Between the Lines Curriculum

Transkript

Education 2015-2016
Between the Lines
Multiple Visit Program Teacher Guide
How to Use This Guide
These materials provide additional context for what your students will experience when
visiting the museum. Pre- and post-visit lessons target a variety of curricular areas including
literacy, drama, and visual art. They ask students to think critically and solve problems.
Lesson plans are carefully aligned to provide either an entry into the conversations that will
take place in the galleries, or further ideas that were constructed during time spent at the
Blanton. We recommend that you teach them in order and within two weeks of your
museum visits.
You will notice that lessons vary in duration from thirty minutes to one hour, and many
include extensions for both the classroom and home. Specific TEKS are outlined within each
lesson plan and also on the Teaching Timeline. The timeline will help you quickly assess the
content of all six lessons, as well as let you know what materials are needed.
The Between the Lines curriculum, both in the museum and classroom, is organized around
three themes that build upon one another: reading works of art, the beauty of the everyday,
and looking for the hidden. It has been written for elementary, middle, or high school
students. TEKS are aligned to grades 3-8. Occasionally suggestions are included for
scaffolding content to accommodate student needs. You are encouraged to adapt lessons
to meet the needs of your students and to fit your teaching objectives.
We welcome your feedback!
Please get in touch to let us know how things went! We would love to see pictures of
students at work or of completed projects. Don’t hesitate to share suggestions for how we
can improve our teacher resource materials. Email us at [email protected].
Blanton Education
For more information about education programs at the Blanton, including teacher resources,
school programs, opportunities for families and public audiences, please visit our website:
www.blantonmuseum.org.
Support for K-12 education programs at the Blanton is provided by the Buena Vista Foundation, the Burdine Johnson Foundation
and the Lowe Foundation.
Additional support is provided by The Brown Foundation, Inc. Education Endowment and the Burdine Johnson Foundation Education
Endowment.
Between the Lines
Grades: 3-12
Teaching Timeline
Concept/s
Visit 1
Reading Works of Art
Visit 2
Beauty of the Everyday
Visit 3
Looking for the Hidden
Subject Area/s
Pre: art, ELA
Pre: art, ELA
Pre: art, ELA
Post: art, ELA
Post: art, ELA
Post: art, ELA
Pre: Story Detectives
Pre: Everyday Note Cards
Pre: Abstracted Architecture
Post: Visual Stories
Post: Memory Statements
Post: Surprising Silhouettes
Giovanni Domenico Tiepolo,
The Storyteller
Edda Renouf, For Dorothy on
her birthday: to be read from
right to left-14.5.'77 forty times
Max Weber, New York at Night
Lesson
Focus Works of Art
for Pre-visit Lessons
Essential Question
What stories might a work of art
generate?
How does legibility effect our
interaction with a work of art?
Focus Works of Art
for Post-visit Lessons
Robin O’Neil, Everything that
stands will be at odds with its
neighbor and everything that
falls will perish without grace
Essential Question
Can works of art make you feel
more than one emotion?
Materials
Pre: a prop for the speaker to
hold.
Post: large sheets of paper,
drawing supplies, story prompts.
Celia Munoz, “Enlightenment
#4: Which Came First?”
How can we use images and
text to illustrate a memory of
something we have learned?
What is revealed through close
looking?
Wangechi Mutu, Untitled (face
looking left)
How can we create works of art
that are surprising?
Pre: blank note cards,
vocabulary sheets 1 & 2
(provided in lesson), drawing
supplies
Pre: construction paper and
scissors, construction paper
scraps, glue, large sheets of
paper
Post: drawing paper, drawing
materials, lined paper, glue,
scissors
Post: large sheet of paper,
charcoal, magazine images,
scissors, glue
MVP
Between the Lines
Sequence
Pre Lesson for Museum Visit 1
Lesson Title
Story Detectives
Grade Level/s
3-8
Subject Area/s
Art, English Language Arts
Duration
55 minutes
Essential Question
What stories might a work of art generate?
Abstract
Students will compose a collaborative story based on observing Tiepolo’s The Storyteller.
Focus Work of Art
Giovanni Domenico Tiepolo
The Storyteller
Mid 1770s
TEKS Correlations
Art
(3.b.1, 4.b.1, 5.b.1, 6.c.1, 7.c.1, 8.c.1) The student develops and organizes ideas from the environment.
(3.b.2, 4.b.4, 5.b.4, 6.c.4, 7.c.4, 8.c.4) The student makes informed judgments about personal artworks and
the artworks of others.
English Language Arts
(3.b.1, 4.b.1, 5.b.1, 6.b.26, 7.b.26, 8.b.26) The student listens actively and purposefully in a variety of settings.
(3.b.29, 4.b.27, 5.b.27) The student listens and speaks both to gain and share knowledge of his/her own
culture, the culture of others, and the common elements of cultures.
(3.b.23, 4.b.23, 5.b.23, 6.b.22) The student understands and interprets visual images, messages, and
meanings.
(3.b.24, 4.b.24, 5.b.24, 6.b.23) The student analyzes and critiques the significance of visual images,
messages, and meanings.
(3.b.17, 4.b.15, 5.b.15, 6.b.14, 7.b.14, 8.b.14) Students use elements of the writing process to compose text.
(3.b.19, 4.b.17, 5.b.17, 6.b.16, 7.b.16, 8.b.16) Students write about their own experiences.
Learning Outcomes
Students will be able to…
1. Have an interpretive discussion about The Storyteller.
2. Work with their classmates to create a narrative about The Storyteller, based on their observations.
Vocabulary
N/A
Materials
Venetian mask, magnifying glass, or other object which students can hold while they tell their portion of the
story (optional)
Resources
http://collection.blantonmuseum.org (search Tiepolo)
http://www.getty.edu/art/gettyguide/artMakerDetails?maker=787
About the Artwork
On the edge of a Venetian piazza, a cantastorie—a popular storyteller and balladeer—entertains a group
that seems a microcosm of society. The scene appears at first a slice of contemporary life. Underpinning it,
however, are the basic conventions of Venetian decoration from Paolo Veronese through Sebastiano Ricci:
horizontal proportions, a low viewpoint that translates the group into a procession, and a distribution of light
and color that give it structure. Any simple realism is put to further question by the loose brushwork, by the
traces of underdrawing in black, and in general by a display of process that underscores artifice. Ultimately
the picture insists upon its own exquisite fiction, echoing the performance of the cantastorie, enchanting
the viewer as he does his listeners.
Another version of The Storyteller, larger and more even in finish, belongs to a famous series of genre
pictures painted by Giovanni Domenico Tiepolo just after going to Madrid with his father, Giovanni Battista,
in 1762. Some time later Giovanni Domenico revisited the subjects with a cooler palette, more nervous
touch, and greater whimsy. This picture is one of those re-creations. That it was conceived thus, as part of a
personal repertory performance, only multiplies and deepens the ways in which the work is reflexive.
Contemporary and nostalgic, real and artificial, the painting is emblematic of the Venetian school in its
waning moments.
Lesson Components
Introduction to artwork (10 minutes)
Using the same strategy that students learn at the Blanton, invite them to silently LOOK at The Storyteller.
Next, ask students to DESCRIBE what they see. After taking full inventory, students should move on to
ANALYZING the artwork. [As facilitator, the teacher should link observations and descriptions to assist
student analysis.] What do they think is happening here? What clues can they find to determine when this
might have been painted? What title would they give the painting? What story do they imagine is being told?
Finally, students should be asked to RELATE their discussion to their own lives. Have they ever heard
someone tell a story? Where? Who?
Activity (15 minutes)
Explain to students that they are going to make up their own stories about this work of art. These stories
might or might not relate to the conversation they just had. The teacher should provide an interesting story
starter to begin (optional: while speaking, students can hold an object to pass to the next storyteller). Each
student should take a turn adding to the story- the teacher might choose to interject phrases or words at
any point. [If the story is written, model writing skills related to sentence structure, word choice, spelling, and
punctuation.]
Reflection (5 minutes)
How was making up a story about the painting different than analyzing the painting? How was it similar?
Did students have a preference? How can we tell when a story is “finished?”
Assessment
Assess understanding through closely observing student participation.
In Class Extensions
Use this strategy with other images.
Ask students to work in small groups to develop short stories about The Storyteller and present these to the
class.
At Home Extensions
Encourage students to ask their older family members to share their favorite stories. Photos are good story
starters for these conversations. Are there special family stories that might be recorded or written down?
MVP
Between the Lines
Sequence
Post Lesson for Museum Visit 1
Lesson Title
Visual Stories
Grade Level/s
3-8
Subject Area/s
Duration
55 minutes
Essential Question
Can works of art make you feel more than one emotion?
Abstract
Everything… by Robin O’Neil is at once absurdly silly and oddly dreadful. Students will create their own
large-scale collaborative drawings based on silly prompts provided by their teacher. They will consider how
a narrative might be translated into drawing, and the emotions that their story will convey.
Focus Work of Art
Robin O’Neil
Everything that stands will be at odds with its
neighbor and everything that falls will perish without
grace
2003
TEKS Correlations
Art
meanings.
Learning Outcomes
1. Have an interpretive discussion about Everything...
2. Work collaboratively with their classmates to create a visual narrative based on a prompt.
Vocabulary
N/A
Materials
4-6 large sheets of butcher paper (depending on class size)
4-6 story prompts
4-6 buckets or cups of drawing supplies
Set Up
arrange sheets of butcher paper at stations around room
place drawing supplies with butcher paper
place one story prompt at each station
Resources
http://collection.blantonmuseum.org (search O’Neil)
http://en.wikipedia.org/wiki/The_Garden_of_Earthly_Delights
About the Artwork
Over three months, using only pencil and paper, O’Neil crafted an alternate universe whose expansive size,
meticulous detail, and disturbing subject matter have a powerful impact on the viewer. Here a mountainous
landscape sets the stage for an absurdist narrative: slightly overweight men in identical sweatsuits run,
crawl, and fall seemingly without purpose or direction. The composition’s deliberate allusion to
Hieronymous Bosch’s early sixteenth-century altarpiece The Garden of Earthy Delights, as well as the title,
whose cadence recalls Old Testament prophesies of impending disaster, create a strong sensation of
dread.
Lesson Components
Using the same strategy that students learn at the Blanton, invite them to silently LOOK at Everything....
student analysis.] What is silly or absurd about this drawing? What other emotions do you feel when looking at
this? What do you think the artist was trying to accomplish? Finally, students should be asked to RELATE their
discussion to their own lives. Can students think of examples of things that are absurd or silly? How might they
depict them?
Divide class into four to six equal groups and assign to stations. Instruct each group to read the story prompt
at their station. They should talk about the prompt and brainstorm a story. [Teachers can use the ones
provided or create their own.] Elements might evoke more than one emotion, like the drawing by O’Neil.
Students should work collaboratively to think through their composition and what they might draw to relay
their story. They should be respectful of one another’s ideas, artistic style, and personal space.
How was it different to tell a story through pictures than through writing? Was it helpful to work with a
group to do this, or would they prefer to work alone? Why? How did this activity relate to the work by
O’Neil? Did the process assist their understanding of Everything...? Why or why not?
Assessments
As students work, assess their engagement and understanding by asking questions. Students should be
able to describe their story and rationale for what they are drawing.
In Class Extensions
Discuss and compare this work by O’Neil to that of Hieronymous Bosch, The Garden of Earthly Delights.
At Home Extensions
Create a large drawing that tells a silly story with members of your family.
Prompts
She woke up for the first day of school with a mix of
feelings swirling like butterflies in her stomach…
Focused on the finish line, the racers charged
ahead…
They looked back at the house where they had spent
so many birthdays, knowing it would be their last
glance…
“A puppy!” In her excitement Abby forgot about
Sadie…
The frog slowly hopped up to Ruben and stared…
When she started to sing…
MVP
Between the Lines
Sequence
Lesson Title
Everyday Note Cards
Grade Level/s
3-8
Subject Area/s
Duration
55 minutes
Essential Question
How does legibility effect our interaction with a work of art?
Abstract
The students will have an interpretive discussion about For Dorothy on her birthday: to be read from right to
left by Edda Renouf and consider the relevance of legibility. They will come up with a list of objects that they
use everyday and create greeting cards with these objects, paired with phrases in languages other than
their native language. For example, an image of a book might be paired with merci.
Focus Work of Art
Edda Renouf
For Dorothy on her birthday: to be read from right to
left-14.5.'77 forty times
1977
TEKS Correlations
Art
meanings.
Learning Outcomes
1. Have an interpretive discussion about For Dorothy...
2. Use other languages and drawings of objects used every day to create note cards.
Vocabulary
N/A
Materials
Image
3-6 folded blank note cards, any size per student (can be made from card stock or paper)
Word Sheets 1 and 2 (included)
Drawing supplies
Resources
http://collection.blantonmuseum.org (search Renouf)
Lesson Components
Using the same strategy that students learn at the Blanton, invite them to silently LOOK at For Dorothy….
student analysis.] How does knowing the title of this work affect their interpretations? Finally, students should
be asked to RELATE their discussion to their own lives. Have they ever made a card for someone? What was
the occasion? Have they ever given or received a card “just because?”
Warm-up (10 minutes)
In pairs, ask students to discuss what objects they use every day. What function do these objects serve?
What would the students do if they didn’t have these objects available? Ask students to consider the
importance of these things in their every day lives. What would they do if they lost the item?
Pass out 3-6 folded note cards, drawing supplies, and word sheet 1.
Tell students that similar to the work by Edda Renouf, they will be making something that at first, they might
not be able to read. Explain that all of the words on the sheet are in other languages and are translations of
simple English phrases. Ask them to write one phrase on the cover of each of the note cards, leaving room
for a drawing. Once finished, ask the students to recall the objects that they talked about with their partner.
They should illustrate each note card with a simple drawing of each of these objects (one object per note
card). The end result should be a blank note card with a cover that is illustrated with an object and a phrase
in a language other than English. When students are finished illustrating their cards, pass out word sheet 2
and let them look up the translation that corresponds to their phrase. How does the phrase they chose
force a connection to the object they drew?
Who might students give these cards to? Can note cards be given for every day reasons and occasions?
How did they feel about writing in a language that they did not know? Were there any surprises when they
translated their phrase and compared it to their object? Were there languages that were familiar to
students? Which and why? What language/s do they speak at home with their families? Have any of the
students needed to learn a different language? What was the experience like?
Assessments
Assess student comprehension throughout the lesson by asking clarifying questions and checking for
understanding.
In Class Extensions
As a class, continue learning phrases in new languages. Continue to talk about student experiences with
learning a new language.
At Home Extensions
Make greeting cards with and for family members. Do this for everyday occasions and activities.
Word Sheet 1
Furaha ya kuzaliwa- Swahili
Saeng-il chukha hamnida- Korean
Joyeux anniversaire- French
Doğum günün kutlu olsun- Turkish
Tsnundd shnorhavor- Armenian
Danke -German
Tack- Swedish
Salamat- Filipino
Arigatou gozaimasu- Japanese
Prego- Italian
Cảm ơn bạn- Vietnamese
Dankie- Afrikanns
Merci- French
Terima kasih- Indonesian
Kor-Tod-Thai
Mi Dispiace- Italian
Lo Siento- Spanish
Ek is Jammer- Afrikaans
Mian haeyo- Korean
Yoi shigoto- Japanese
Hǎo gōngzuò- Chinese
Bon travay- Haitian
Acchā kāma- Hindi
Buen trabajo- Spanish
Word Sheet 2
Happy Birthday
furaha ya kuzaliwa- Swahili
saeng-il chukha hamnida- Korean
Joyeux anniversaire- French
Doğum günün kutlu olsun- Turkish
Tsnundd shnorhavor- Armenian
Thank you
Danke -German
Tack- Swedish
Salamat- Filipino
Arigatou gozaimasu- Japanese
Prego- Italian
Cảm ơn bạn- Vietnamese
Dankie- Afrikanns
Merci- French
Terima kasih- Indonesian
I’m Sorry
Kor-Tod-Thai
Mi Dispiace- Italian
Lo Siento- Spanish
Ek is Jammer- Afrikaans
mian haeyo- Korean
Good job
Yoi shigoto- Japanese
Hǎo gōngzuò- Chinese
bon travay- Haitian
Acchā kāma- Hindi
buen trabajo- Spanish
MVP
Between the Lines
Sequence
Lesson Title
Memory Statements
Grade Level/s
3-8
Subject Area/s
Duration
55 minutes
Essential Question
How can we use images and text to illustrate a memory of something we have learned?
Abstract
The students will have an interpretive discussion about one of five prints from Enlightenment #4 by Celia
Munoz. After analyzing the relationship of the text and image in her work, they will compose personal
statements that will be juxtaposed with found images.
Focus Work of Art
Celia Alvarez Munoz
Enlightenment #4: Which Came First?
1982
Five color photographs, letterpress on rag paper, &
graphite in curly maple box
TEKS Correlations
Art
meanings.
Learning Outcomes
1. Recall a memory of something that was challenging for them to learn.
2. Translate their memory into a work of art using text and image.
Vocabulary
N/A
Materials
Image
Drawing paper
Lined writing paper
Scissors
Glue
Pencils and other drawing supplies
Found images (If using photographs from students, collect in advance). Use magazines and printouts from
images online for other sources.
Resources
http://collection.blantonmuseum.org (search Celia Munoz)
About the Artwork
One of the leading Latina Conceptual artists in the United States, Celia Alvarez Muñoz is an ingenious
strategist who exploits the full effects of the words and images she employs in her elegant and spare photobased works. Asking questions about the borderlines of personal and cultural identity, and playing with the
puns and double entendres of the English/Spanish language dance in Mexican American culture, each of
the ten works in her Enlightenment series tells a visual/verbal story that seems part joke and part confession,
ultimately calling into question how we acquire wisdom and what we choose to do with it.
Comprising multiple panels of photographs and text encased in a custom-made box (or exhibited on the
wall or in a vitrine), these “bookworks” draw on fuzzy memories of childhood for their unexpectedly witty
parables. Examining language as a key to knowledge and denoting its specific complexities for bilingual
youth, Muñoz traces the circuitous paths of the routine lies that pass between adults and children. Her
gently probing work makes us aware of the paradox of viewing photographs, reading literature, or
depending upon any art form to convey truths about the past or the present.
Lesson Components
Using the same strategy that students learn at the Blanton, invite them to silently LOOK at Enlightenment
#4. Next, ask students to DESCRIBE what they see. After taking full inventory, students should move on to
student analysis: Share information contained in About the Artwork section. Let students know that the
statements in Enlightenment #4 are from the artist’s memory of her childhood.] How do the two statements
relate to the image Munoz chose? How do the two sentences relate to one another? What message do they
think is the artist trying to convey by juxtaposing these statements with the image of chicken eggs? How does
knowing this work is contained in a handmade box with four other similar works contribute to their
interpretation? Finally, students should be asked to RELATE their discussion to their own lives. Can students
relate to this image? How and why?
Warm-up (5 minutes)
Working in pairs, ask students to share a memory about something that was challenging for them to learn.
When was this? What things do they associate with this memory? For example, if the student knows how to
skateboard, learning to ride it might be the memory they share and the object related might be the
skateboard, helmet, pads, or street. If the student was shy and learned how to talk in front of a crowd, they
might associate a room full of people or a stage with their memory.
1. Ask students to choose an image that evokes the memory they discussed during the warm-up.
They can also think of a different memory, if they find an image that is relevant to something else. If
students do not find an image or have an old photo to share, they might instead choose to illustrate
their memory.
2. Once images have been selected, ask students to glue it to their drawing paper (anywhere).
3. They should then write a sentence or two describing their memory. They can use the lined paper, if
they wish.
Do a gallery walk around the classroom to observe the artwork created. Discuss similarities and differences
among the memories recorded with students. What did they learn by doing this project?
Assessments
understanding.
In Class Extensions
Invite students to create a series of these works to turn into a book.
At Home Extensions
Discuss memories of learning with family members. If family members speak a language other than English,
talk with them about their experience learning English.
MVP
Between the Lines
Sequence
Lesson Title
Abstracted Architecture
Grade Level/s
3-8
Subject Area/s
Duration
55 minutes
Essential Question
What is revealed through close looking?
Abstract
Students will view New York at Night by Max Weber and discuss. They will compare this image to
photographs of famous skylines and discuss similarities and differences. Students will then play with paper
shapes to create a skyline.
Focus Work of Art
Max Weber
New York at Night
1915
TEKS Correlations
Art
meanings.
Learning Outcomes
1. Create a cityscape from paper shapes.
2. Use the vocabulary term abstract correctly.
Vocabulary
Abstract: Artwork in which the subject matter is stated in a brief, simplified manner. Little or no attempt is
made to represent images realistically, and objects are often simplified or distorted.
Materials
Image
Construction paper (for cutting and one piece per student for backing)
Paper scraps
Scissors
Glue
Images of city skylines (printed out for picture pass)
Resources
http://collection.blantonmuseum.org (search Max Weber)
http://travel.cnn.com/explorations/play/worlds-top-20-skylines
http://www.weather.com/travel/hit-the-road/top-us-skylines
About the Artwork
Max Weber was one of the first American artists to fully synthesize the principles of European modernism
and adapt them to a specifically American subject matter. Well acquainted with the debates and practices
of Gertrude Stein, Pablo Picasso, Henri Matisse, Henri Rousseau, and other leading European artists and
intellectuals whom he met while living in Paris, Weber helped introduce their avant-garde ideas to artists
working in the United States when he returned to New York.
His own influential pulpit was Alfred Stieglitz’s journal Camera Work. In its pages he proposed his most
important concept, the notion of a fourth dimension, or the extension of space into another realm beyond
the three dimensions of the visible world. His speculative ideas found clear expression in the paintings he
executed around 1910, which incorporated representations of movement and time.
New York at Night, completed five years later, reduces his impressions of time and place to a basic
vocabulary of colorful geometric shapes and intersecting planes seen from multiple perspectives and
enhanced by illusions of motion and reverberating sound. In works like this, Weber conveyed the speed, the
action, and the dynamic energy of the city more abstractly than ever before in American painting.
Lesson Components
Using the same strategy that students learn at the Blanton, invite them to silently LOOK at New York at
Night. Next, ask students to DESCRIBE what they see. After taking full inventory, students should move on to
student analysis.] How does Weber capture a cityscape without painting something realistic? [Introduce term
abstract.] Finally, students should be asked to RELATE their discussion to their own lives. Can anyone recall
a trip to Austin (possibly while visiting the Blanton) and its skyline? How does it compare to New York at
Night? Have students traveled to other cities? If so, which?
Warm-up (10 minutes): Picture Pass
Print out images (1 per 2 students) of famous skylines. Give every 2 students one picture to look at. They
should view for a few seconds and then pass their image to the next set of students. The picture pass is
complete when all students have viewed the images. [The teacher might want to point out different
architectural elements and building shapes.]
1. Pass out supplies, leaving cityscapes on tables for reference. Ask students to first play with the
various shapes they have available from the paper scraps. What type of cityscape can they
configure?
2. Students can cut additional shapes from construction paper to use in their cityscape. Once
students are satisfied with their compositions, they can glue their cityscape onto the large sheet of
paper.
Do a gallery walk to view each student’s work. Discuss how students manipulated their shapes to create an
abstract cityscape. Note examples of simplification and distortion and the resulting effect.
Assessments
understanding.
In Class Extensions
Create a self-portrait or still life using this same strategy. Make three versions moving from more naturalistic
to more abstract.
At Home Extensions
Talk with family members about cities they have visited. What were they like? How do these cities compare
to where they live now?
MVP
Between the Lines
Sequence
Lesson Title
Surprising Silhouettes
Grade Level/s
3-8
Subject Area/s
Duration
55 minutes
Essential Question
How can we create works of art that are surprising?
Abstract
Students will create silhouettes in the style of Wangechi Mutu, continuing their exploration of how images
create subtext, and of collage.
Focus Work of Art
Wangechi Mutu
Untitled (face looking left)
2004
TEKS Correlations
Art
meanings.
Learning Outcomes
SWBT…
1. Create a silhouette that incorporates a similar method as used by Wangechi Mutu.
2. Articulate a rationale for the images they chose to use within their portrait.
Vocabulary
Silhouette: a picture of something showing it as a dark shape on a light background; especially : such a
picture showing a person's face from the side
Juxtapose: to place (different things) together in order to create an interesting effect or to show how they
are the same or different
Materials
2-3 copies per table of Untitled (face looking left)
Large sheet of paper
Pencils
A white wall and lamp to cast silhouette shadow
Tape
Charcoal
Magazine images
Scissors
Glue
Resources
http://collection.blantonmuseum.org (search Mutu)
http://wangechimutu.com/art/on-paper
About the Artwork
A disturbing subtext underlies Wangechi Mutu’s beguiling work. Violence and brutality, not to mention
graphic sexuality, haunt these two images of what appear, from a distance, like elegant, slightly abstracted
depictions of glamorous women. This tension between beauty and horror results in large part from the
diverse array of materials that Mutu employs. From fashion, pornographic, and ethnographic magazines as
well as books on aerial photography, Mutu collects, crops, and assembles found photographs,
supplementing them with layers of ink and acrylic to create highly personalized and strongly politicized
images of the female form. Mutu’s half-human, half-monsters address such charged issues as gender
relations, feminine beauty, and social and ethnic conflict in Africa.
Lesson Components
Using the same strategy that students learn at the Blanton, invite them to silently LOOK at Untitled (face
looking left). Next, ask students to DESCRIBE what they see. What do they discover with close observation?
After taking full inventory, students should move on to ANALYZING the artwork. [As facilitator, the teacher
should link observations and descriptions to assist student analysis. Information shared about Mutu (as
described in About the Artwork) should be at the teacher’s discretion and age-appropriate.] Why do they
think the artist is working in this style? Finally, students should be asked to RELATE their discussion to their
own lives. [Explain to students that they will be creating portraits in the style of Mutu.]
1. Pass out collage materials and have students sort through to find images for their artwork.
2. Pass out large drawing paper and pencils. Have students work in twos to draw each other’s
silhouette. To do this, one student should tape their large white paper to the wall and either sit or
stand in a position against the light that casts a shadow. Students might choose to trade their
drawings so that they may create their artwork using their own silhouette. [Depending on
classroom set up, 4-8 students can be tracing silhouettes at a time.]
3. Once silhouettes have been traced, ask students to begin arranging and cutting the magazine
images to form parts of the portrait (eyes, chin, skin, hair, etc.). They should not glue these images
yet.
4. Next, students should apply charcoal to their silhouette. They can blend and smudge the charcoal,
and also add designs, creating an effect similar to that in Mutu’s work.
5. Pass out glue for the collage elements to be tacked down on top of the charcoal portrait.
6. Students might wish to return to the portrait with charcoal for final details and shading.
Do a gallery walk to view each student’s work and discuss. What was successful about this project? What
would they do differently next time? How did working in the style of an artist assist their understanding of the
artwork?
Assessments
understanding.
In Class Extensions
Create a landscape using this same strategy.
At Home Extensions
What kind of collage can students create from magazines and newspapers at home?

Between the Lines Curriculum

Transkript

Benzer belgeler

buldan chamber of commerce

Resolving Ambiguities to Create a Natural - Design Rationale