Developmental Rationale
The theme of transition and individual identity presented in this lesson relates to the various changes children of this age are experiencing. Eighth grade is a pivotal time for students as they are preparing to enter high school, gaining independence and shedding parts of their individual self concept that are tied more closely to childhood. George (1992) suggests that curriculum themes should relate to both students personal concerns and larger social concerns (p. 11). This lesson encourages students to locate their current personal changes and simultaneously envision their place in the changing world and future. This lesson structures the investigation of transition by using a problem posing stance that encourages, as Penisi (2013) states, “Students to see the content of their curriculum as a means to use art to confront real-life issues, not as simply manipulating art materials to solve pre-set visual design problems” (p.132). Their work will be nonrepresentational and students will use the elements and principles of design to structure a composition that will reflect this investigation. Through this method of expression, the lesson allows students to reflect on very personal issues and create work that is also deeply subjective. Wood (2007) states that children of this age are often afraid of revealing too much at a risk of becoming vulnerable to peer judgment. By exploring these concepts through nonobjective representations, students can feel comfortable truly expressing themselves in a way that won’t subject them to ridicule from their peers.
In the art classroom students of this age are looking to use techniques that are appropriately challenging. This lesson will require students to think abstractly at a high level, requiring them to act both intuitively and with strategic purpose simultaneously. Once their expressive paintings are created, the projection process requires students to evaluate their composition and make selections to omit or change details to create a complex negative space silhouette. Projections and large-scale silhouettes are techniques that give the students variety that will stimulate interest throughout the lesson. The completed silhouette will be hung in an installation so that each work can be viewed in the round. This method of display will give the students additional variety and expose them to a type of art that is often absent in school curriculum.
In the art classroom students of this age are looking to use techniques that are appropriately challenging. This lesson will require students to think abstractly at a high level, requiring them to act both intuitively and with strategic purpose simultaneously. Once their expressive paintings are created, the projection process requires students to evaluate their composition and make selections to omit or change details to create a complex negative space silhouette. Projections and large-scale silhouettes are techniques that give the students variety that will stimulate interest throughout the lesson. The completed silhouette will be hung in an installation so that each work can be viewed in the round. This method of display will give the students additional variety and expose them to a type of art that is often absent in school curriculum.
Rationale of This Lesson
This lesson provides an opportunity for students to synthetize the various things they are feeling and convey them as a form of release. The topic of transition is appropriate for adolescent students who are experiencing very complex emotions. Nonobjective representations allow students to feel as though their ideas can be communicated successfully to the viewer without the burden of creating precise realism. Additionally, it provides students with an opportunity to demonstrate concepts they may struggle to verbalize or represent in other ways. Lowenfeld (1987) states children of this age will be critical of drawings that, “Do not live up to their own interpretation of what is real” (p. 324). The various techniques used throughout the lesson demonstrate to the students that other forms of making beyond realistic drawing qualify as successful art making. If students are to continue creating beyond the middle adolescent years they need to see that there are many iterations to making artwork that is meaningful.
When we view a work of art, our mind is working not only within the work itself, but drawing from a vast array of previous experiences and knowledge to formulate new understandings based on the occurring experience. Freedman (2003) states, “Research indicates that an understanding of context is a higher level of thinking than student achieve when instructed in only studio techniques and processes” (p. 54). Through the process of a conceptually based lesson, students will be guided to synthesize complex experiences, and translate these discussions into making. By incorporating investigations into nonobjective and abstract art, students may begin to understand how to approach deconstructing an image. Students will see how abstract artworks are be imbued with deliberate consideration. Seeing themselves and their interests reflected in a lesson creates a connection with an individuals lived experience. Facilitating complex conceptual discussions sets a foundation of knowledge that can be built upon and revisited throughout curriculum.
When we view a work of art, our mind is working not only within the work itself, but drawing from a vast array of previous experiences and knowledge to formulate new understandings based on the occurring experience. Freedman (2003) states, “Research indicates that an understanding of context is a higher level of thinking than student achieve when instructed in only studio techniques and processes” (p. 54). Through the process of a conceptually based lesson, students will be guided to synthesize complex experiences, and translate these discussions into making. By incorporating investigations into nonobjective and abstract art, students may begin to understand how to approach deconstructing an image. Students will see how abstract artworks are be imbued with deliberate consideration. Seeing themselves and their interests reflected in a lesson creates a connection with an individuals lived experience. Facilitating complex conceptual discussions sets a foundation of knowledge that can be built upon and revisited throughout curriculum.
Background of the Topic
Abstract expressionism is the first art movement that America claims as it’s own. It signified a major shift in the way that art was produced. The form emerged in response to the tumultuous political and social changes that were occurring in the 1940s and continued well beyond the post war era. Abstract nonobjective artworks pioneered a technique of expression that transcends verbal and textual communication. The abstract expressionist movement is a key component of the dominant western cannon of art history. This shift in style also displays how changes in society are reflected in artistic practice. Abstract expressionist artists, such as Mark Rothko or Adolph Gottleib, discuss their images as much more than colors on a canvas. Rothko states that his works address the condition of man, while Gottleib attempted to convey the complexity of life through the use of colors and space (theartstory.org, n.p.). Demonstrating that abstract works are actually conceptual and complex brings meaning to their use in the classroom.
Building upon an understanding of the development of this style of work is pivotal to also understanding contemporary fine art and visual culture. Freedman states, “Many contemporary artists depend on multiple readings developed through the circumnavigation of time/space, resulting in layered meanings that are accessed as a result of the past experience of viewers who have experiences a wide range of visual culture”(p. 59). An understanding of how complex concepts are conveyed through nonobjective means is the foundation for developing conceptual artwork. Students can translate these skills throughout their lives to better understand the world and continue to look deeply into themselves and their experiences.
Building upon an understanding of the development of this style of work is pivotal to also understanding contemporary fine art and visual culture. Freedman states, “Many contemporary artists depend on multiple readings developed through the circumnavigation of time/space, resulting in layered meanings that are accessed as a result of the past experience of viewers who have experiences a wide range of visual culture”(p. 59). An understanding of how complex concepts are conveyed through nonobjective means is the foundation for developing conceptual artwork. Students can translate these skills throughout their lives to better understand the world and continue to look deeply into themselves and their experiences.
References:
Freedman, K. (2003). Teaching Visual Culture: Curriculum, Aesthetics, and the Social Life of Art. Teachers College, Columbia University.
George, P.S. (1992). The Middle School and Beyond. Association for Supervision & Curriculum Development.
Lowenfeld, V., & Brittain, W. L. (1964). Creative and mental growth. New York: Macmillan.
Pennisi, A.C. (2013). Negotiating to engagement: Creating an art curriculum with eighth-graders. Studies in Art Education, 54(2), 127-
140.
Wachowiak, F. (1977). Emphasis, art: A qualitative art program for the elementary school. New York: Crowell.
Wood, C. (2007). Yardsticks: Children in the classroom ages 4-14. Turner Falls, MA: Northeast Foundation for Children.
Freedman, K. (2003). Teaching Visual Culture: Curriculum, Aesthetics, and the Social Life of Art. Teachers College, Columbia University.
George, P.S. (1992). The Middle School and Beyond. Association for Supervision & Curriculum Development.
Lowenfeld, V., & Brittain, W. L. (1964). Creative and mental growth. New York: Macmillan.
Pennisi, A.C. (2013). Negotiating to engagement: Creating an art curriculum with eighth-graders. Studies in Art Education, 54(2), 127-
140.
Wachowiak, F. (1977). Emphasis, art: A qualitative art program for the elementary school. New York: Crowell.
Wood, C. (2007). Yardsticks: Children in the classroom ages 4-14. Turner Falls, MA: Northeast Foundation for Children.