Development

Project Stephen Protoss 1

Middle School Development

Ages 10-14

Characteristics
Learners at this age move away from strict narrative drawing. (Kerlavage, 1998, p.54)

Implications
Allow for explorative, imaginary, and fantasy art creation. Provide lessons that allow straying from the realistic narrative.

Example

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Experimentation is a key concept for students at this stage. (Kerlavage, 1998, p.54)

Provide new mediums, tools, and work surfaces. Introduce new concepts and ideas in artwork such as the different movements (pop, surreal, contemporary, etc).
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They begin to work expressively, creating a mood (Kerlavage, 1998, p.54).

Teach techniques that enable expression such as varying line weight, lighting, contrast, gestural drawing, etc.
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Students learn best when they keep track of their own artistic growth (Kerlavage, 1998, p.54).

Have students keep and maintain a portfolio of their work. Refer to the portfolio as time goes by so students can see where how their art is growing. Encourage students to keep work and explain the importance of doing so. Allow for deviance in representation and accommodate for lack of coordination such as using simplified techniques and materials.

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Coordination lags behind physical growth.(Kerlavage, 1998, p.57).

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Development Project Stephen Protoss 2

Students can also be taught to articulate their ideas about symbolic meanings (Nyman, 2003, p.32).

Ask students to explain the who, what, when, where, and why of their artwork. Assist them in articulation if needed to further their artistic vocabulary. Educate what is right and wrong in general terms. Ask students what their concepts of right and wrong are and propose ideas as to how they can represent that in their art. Discuss the different emotions with students. Teach students how to express emotions through art. Inform students how emotion can inspire great artwork.

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Learners are attempting to establish their own definitions of right and wrong (Kerlavage, 1998, p.56).

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The teenaged mind is emotionally based and less likely to rely upon reason when making decisions (Briggs, 2007, p.41).

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Students also begin to analyze and define their preferences for art images based on expressive and artistic factors ( Kerlavage, 1998, p.54).

Show students multiple examples of different artistic styles. Ask students what they like and dont like and have them explain their reasoning.

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This stage often marks the end of most students involvement in formal art education. For others it marks the beginning of understanding the challenges involved in making art as an artist ( Kerlavage, 1998, p.54).

Try to facilitate all students regardless of ability to accurately render realistic work. Encourage all students to pursue art in one form or another regardless of natural talent.

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Development Project Stephen Protoss 3

Learners want to gain skill with as many materials as possible, and they want to develop an understanding of how each medium and tool can be used to produce the best artistic affects (Kerlavage, 1998, p. 55). Early adolescents can analyze work through the elements and principles of design; identify individual artists by style; recognize the media and technique used; place artworks in stylistic or historical periods; and apply information gained through inquiry of their own work (Kerlavage, 1998, p. 57). The middle grades teachers must recognize the necessity for a program which emphasizes the cultivation of understanding the art of many cultures and fosters tolerance for people of other cultures (Nyman,1996, p. 30). Real education should be a continuum and should include the interconnection of content learned in language arts, history, social studies and the arts (Nyman, 1996, p. 30). Begin to teach resource specificity or what tool is right for the job. Incorporate lessons with medium specific tools and surfaces. Introduce new materials.

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Clearly define, explain, and demonstrate design elements. Provide artists work to study, recognize, and use for inspiration. Find ways to relate the students work to other artists in history.

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Incorporate art history lessons that cover art on the world level. Be sure to relate the historical art to the people that created it and relate that to American culture and its influence on American art.

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Provide lessons that include other scholarly aspects such as math, English, history, music, and science. Try to coordinate with other departments on cross curriculum projects (science/art, music/art, etc.). Utilize all resources available. Participate in programs that expand diversity understanding as well as curriculum. Try to maintain clear ideals and theory in teaching.

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How do art teachers shoulder the increasing responsibilities of expanded curriculum content and increased student diversity? (Witten, 1996, pg 117).

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Development Project Stephen Protoss 4 Resources Briggs, J. (2007). Celebrity, illusion and middle school culture. Art Education, 60(3), 39-44. Kerlavage, M. (1998). Understanding the learner. In J. Simpson, J. Delaney, K. Carroll, C. Hamilton, S. Day, M. Kerlavage and J. Olson (Eds.), Creating meaning through art: Teacher as choice maker. Upper Saddle River, NJ: Prentice Hall, pp. 23-72. Nyman, A. (2003). Teaching students with special needs. In S. Klein (Ed.), Teaching art in context: Case studies for pre-service art education. Reston: National Art Education Association. Nyman, A. (1996). Art as a Key Element in the Development of Understanding. Witten, S. (1996). Students with special needs: Creating an equal opportunity classroom. In C. Henry (Ed.), Middle School Art: Issues of Curriculum and Instruction, pp 115-122. Reston, VA: National Art Education Association.