on landscapes that
surround us. Students will select a landscape of personal significance to them and study it from
above using Google Earth and Google Maps. They will find their trace and mark on that place
and break down the multiple impulses, forces, and practices that come together in that place.
Using the elements and principles of design, highlighting in particular texture as an important
tool to build a collagraph print, and aerial photos student will print four varied editions of a
collagraph. Students will dismantle a simplified otherness of spaces and substances of the earth
by communicating intersections of culture and nature through collagraph printmaking.

Art Materials
● Chipboard ● Exacto knife
● Block Printing Ink and modifiers ● Modge Podge
● Brayer ● Paint brushes
● Palette knife ● Various textured materials

Laura McPhee No Ordinary Land 1998 Amy Genser Aquatic Interstellar Dream 2018
Resources
Google Earth and Google Maps
Daily Overview, 2017. https://www.instagram.com/dailyoverview/?hl=en
Amy Genser, 2017. http://www.amygenser.com/
Laura McPhee, 1998. http://www.lauramcphee.com/nol.php
Chuck Bryant and Josh Clark, 2017. https://www.stuffyoushouldknow.com/podcasts/maps-
work.htm
Edward Burtynsky, 1996. https://www.edwardburtynsky.com/

13
Lesson 2: Myself and Place
Students will study the works of portrait photographers and photojournalists to consider how
places and objects inform our identities and manipulate how artists and subjects are perceived by
viewers. Students will choose an important aspect of their identity and photograph themselves in
a place that reflects that aspect of themself. The photos will be carefully curated to emphasize the
importance of the place and objects as equally significant subjects as the artist themself in the
setting. Students will consider the complex and pluralistic components of their identity including
but not limited to culture, personality, history, gender, interests, activities, and formative people.
Students will translate and represent these aspects of their identity through drypoint etching (in at
least four successful/clean editions). The print can be serious or humorous. Either way, it should
reflect something essential and important about who they are as a person.

Selena Zhou Days on Grand 2016 Matt Hoyle Charlie 2013

Art Materials
● Plexiglass ● Etching Press
● Etching Needles ● Tarlatan
● Stonehenge Paper ● Chipboard squares
● Akua Intaglio Ink ● Newsprint

Resources
Art 21 “Identity”, 2001. http://www.pbs.org/art21/episodes/season-1-2001/identity/
Rania Matar, 2012. http://www.raniamatar.com/portfolio/girl-and-her-room.php
Alec Soth “Sleeping by the Mississippi”, 2004. http://alecsoth.com/photography/?page_id=14
Matt Hoyle, 2017. http://matthoyle.com/
New York Times blog “Lens”, 2018. https://www.nytimes.com/section/lens
Annie Leibovitz, 2018. http://www.sundaramtagore.com/artists/annie-leibovitz

14
Lesson 3: One Day in Our Lives
Students are recording one digital image per hour while awake over the course of 24 hours–at
home, at school, with friends, and everywhere in between. Students will study the works of
monoprint artists Mary Kate McTigue, Pat Steir, and Bryan Wynters, as well as work from the
photographer Bryon Wolfe and poet Billy Collins (see Appendix for poem). Students must carry
their cell phone (or disposable camera) with them everywhere they go. They may take one image
each hour. The image can be spontaneous and intuitive: close or wide; an object, person or
landscape; straightforward or symbolic. The collection of images can be as varied as the
student’s day. As a class, the students will decide which hour-of-the-day each student will
represent in their collective photo book. The students may decide that everyone took their most
interesting photos between 7am and 8 am. In this case they will create a book not representing
every hour of the day, but instead everyone’s unique perspectives on one hour (or short time
period) during the day. Each student will create three monoprints based off of their photo and
experience in the selected moment and contribute one of the prints to the class book.

Art Materials
● Acetate ● Cardstock
● Block Printing Ink and modifiers ● Scissors
● Brayer ● Cell phone or disposable camera
● Paper ● Paint brushes and Q-Tips

Bryon Wolfe From Our Favorite Tree 2002 Cheryl Daley-Champagnie Dwellers Rest 1996

Resources
Pat Steir, 2018. http://www.artnet.com/artists/pat-steir/
Billy Collins, 1998. Picnic, Lightning “This Much I Do Remember”. Pittsburgh, Pa.: University
of Pittsburgh Press.
Bryan Wynter, 1950. http://www.tate.org.uk/art/artists/bryan-wynter-2176

15
Bryon Wolfe, 2007. Everyday: A Yearlong Photo Diary. Chronicle Books.
https://books.google.com/books?id=tPN5EVE4hSMC&lpg=PA1988&pg=PA1988#v=onepage&
q&f=false
Cheryl Daley-Champagnie, 1996.
http://library.artstor.org.ezproxy.library.tufts.edu/#/search/Cheryl%20Daley-
Champagnie;page=1;size=24

Rania Matar, Mariam, Bourj al Shamali Palestinian Refugee Camp, Tyre Lebanon, 2009

16
UNIT 2: Printmaking as Dissemination

Roger Peet, Taste the Future contemporary

Lesson 1: Visual Communication

Lesson 2: Appropriation

Lesson 3: The Power of Multiples

17
UNIT MAP

18
 Printmaking as Dissemination
Grades 9-12

STAGE I – DESIRED RESULTS

UNIT TRANSFER GOAL

Students will be able to independently use their learning to analyze and evaluate what method
they want to use to communicate ideas that are important to them. They will be able to
appreciate the importance of their contributions to the community.

ENDURING UNDERSTANDINGS
Students will understand that:
● Art can be used to disseminate ideas through cultures and instigate societal, political, and
cultural change.
● Original artwork comes in many forms including through intentional appropriation from
other sources.
● Various techniques of printmaking have for many centuries made it possible to make
multiple examples of a work of art (editions). Each edition of a print is an authentic work
of the artist.

ESSENTIAL QUESTIONS
● What is the role of the artist in communicating with their community?
● How can we, as artists working in a medium of multiples, relate ourselves in the context
of the adage “quality over quantity”?
● With the advent of the internet and abundant sharing of ideas and images (e.g.Instagram),
is there still a role for printing in multiples and what is? How does that change the
relationship between the viewer and artist and the artwork’s impact on the viewer?

Dolly Sen, Comic Dol 2010 Roy Lichtenstein, M-Maybe 1965

19
STANDARDS ADDRESSED
The PreK-12 Learning Standards for the Visual
Arts:
1. Methods, Materials, and Techniques.
Students will demonstrate knowledge of the methods,
materials, and techniques unique to the visual arts.
4. Drafting, Revising, and Exhibiting.
Students will demonstrate knowledge of the
processes of creating and exhibiting their own
artwork: drafts, critique, self-assessment, refinement,
and exhibit preparation.

Mark Andrew Webber, Berlin 2017

5. Critical Response. Students will describe and analyze their own work and the work of
others using appropriate visual arts vocabulary. When appropriate, students will connect their
analysis to interpretation and evaluation.

The PreK-12 Connections Strands for the Visual Arts:

6. Purposes of the Arts. Students will describe the purposes for which works of dance,
music, theater, visual arts, and architecture were and are created, and, when appropriate, interpret
their meanings.
9. Inventions, Technologies and the Arts. Students will describe and analyze how
performing and visual artists use and have used materials, inventions, and technologies in their
work.

Sister Corita Kent, The Sacrifice-black 1955

20
ACQUISITION/ UNIT OBJECTIVES
STUDENTS WILL KNOW….
•Printmaking can be used as a form of dissemination.
•Artists communicate their ideas to the public to question existing knowledge and
generate new knowledge.
•Artistic communication can be heighten through the use of text, appropriation, and
working in multiples.
•Words are sometimes included in art and can be an effective compliment to visual
components; but writing is not the primary ways ideas are conveyed in visual art.

STUDENTS WILL BE SKILLED AT…

•Incorporating text into a visual composition.
•Creating original artwork using appropriated content.
•Communicating their thoughts and ideas to their community.
•Printing techniques in screenprinting and relief printing.

Syry Mitchell, Arugula 2016 Sanya Hyland, Alto a la violencia contra las mujeres 2015

STAGE 2 – ASSESSMENT EVIDENCE

PERFORMANCE TASK/ FINAL PRODUCTS

Lesson 1: The final print will be a 10”x13” relief print including thoughtful incorporation of text
that considers the intent of the print.

Lesson 2: The final product will be five (varied) editions of a 11”x14” silkscreen print including
an appropriated subject matter.

Lesson 3: The final product will ten (varied) editions of a 5”x7” print of either silkscreen or
linoleum cut that respond to the prompt “What do you want to communicate to your school
community?”

21
CONTINUUM OF ASSESSMENT
Student will write an artist statement for their print in Lesson 3 as a tool for assessment.

Assessment Lesson 3: The Power Of Multiples

Artist Statement
Your artist statement is a written description of your work that gives your audience deeper
insight into it. All artist statements will be displayed adjacent to our “Art Vending Machine”.
Please write an artist statement about your print being cognisant of your audience and what you
want to convey to them. Your statement may include your personal history, the symbolism you
utilized, or the issues you addressed; your statement should include whatever is most important
to you and your work. Please write at least five complete sentences.

Some questions to inspire your writing:

● What do you hope to communicate to the person who takes your print?
● What does your print look like? (Color, shape, size, texture, light, objects, relationships,
etc.)
● What were some printmaking techniques you utilized?
● What are the different elements of your print and how do they affect each other or
interact?
● In what ways does your artistic rendering capture the essence of your subject?
● Why did you choose to depict your subject? What is your relationship with the subject?
● What questions, ideas, or issues inspired your artwork?
● What artists inspired your work?
Artist’s Name *:_________________________ Artwork Title: __________________________
_____________________________________________________________________________
_____________________________________________________________________________
_____________________________________________________________________________
_____________________________________________________________________________
_____________________________________________________________________________
_____________________________________________________________________________
_____________________________________________________________________________
_____________________________________________________________________________
_____________________________________________________________________________
_____________________________________________________________________________
_____________________________________________________________________________
_____________________________________________________________________________
_____________________________________________________________________________
*If you wish for your print and artist’s statement to be displayed anonymously please check the box
STAGE 3 – LEARNING PLAN

22
SCOPE AND SEQUENCE OF LESSONS
Lesson 1: Visual and Written Communication
In this lesson students will learn about artists Mark Andrew Webber, Pete Railand, Roger Peet,
Sanya Hyland, Benedict Phillips as well as historic artists who use text in their art. Students will
explore the use of text in the prints. They will learn relief printmaking techniques through
linocuts. The final print will be a relief print including thoughtful incorporation of text that
considers the intent of the print. Students should be able to articulate and justify the choices they
made through the process.

Art Materials
● Linoleum Blocks ● Relief Ink
● Masa Paper 10” x 13” or other paper ● Blankets
appropriate for printing ● Palettes
● Transfer paper ● Palette Knives
● Linoleum Adjustable Carving Sets ● Brayers
● Bench Hooks ● Printing Press
● Print

Benedict Phillips, Warning 2005 Roger Peet, Less Locks More Keys 2018

Resources and Images

Benedict Phillips, 2005.https://www.disabilityartsonline.org.uk/?location_id=206&item=70
Mark Andrew Weber, 2017.https://mark-andrew-webber.myshopify.com/
Justseeds Art Collective, 2018. Justseeds.org

23
Lesson 2: Appropriation
In this lesson, students will explore Pop Art, the Rural Electrification Administration, and the
history and contemporary use of appropriation in art and prints. Lester Beall, Roy Lichtenstein,
Dolly Sen, Sister Corita Kent, and T.C. Cannon will be studied. Students will understand what
appropriation means and what the difference is between appropriation and plagiarism. In this
lesson, students will learn silkscreening techniques using hand-painting with screen drawing
fluid and hand-cut stencils. They will print at least five editions of their print using appropriation
in their prints.

Art Materials
● Screens with Mesh 10” x 14” ● Simple Green (for cleaning screens)
● Screen Printing Ink ● Watercolor Paper 11” x 15”
● Screen Filler ● Pencils
● Screen Drawing Fluid ● Tape
● Squeegee ● Sketchbook Paper
● Paint Brushes ● Contact paper and Exacto
● Bench Hooks

T.C. Cannon, “Collector no.5” (Osage with Van Gogh) 1980 FC St. Pauli, St. Pauli O Muerte 2014

Resources and Images

Dolly Sen, 2010.https://www.disabilityartsonline.org.uk/?location_id=1204
Artstor.http://library.artstor.org.ezproxy.library.tufts.edu/#/asset/SS7730635_7730635_1094021
7
http://library.artstor.org.ezproxy.library.tufts.edu/#/asset/ARTSTOR_103_41822003697685
http://library.artstor.org.ezproxy.library.tufts.edu/#/asset/ACOOPER_10310347494
http://library.artstor.org.ezproxy.library.tufts.edu/#/asset/LICHTENSTEIN_10313551075

24
Lesson 3: The Power of Multiples

Students will discuss the differences between single works of art and artwork made in multiples.
Students will discuss dynamic interactions with the public in viewer-participatory artwork. They
will discuss the artistic significance between limited editions, downloadable graphics, art
produced in perpetude, and other forms of artwork in multiples in the context of free printable
graphics by the Justseeds art collective, Felix Gonzales-Torres’ work “Untitled” (Double
Portrait), and Short Edition’s short story vending machine. The students will discuss ways they
can communicate with their school community printing in multiples. Students will discuss what
they want to communicate to their school (and an individual viewer) and how. Students will
design prints and a display/ distribution system for their artwork. Students will choose to print in
either silkscreen or relief on 5”x7” paper in 10 varied or standard editions for the installation.

Felix Gonzales-Torres, “Untitled” (Double Portrait) 1991 Olivier Alexandre, New York Times 2018

Art Materials
● Screens with Mesh ● Watercolor Paper ● Bench Hooks
● Screen Printing Ink ● Pencils ● Print
● Screen Filler ● Tape ● Relief Ink
● Screen Drawing ● Sketchbook Paper ● Blankets
Fluid ● Linoleum Blocks ● Palettes
● Squeegee ● Masa Paper 5” x 7” ● Palette Knives
● Paint Brushes ● Transfer paper ● Brayers
● Simple Green ● Lino Carving Sets ● Printing Press

Resources
Felix Gonzalez-Torres, 1991. http://www.tate.org.uk/art/artworks/gonzalez-torres-untitled-
double-portrait-t13309
Justseeds Art Collective, 2018. https://justseeds.org/graphics/?js-paged=1
New York Times, 2018. https://www.nytimes.com/2018/04/16/books/short-story-vending-
machine.html

25
 UNIT 3: Beyond the Print

Olive Tran Riverside Slum 2016

Lesson 1: Print Me A Story

Lesson 2: Communicating Through Questioning

Lesson 3: Making Art out of Mistakes

26
UNIT MAP

27
 Beyond the Print
Grades 9-12

STAGE I – DESIRED RESULTS

UNIT TRANSFER GOAL

Students will be able to independently use their learning to utilize narrative to convey ideas and
repurpose or contextualize ideas to give them new meaning. They will question pre-existing
assumptions and explore possibilities beyond what they already know.

ENDURING UNDERSTANDINGS
Students will understand that:
● People tell meaningful personal narratives in diverse ways.
● There are copious opportunities for creative thought when asking questions and exploring
unknowns.
● Mistakes should be celebrated and emphasized instead of hidden or disguised. We can
make new art, possibly even more beautiful than the original, through revitalizing
mistakes.

ESSENTIAL QUESTIONS
● How do artists use their work to address complex, multifaceted questions about the world
around them?
● How do artists push beyond what they already know and readily see?
● How can we celebrate and transform the mistakes we make in printmaking into creative,
original artwork?

Tona Wilson Dress Code Strictly Enforced 2018

28
STANDARDS ADDRESSED
The PreK-12 Learning Standards for the Visual Arts:
1. Methods, Materials, and Techniques. Students will demonstrate
knowledge of the methods, materials, and techniques unique to the
visual arts.
2. Elements and Principles of Design. Students will demonstrate
knowledge of the elements and principles of design.
3. Observation, Abstraction, Invention, and Expression. Students
will demonstrate their powers of observation, abstraction, invention,
and expression in a variety of media, materials, and techniques.

The PreK-12 Connections Strands for the Visual Arts:

8. Concepts of Style, Stylistic Influence, and Stylistic Change.
Students will demonstrate their understanding of styles, stylistic
influence, and stylistic change by identifying when and where
artworks were created, and by analyzing characteristic features of art
works from various historical periods, cultures, and genres.
10. Interdisciplinary Connections. Students will apply their
knowledge of the arts to the study of English language arts, foreign
languages, health, history and social sciences, mathematics, and
science and technology/engineering.

ACQUISITION/ UNIT OBJECTIVES

STUDENTS WILL KNOW….
•How to utilize visual and written narratives to relate a
meaningful personal dialogue.
•That artists communicate their ideas to the public by the
questioning existing knowledge thereby generating new knowledge.
•The importance of making mistakes in art and will appreciate
the growth that occurs through mistakes.

STUDENTS WILL BE SKILLED AT…

•Communicating their thoughts and ideas to their community.
•Using art a means of inquiry to challenge existing ideas and
reveal new ideas.
•Printing techniques in screenprinting, relief printing,
Kelsey Murphy Self-Portrait 2016
pronto plate lithography, and accordion book binding techniques.
•Diverse ways in which they can communicate meaningful personal narratives.

29
STAGE 2 – ASSESSMENT EVIDENCE

EVIDENCE
Lesson 1: The final product will be two editions of an artist book that uses lithography printing
and accordion bookbinding. It will have include eight prints that combine to reflect on one topic
or idea. The dimensions of the unfolded piece will be 40” x 5.5”.

Lesson 2: The final product will be

a 9” x 13” drypoint intaglio print
that reflects their critical thinking
and inquiry on a topic that is
meaningful to the artist.

Lesson 3: The final product will be

a 18” x 24” mixed media collage
that incorporates at least 2 previous
prints from the semester that the
artist considered mistakes.

Toby Millman Parallel/Parallax 2014

Toby Millman Parallel/Parallax 2014

30
CONTINUUM OF ASSESSMENT
Student will draft a storyboard of their artist book in Lesson 1 as a tool for formative assessment.

Assessment Lesson 1: Print Me A Story

Storyboard Your Artist Book
You will create your own artist’s book in order to communicate a topic of your choice to the
viewer. In your book you will consider each page individually and as a cohesive whole. Your
accordion book will fold into eight 5”x5.5” pages. The first page can be your title page, then you
will have seven pages of content. This will be a single-color lithograph, but each page may be a
different color. You may design certain pages so you are able to selectively ink your plate to
depict multiple colors on each page. Please answer the following questions before beginning
thumbnail sketches of your book.

What is the message you are trying to communicate through your book? What is your book
about? Is it chronological, thematic, or some other sequence of storytelling? Is your book social,
political, personal, reflective, critical, or any other subject of intent? Are there elements of
fantasy in your book? Are you including facts, data, or stories?

Will there be text in your book? How important and prominent will it be in relation to the visual
components of your work? How will the written work compliment and interact with the visual
work?

Which artists’ book that we saw in class did you respond to? How is their work inspiring your
book?

How does your book consider the elements of sequence, repetition, and juxtaposition?

31
Please sketch out a storyboard of the pages of your book including written and visual
components.
Name_________________________ Book Title:________________________________

32
When you are finished, find a classmate who is also done and share your books with one another.
Give each other feedback. Does the sequence of your story make sense? Is the message you
want to communicate getting through to you classmate? Where are things muddled, unclear, or
overly repetitious in the story? What is working well in the story that excites and engages your
classmate?

Reflect on your discussion with your classmate and revise your storyboard accordingly.

33
STAGE 3 – LEARNING PLAN

SCOPE AND SEQUENCE OF LESSONS

Lesson 1: Print Me A Story

In this lesson students will create an artist book. They will explore the idea of book as an
artwork. The students will learn about this art form that allows an artist work to be readily and
inexpensively available to a large audience. They will study William Blake, David Bomberg,
Aleksei Kruchenykh, Kurt Schwitters, George Grosz, Alexei Remizov and Ed Ruscha. The
students will study contemporary printmakers and book artists from the Women’s Studio
Workshop. Through their study students will explore the social and political communication
possible through art books. The students will explore the personal nature of the art book, how
holding and turning the pages the artist creates an intimate relationship with the viewer.
Art Materials
● Stonehenge Paper 26”x 40” ● Transparent base or burnt plate oil
● Pronto Plates ● Magnesium Carbonate
● Gum Arabic ● Ball-point pen
● Sponge ● Sharpie
● Toothpaste and Q-Tips ● Litho crayons
● Brayer ● Simple green and vegetable oil
● Lithography or Etching ink ● Laser Jet Printer

Ed Ruscha Twentysix Gasoline Stations 1963 George Grosz The Face of the Ruling Class 1921

Resources
Yale on Artist Books, 2018.https://guides.library.yale.edu/c.php?g=295819&p=1972527
Women’s Studio Workshop, 2018. https://wsworkshop.org/collection/
Toby Millman, 2018. http://www.tobymillman.com/
https://www.bl.uk/collection-items/william-blakes-songs-of-innocence-and-experience
http://lcc.onlineculture.co.uk/ttp/ttp.html?id=3fc0049d-b78a-45c5-822c-
c68c7773ca65&type=book

34
http://www.tate.org.uk/about/projects/transforming-artist-books/summaries/edward-ruscha-
twentysix-gasoline-stations-1963
https://www.vincentborrelli.com/pages/books/112098/ed-ruscha-edward/ed-ruscha-twentysix-
gasoline-stations-second-edition-of-500-signed

Lesson 2: Communicating Through Questioning

In this lesson students will create a reflective drypoint intaglio print that is the culmination of
understanding art as a means of inquiry. Students will challenge themselves through
investigation into a subject that concerns them. This lesson promotes critical thinking and
inquiry by requiring research and questioning. They will then communicate their inquiry
through the print.

Art Materials
● Plexiglass ● Etching Press
● Etching Needles ● Tarlatan
● Stonehenge Paper ● Chipboard squares
● Akua Intaglio Ink ● Newsprint

Kelsey Murphy Sisters 2016 Olive Tran WIFI 2016

Resources
Art 21, 2014. https://art21.org/watch/art-in-the-twenty-first-century/s7/investigation/
Mount Holyoke College Printmaking Classes 2015-2017.

35
Lesson 3: Making Art Out of Mistakes - Mixed Media Collage and Printmaking
In this lesson students will create expressive mixed media artworks that demonstrate a sense of
purpose and understanding of the relationship among various forms, materials, techniques, and
subject matters incorporating printmaking and collage. Students will demonstrate a reinforced
and extended knowledge of the previously used printmaking technique and push their
understanding of what makes art. Students will study mixed media art. A variety of artists will
be studied including Toby Millman, Anne Moore, Laurie Breen. The importance of making
mistakes in art will be discussed focussing on the growth that occurs through mistakes. Finally
art will be created from the mistakes.

Art Materials
● Wheat paste ● Saved “Mistakes” from previous
● Modge Podge printmaking projects
● Previously used printmaking
materials

Laurie Breen Two Lemons Anne Moore Space Between

Resources
Tate Museum, Art Terms, 2018. http://www.tate.org.uk/art/art-terms/m/mixed-media
Toby Millman, 2018. http://www.tobymillman.com/
Anne Moore, 2018. http://www.annesprints.com/gallery/New_Work
Laurie Breen, 2018. http://www.lauriebreen.com/

36
DIFFERENTIATION PLAN
Student Needs
For English Language Learners
or students with limited English
proficiency
For students struggling with motor
skills
For students struggling with
attention disorders (i.e. ADD,
ADHD)
For students struggling with
reading/writing (i.e. dyslexia,
dysgraphia)
For students with hearing
impairment or auditory
processing disorders
Possible Strategies
● Oral, written, and visual instructions will be provided
throughout the lessons
● Flexibility with any speaking or writing, including allowing
students to use their prefered language(s) in their work
● Peer teachers for additional enforcement of skills learned
● Flexibility with speaking or writing requirements (typing,
recording, use of own language)
● Check in individually with students to verify clarity of
activities
● Translate communications with student using translation appa
and closed captioning
● Allow for a variety of materials and pre-made materials to be
incorporated into work so students can use what best suits their
needs (pastels, model magic, pre-cut or torn shapes)
● Show a variety of artists and artworks so students can see a
range of successful techniques and forms of visual expression
● Modify and adjust tools to best fit students’ needs
● Buddy-up for peer assistance when important
● Incorporate short movement breaks into classroom routine
● Shorten and vary instructions broken up throughout lesson
● Provide sketchbook and free draw materials to take a break
from the assignment
● Provide distraction-free space when needed
● Oral, written, and visual instructions will be provided
throughout the lessons
● Allow students to participate in one-on-one conversation/ oral
presentation with the teacher instead of writing
● Provide writing supports when necessary (spelling and
vocabulary lists, scaffolded writing guides, etc.)
● Written and visual instructions will be provided
● Videos shown to class will include closed captioning
● Microphone will be used to give instructions when applicable
37
 For students struggling with
behavior or emotional distress
● Allow students to take breaks inside or outside of the
classroom
● Clearly display precedents for respect in the classroom and
conflict resolution guidelines
● Support and provide a safe environment for students during
difficult times

For students on the Autism ● Alter lesson structure with group and individual activities
spectrum ● Allow for digital work if student is more comfortable with
technology and less inclined towards physical art materials
● Maintain a clear classroom and cleanup routine
● Flexibility with subject and direction of artwork based on the
students’ interests

For students with severe learning
impairment and have an aide or
paraprofessional with them in the
art room
● Work with student and their aide to modify lesson to meet the
student’s abilities
● Work with student to establish skills and techniques they can
employ without or with their aide’s assistance
● Advocate for the students’ skills and ideas to ensure the
artwork reflects the student’s intentions and not those of the aide

All students will be held to high standards and encouraged to think and work outside of their
comfort zones with support and empathy from peers and teachers in order to interpret,
understand, and create meaning through visual expression.

Mary Kate McTigue Blue Blocks 2016

38
SCOPE AND SEQUENCE CHART
Communicating through Printmaking
Printmaking Grades 9-12

39
PROGRAM ASSESSMENT
1.Purpose of the Assessment
The purpose of the assessment is to check for understanding, to promote creative and critical
thinking, and to document the individual art-making process and progress of each student.

2.Content & Skills to be Addressed

In this course students will learn a variety of content and skills that will broaden and deepen their
creative and critical thinking as well as progress the individual art-making of students. Students
will utilize a variety of brainstorming and inspiration-finding techniques. Students will develop
skills to help generate ideas and plan work. Students will discuss with their classmates and
teacher historical and contemporary art and its implications as precedents for their own work.
Participation and effort are paramount to student success in their studio skills and
conceptualization of artwork. Individual progress throughout the year will be documented.
Students will be skilled in using a variety of materials and printmaking techniques. Students will
additionally be assessed by their final products and online portfolios.

3.Assessment Tools and Strategies

This class utilizes a variety of assessment tools to promote a holistic engagement in the art-
making process. Students will be assessed throughout project work on written brainstorming
activities, sketchbooks, and individual student and teacher check-ins. Students will be assessed
on their reflections and insights on their completed work through written project reflections, self-
assessments, artist statements, rubrics, and group critiques. Mid-term and final portfolios will be
assessed. The final portfolio holds a higher weight in the final grade to emphasize growth and
development in the student.

4.Grading Plan

Final Assessment Total 100%

Brainstorming and Activities/Sketchbooks 10%

Formal and Informal Check-Ins 10%

Self-Assessments and Reflections 10%

Mid-term Portfolio 10%

Final Portfolio 15%

Participation/Effort/Critique 20%

40
 Rubrics 25%

5.Accommodations for Students on IEPs

Accommodations for students on IEPs will be made individually depending on students needs.
All the lessons in this course can be easily adapted to accommodate any type of learner and all
students have an equal opportunity for success. The teacher will accommodate individual IEPs
as well as make any adjustments that seem suitable for the individual in the art classroom.

6.Reporting Out
The teacher will communicate with parents and guardians electronically on a quarterly basis
unless more frequent communication seems necessary. Parents/guardians will receive mid-
quarter reports from the teacher addressing the students’ efforts as well as their grades. The
teacher is always readily available to meet with parents via email, on the phone, and in person to
discuss both positive feedback and questions and concerns.

Allison Shilling Four Months of Mistakes 2016

41
 Appendix

GLOSSARY OF ART TERMS

Unit 1: Artist as a Communicator

Overview Effect: the feeling astronauts get when they look down at Earth from outer space,
perceiving the Earth to be tiny and fragile.
Bird’s Eye View Perspective: how a bird sees the world looking down at Earth
Print: Image taken from a plate and transferred to another surface.
Collagraph: Printmaking technique in which material is applied or collaged to a matrix then
inked and printed on paper
Drypoint Etching: Drypoint is a printmaking process in which a design is drawn on a matrix
with a sharp, pointed needle-like instrument – the incised line or area holds the ink and creates
the image
Monoprints: a form of printmaking where the image can only be made once, unlike most
printmaking which allows for multiple originals
Reference Photos: An image an artist uses to base their work off of
Zooming Out: to consider the essential points, rather than the details of the subject.
Original print: Original, creative art printed from original plates, blocks, etc. It differs from the
reproduction of an earlier work of art which was created in a different medium.
Multiple: A work of art that exists in duplicated examples that are all considered original.
Brayers: a small roller used to apply the ink to the plate
Palettes: a thin glass board on which a printmaker lays and mixes inks.
Palette knife: a thin steel blade with a handle for mixing colors
Printing press: a machine for printing text or pictures from type or plates.
Portrait Photography: A photograph of a person or group of people that captures the
personality of the subject by using effective lighting, backdrops, and poses.
Photojournalism: The art or practice of communicating news by photographs.

Unit 2: Printmaking as Dissemination

Appropriation: the use of pre-existing objects or images with little or no transformation applied
to them.
Pop Art: A movement composed of initially British, then American artists in the 1950s and
1960s, which was characterized by references to imagery and products from popular culture,
media, and advertising.
Rural Electrification Administration (REA): The REA was created (1935) by executive order
as an independent federal bureau, authorized by Congress in 1936, and later (1939) reorganized
as a division of the U.S. Dept. of Agriculture. The REA undertook to provide farms with
inexpensive electric lighting and power.

42
Edition: a series of prints made from the same plate
Dissemination: the act of spreading something, especially information, widely; circulation.
Print media: Means of mass communication in the form of printed publications.
Multiple: A work of art that exists in duplicated examples that are all considered original.
Relief printmaking: the original flat surface of a linoleum or wood block is the printing surface.
Any parts of the design not to be printed are cut out, leading the major raised (in relief). The
surface is inked with a roller, then transferred to paper by direct pressure. Examples on this
method are linocut and woodcut.
Viewer-Participatory Artwork: Art that requires participation from viewers. Art that is
something you do not something you see.
Silkscreening/Screenprinting/Serigraphy: a method of printmaking by pressing ink through a
screen onto paper with areas blocked off by a stencil.
Screen: The platen or "printer" for each color of the image.
Linocuts: A design or form carved in relief on a block of linoleum.
Justseeds Art Collective: Network od 30 artists committed to social, environmental, and
political engagement. They produce collective portfolios, contribute graphics to grassroots
struggles for justice, build large sculptural installations in galleries, and wheatpaste on the
streets.
Limited Editions - A reproduction of a print which is limited to a specific number of copies.
Impression number: A number assigned to a print in edition. Also called serial number.
Downloadable Graphics: Art and graphic design work downloadable from the internet.
Art Produced in Perpetude
Flood: Pulling ink over a design and "flooding" the image before screening it onto the substrate
Mesh: The screen itself and how tightly woven it is. The higher the mesh number, the tighter the
little fiber that make the screen, are woven together.
Print Side: Side of the screen that you put your film/design on. ( Mesh is flush with frame)
Squeegee Side: Refers to the side of the screen that you print ink on and push through with the
squeegee. (Mesh is recessed with frame).
Screen filler: fluid used plug “fill” mesh in screen to prevent ink from flowing through screen.
Screen Printing ink: Ink used in screenprinting, usually water-soluble.
Linocuts:a design or form carved in relief on a block of linoleum.
Bench hooks: Wooden hook attached to table for stability when carving a block.
Block: Linoleum or wood pieces used for printing.
Masa paper: mulberry or kozo/mix pulp paper that is very smooth on one side. Because it has
both internal and surface sizing and can easily be crumpled and re-flattened, this paper is ideal
for printmaking.
Linoleum carving tools: Tools used for cutting linoleum blocks
Transfer paper: a paper coated with a special preparation for transferring an image to another
surface by pressure
Relief ink: a pigmented matter that prints an image ideal for relief printmaking
Bamboo baren: an instrument used to create pressure between the plate, ink and paper.
Screen drawing fluid: fluid used for drawing printed image on screen

43
Squeegee: Used in screen printing: A rubber blade with wooden handle to force ink through
screen.

Unit 3: Beyond the Print

Repurpose Ideas: The use of something for a purpose other than its original intended use.
Modifying to fit a new use or use it in a new way.
Accordion Book: Was originally designed to accommodate scrolls that had become
unmanageable because of their size and length. Composed of a continuous folded sheet of paper
and is often enclosed between two covers.
Artist Book: Works of art that utilize the form of the book. They are often published in small
editions or one of a kind.
Tarlatan: Wiping fabric used to clean intaglio plates before printing.
Mixed media: A technique involving the use of two or more artistic media, such as ink and
pastel or painting and collage, that are combined in a single composition.
Women’s Studio Workshop: An artist residency, internship, and education program in
printmaking, papermaking, ceramics, letterpress, photography and book arts.
Pronto Plate Lithography: The medium is capable of reproducing the full spectrum of
lithographic marks such as: hand drawn brush strokes, ink wash, texture, crayon and pencil
marks, and is equally well suited for digital imaging. Plates can be imaged directly with a laser
printer and a photocopier.
Etching Needles: A steel point or stylus used in etching to draw through the ground and expose
the metal plate to the acid.
Mistakes: Prints that were not used by the artist in early works. The artist considered them
mistakes for work they were engaged in.
Balance: the ways in which the elements (lines, shapes, colors, textures, etc.) of a piece are
arranged (symmetrical & asymmetrical)
Mood: the general atmosphere, or state of mind and feelings, that a work of art generates
Registration: Lining-up one color on top of another on the same print and or lining up the paper
on top of the plate.
Pull: To make a print by transferring the ink onto paper either by hand or with a press.
Tack: The quality of stickiness in printing ink.
Blanket: Woven felt used on press to push paper into inked lines of metal plate.
Proofs: prints made at various stages during the creative process to act as guidelines for
further stages to change, correct or improve the image.
Chine collé: A technique for gluing smaller pieces of paper onto a print while you are printing it.

44
 Massachusetts Arts Curriculum Frameworks
Massachusetts Department of Education
November, 1999

The PreK-12 Learning Standards for the Visual Arts:

1. Methods, Materials, and Techniques. Students will demonstrate knowledge of the

methods, materials, and techniques unique to the visual arts.
2. Elements and Principles of Design. Students will demonstrate knowledge of the
elements and principles of design.
3. Observation, Abstraction, Invention, and Expression. Students will demonstrate
their powers of observation, abstraction, invention, and expression in a variety of media,
materials, and techniques.
4. Drafting, Revising, and Exhibiting. Students will demonstrate knowledge of the
processes of creating and exhibiting their own artwork: drafts, critique, self-assessment,
refinement, and exhibit preparation.
5. Critical Response. Students will describe and analyze their own work and the work of
others using appropriate visual arts vocabulary. When appropriate, students will connect their
analysis to interpretation and evaluation.

The PreK-12 Connections Strands for the Visual Arts:

6. Purposes of the Arts. Students will describe the purposes for which works of dance,
music, theater, visual arts, and architecture were and are created, and, when appropriate, interpret
their meanings.
7. Roles of Artists in Communities. Students will describe the roles of artists, patrons,
cultural organizations, and arts institutions in societies of the past and present.
8. Concepts of Style, Stylistic Influence, and Stylistic Change. Students will
demonstrate their understanding of styles, stylistic influence, and stylistic change by identifying
when and where art works were created, and by analyzing characteristic features of art works
from various historical periods, cultures, and genres.
9. Inventions, Technologies and the Arts. Students will describe and analyze how
performing and visual artists use and have used materials, inventions, and technologies in their
Work.
10. Interdisciplinary Connections. Students will apply their knowledge of the arts to the
study of English language arts, foreign languages, health, history and social sciences,
mathematics, and science and technology/engineering.

45
BIBLIOGRAPHY AND RESOURCES
Bradshaw, R. (2016). Art Integration Fosters Empathy in the Middle School Classroom. The
Clearing House: A Journal of Educational Strategies, Issues and Ideas, 89:4-5, 109-117.

Dewhurst, M. (2010). An Inevitable Question: Exploring the Defining Features of Social Justice
Art Education. Art Education, 63(5), 6-13.

Efland, A., Freedman, K, & Stuhr, P. (1996). Ch. 1,3,5 in Postmodern art education: An
approach to curriculum. Reston, VA: NAEA. ISBN: 0-937652-89-X Gates, L. (2016).
Rethinking art education practice one choice at a time. Art Education, 69(2), 14-19.

Lampert, N. (2012). Inquiry-based art instruction: A framework for developing creative and
critical thinking. NAEA: From Theory to Practice Translations. Spring 2012.

Marshall, J. (2008). Visible thinking: Using contemporary art to teach conceptual skills, Art
Education, 61(2) 38-46.

Mayer, M. (2008). Considerations for A Contemporary Art Curriculum. Art Education, 61(2),
77-79.

Unit 1:
Google Earth and Google Maps, 2018.
Daily Overview, 2017. https://www.instagram.com/dailyoverview/?hl=en
Amy Genser, 2017. http://www.amygenser.com/
Laura McPhee, 1998. http://www.lauramcphee.com/nol.php
Chuck Bryant and Josh Clark, 2017. https://www.stuffyoushouldknow.com/podcasts/maps-
work.htm
Edward Burtynsky, 1996. https://www.edwardburtynsky.com/
Art 21 “Identity”, 2001. http://www.pbs.org/art21/episodes/season-1-2001/identity/
Rania Matar, 2012. http://www.raniamatar.com/portfolio/girl-and-her-room.php
Alec Soth “Sleeping by the Mississippi”, 2004. http://alecsoth.com/photography/?page_id=14
Matt Hoyle, 2017. http://matthoyle.com/
New York Times blog “Lens”, 2018. https://www.nytimes.com/section/lens
Annie Leibovitz, 2018. http://www.sundaramtagore.com/artists/annie-leibovitz
Pat Steir, 2018. http://www.artnet.com/artists/pat-steir/
Billy Collins, 1998. Picnic, Lightning “This Much I Do Remember”. Pittsburgh, Pa.: University
of Pittsburgh Press.
Bryan Wynter, 1950. http://www.tate.org.uk/art/artists/bryan-wynter-2176

46
Bryon Wolfe, 2007. Everyday: A Yearlong Photo Diary. Chronicle Books.
https://books.google.com/books?id=tPN5EVE4hSMC&lpg=PA1988&pg=PA1988#v=onepage&
q&f=false
Cheryl Daley-Champagnie, 1996.
http://library.artstor.org.ezproxy.library.tufts.edu/#/search/Cheryl%20Daley-
Champagnie;page=1;size=24

Unit 2
Benedict Phillips, 2005.https://www.disabilityartsonline.org.uk/?location_id=206&item=70
Mark Andrew Weber, 2017.https://mark-andrew-webber.myshopify.com/
Justseeds Art Collective, 2018. Justseeds.org
Dolly Sen, 2010.https://www.disabilityartsonline.org.uk/?location_id=1204
Artstor, 2018.
http://library.artstor.org.ezproxy.library.tufts.edu/#/asset/SS7730635_7730635_10940217
Artstor, 2018.
http://library.artstor.org.ezproxy.library.tufts.edu/#/asset/ARTSTOR_103_41822003697685
Artstor, 2018.
http://library.artstor.org.ezproxy.library.tufts.edu/#/asset/ACOOPER_10310347494
Artstor, 2018.
http://library.artstor.org.ezproxy.library.tufts.edu/#/asset/LICHTENSTEIN_10313551075
Felix Gonzalez-Torres, 1991. http://www.tate.org.uk/art/artworks/gonzalez-torres-untitled-
double-portrait-t13309
Justseeds Art Collective, 2018. https://justseeds.org/graphics/?js-paged=1
New York Times, 2018. https://www.nytimes.com/2018/04/16/books/short-story-vending-
machine.html

Unit 3
Yale on Artist Books, 2018.https://guides.library.yale.edu/c.php?g=295819&p=1972527
Women’s Studio Workshop, 2018. https://wsworkshop.org/collection/
Toby Millman, 2018. http://www.tobymillman.com/
https://www.bl.uk/collection-items/william-blakes-songs-of-innocence-and-experience
http://lcc.onlineculture.co.uk/ttp/ttp.html?id=3fc0049d-b78a-45c5-822c-
c68c7773ca65&type=book
http://www.tate.org.uk/about/projects/transforming-artist-books/summaries/edward-ruscha-
twentysix-gasoline-stations-1963
https://www.vincentborrelli.com/pages/books/112098/ed-ruscha-edward/ed-ruscha-twentysix-
gasoline-stations-second-edition-of-500-signed
Art 21, 2014. https://art21.org/watch/art-in-the-twenty-first-century/s7/investigation/
Mount Holyoke College Printmaking Classes 2015-2017.
Tate Museum, Art Terms, 2018. http://www.tate.org.uk/art/art-terms/m/mixed-media

47
Toby Millman, 2018. http://www.tobymillman.com/
Anne Moore, 2018. http://www.annesprints.com/gallery/New_Work
Laurie Breen, 2018. http://www.lauriebreen.com/

48
Billy Collins “This Much I Do Remember” 1998

49
50