Collage & AssemblageCarlie Marsh & Katie Horechka

Grade 10 Art

ART: Stage 1 – Desired Results

Established Goals TRANSFER GOAL

Students will:

Learn the importance of color and value in composition.

Learn the importance of positive and negative space in 2D & 3D forms.

Create juxtapositions with collage.

Learn the importance of simplifying, exaggerating, and rearranging images in order to create compositions.

Know what collage and assemblage art is.

Understand that different materials produce different intended effects.

Be able to simplify forms.

Understand the concepts of juxtaposition, composition, and intertextuality.

Learn to manipulate audience interpretations of artwork through manipulating elements of design.

Understand the difference between literal and ambiguous interpretations.

Understand that it is human condition to search for meaning and create narratives from images.

Create narratives based on images they have encountered.

Learn that individual interpretations of artworks vary.

Students will understand the concepts of juxtaposition, composition, and intertextuality by using color, value, positive/negative space, and various materials to create collage/assemblage pieces.

MEANING

Enduring Understandings:

Students will understand

U1 – Key terms of: collage, assemblage art, symbolism, literal vs. ambiguous interpretations and narratives, with an emphasis on juxtaposition and intertextuality.

U2 – How the concept of juxtaposition works to send messages to an audience, specifically that the artist can control this factor.

U3 – How the individual elements of design work together to create a composition by experimenting with color, value, positive/negative space, simplification/exaggeration of images, juxtaposition, and various materials.

U4 – The human tendency to create narratives in an endless search for meaning by both interpreting images for messages and creating images that contain messages.

Essential Questions:

Students will keep considering…

Q 1 – What is the value of juxtaposition by design?

Q2 – Why do we create art for art’s sake?

Q3 – How many different ways could you use juxtaposition for arts sake?

Q4 – Do artists embrace ambiguity in terms of inviting the audience to interpret, or are they trying to send specific clear messages?

Q5 – To what extent are images universal?

What does this say about individual interpretation?

What does this say about the way that people consume music and art?

What does this say about the human condition?

Q6 –What is the purpose of art?

Q7 – What is the artist’s intention with their art?

Q8 – How might the human condition of searching for meaning affect an artist's choice of materials/processes?

Q9 – How might the human condition of searching for meaning affect the artist's choice in simplifying, exaggerating or rearranging images in their collages?

ACQUISITION OF KNOWLEDGE & SKILLS

Students will know…

Individual interpretations of artworks vary.

It is human condition to search for meaning and create narratives from images.

The difference between literal and ambiguous interpretations.

The concepts of juxtaposition, composition, and intertextuality.

Different materials produce different intended effects in artworks.

The definitions of collage and assemblage art.

The importance of simplifying, exaggerating, and rearranging images in order to create compositions.

The importance of color and value in composition.

The importance of positive and negative space in 2D & 3D forms.

Students will be skilled at…

Using juxtaposition to create relationships in a work of art.

Simplifying images down to their basic elements.

Using different materials to create different effects in artworks.

Manipulating audience interpretations of artworks via manipulating design elements in compositions.

STAGE 2 – Evidence

Evaluative Criteria

Performance is judged in terms of:

Small group critiques, written/oral self-reflections, a collage/assemblage performance task, their sketchbook assignment performance task, and participation in group discussion.

Assessment Evidence

Students will need to show their learning by:

Small group critiques, written/oral self-reflections, a collage/assemblage performance task, their sketchbook assignment performance task, and participation in group discussions.

Participation: class discussions, project work, sketchbook assignments, peer critiques, written/oral responses/interpretations.

Understanding: proper use of juxtaposition by design, insightful responses/interpretations, correct analysis of literal/ambiguous messages.

Transfer Task: students will show their learning by applying new concepts to their interpretations of images, videos, music, text, and artwork, applying the elements of composition to their final projects, group discussion about key terms and concepts introduced, insightful comments in peer critiques and in self-reflections.

Unit SummaryThis unit is a disciplinary unit about collage and assemblage art that centers around the concepts of juxtaposition and it’s relation to composition and intertextuality. The lessons provide a foundational structure to understanding how messages, visual relationships, and narratives are created through juxtaposition in composition. Students will be exposed to various collage artists (both male and female, traditional and contemporary) such as the likes of Joseph Cornell, Eileen Agar, Carl Beam, Pablo Picasso, and Joane Cardinal Schubert. Students will apply their knowledge by practicing simplifying images and creating examples of juxtaposition by design using small thumbnail sketches. They will also practice analysis skills in interpreting the messages of several images, pieces of music, and artworks. At the end of the unit, students will apply their knowledge of the elements of collage and composition by creating a collage or assemblage artwork that is themed around a personal or political message. Finally, students will critique each other’s work and see whether or not they were

successful in the transfer of their crafted messages. This unit addresses the conceptual, affective, and psychomotor domains in the following ways:

Conceptual Domain: students will be able to…

Understand what collage and assemblage art is. Distinguish differences between literal and ambiguous interpretations. Understand the concepts of juxtaposition, composition, and intertextuality. Observe that individual interpretations of artworks vary. Understand the importance of positive and negative space in 2D & 3D forms. Evaluate their own work and conceptualize ways of improving it.

Affective Domain: students will be able to…

Discuss that individual interpretations of artworks vary. Observe that different materials produce different intended effects. Demonstrate that it is human condition to search for meaning and create narratives from images. Manipulate audience interpretations of artwork through manipulating elements of design.

Psychomotor Domain: students will be able to…

Create juxtapositions with collage. Create narratives based on images they have encountered. Simplify, exaggerate, and rearrange images in order to create compositions. Demonstrate their understanding of color and value in composition.

Unit RationaleThis lesson package for collage and assemblage art works well for grade 10 students as it outlines the role of the audience as well as the artist, which is a concept that older students should begin focusing on in their art practices in order to move away from egocentricity. Furthermore, understanding that the nature of art can be both personal and political is a transferable skill for students into real life where they are constantly bombarded with advertising and hidden messages. This observation of hidden messages will teach students analysis skills that will serve them well in any aspect of life whether it be post-secondary school or the world of work because it teaches them how to have an eye for detail, that individual interpretations vary, and that the universality of images is not always set in stone. Students will learn the difference between art for art’s sake and art as a narrative, which is an important concept of the Fine Arts. Students will build on previous compositional understandings by learning how to manipulate compositional elements in order to communicate with an audience. All of these abilities are foundational skills for problem solving and communication. Encounters used in this class vary between male and female artists and traditional and contemporary artists in order to be gender and age inclusive. The musical pieces used for analysis are either contemporary or based on pre-assessment inventories to stay up to date with popular culture and to consider student interests. This unit includes the following teaching strategies: addressing key vocabulary, using visual/auditory/written exemplars, observing/analyzing artist encounters, engaging in group discussion for analysis, and self/peer critiquing practice.

Lesson Summaries

Lesson One: Juxtaposition by Design & Art for Art’s Sake. In this lesson students will explore the term “juxtaposition” and create a series of thumbnail sketch pairs that juxtapose two elements of design. They will deduce each drawing in their pair from an image in real life that they have simplified down to the bare elements. In previous lessons, students would have learned about the elements of composition, such as positive and negative space, movement, unity, patterns, and focal points. Students will also have likely encountered many different types of artworks but probably not have been introduced to the concept of art for art’s sake vs. art as a narrative, this lesson will begin to bridge that gap by explaining the difference between the two and then by diving into each one separately. This lesson explores the different ways in which we can create juxtaposition by design within a collage. By completing the thumbnail sketchbook assignment, students will begin to have an eye for color relationships, material relationships, and space relationships within compositions. Students will have also begun to learn about the human condition of searching for meaning. Language used in this lesson includes: simplification, warm/cool colors, organic/geometric design, collage/assemblage art, juxtaposition by design, and juxtaposition by meaning.

Lesson Two: Juxtaposition by Meaning & Art as a Narrative. In this lesson students will extend their knowledge of juxtaposition by design into juxtaposition by meaning. Students will interpret the messages and relationships conveyed in music, writing, videos, images, and artwork, and will understand that artists must consider the audience and the way that the audience will interpret their artwork when partaking in the art-making process. Students will learn that individual interpretations vary and that images may only be universal to an extent. Students will also learn that it is the human condition to search for meaning in everything and to create narratives. By the end of the lesson, students will have begun to build critical analysis skills as consumers of artworks. Students will use their previous knowledge of juxtaposition by design to see how each of the basic compositional elements affects the message that the author sends to his or her audience. Language used in this lesson includes: symbolism, intertextuality, metaphor, simile, hidden text, literal, ambiguous, interpretation, narrative.

Lesson Three: Creating a Collage/Assemblage Artwork & Artist as Manipulator. In this lesson students will form a personal or political message and then deliver it either literally or ambiguously through the means of a collage or assemblage artwork. At the end of the lesson students will recall their intentions of their creations and then hold peer critiques of each other’s artworks to deduce whether they were successful with their messages or not. Students will submit written rationales and written self-reflections in with their finished artworks to be marked by the teacher. The key concept of this lesson is practicing being the artist as manipulator; students will walk away with the understanding that the artist can use elements of composition and design in order to manipulate the message that the audience receives. Language used in this lesson includes: personal and political.

Evaluation. Students will be assessed on a large-scale collage/assemblage art project, a sketchbook assignment, art critiques, and their artwork interpretations over the course of the unit. Each activity, discussion, and project provides scaffolding for the next lesson in sequence. Students are formatively assessed using observation of discussion/critique participation, conversation about art/key concepts, and the performance tasks of their sketchbook assignment and final collage/assemblage project. While the sketchbook assignment is quite structured, the written pieces throughout the unit are set up to be mainly free-write activities, and the final project is very much open for students to run with and explore. Each assignment gives students the opportunity to

think about what changes they might make to their artwork and to consider the why’s and what if’s of each concept. The majority of the assessment pieces are not summative but instead are used “for” student learning and for the teacher to inform their own teaching practice.

Annotated BibliographyDigby, J., & Digby, J. (1985). The collage handbook. New York, N.Y.: Thames and Hudson.

This was a valuable resource to our lesson planning because it is chock-full of examples of collages and even gives a history of collage as it began as an “ornamentation of text” in poetry. We ended up using some of the collage examples from this resource directly in our unit planning, specifically Picasso’s “Bottle of Vieux Marc, Glass, Guitar and Newspaper (1913)”. Another useful aspect of this resource is that it considers collaging materials in great detail (ex. Treatment of papers, adhesives, and tools) which would be helpful for doing demos.

Best, E., & Hope, T. (2012, November 29). Without An Audience, It Can't be Art! Retrieved February 23, 2015, from http://trulyfreefilm.hopeforfilm.com/2012/11/without-an-audience-it-cant-be-art.html

This was a valuable article because, although it was not specifically about collage, it did address the component of the audience in art-making which is not always considered in art classes (especially at a grade-school level). Since the framework of our unit plan is centered on communication with an audience, this article was helpful in shedding some light on the history of art-making. I liked this article because it also pointed out that the audience typically only gets to see the product of an artist’s labors and are not present for the creation of the artwork itself – this is something to consider in art critiques.

Davies, A. (2011). Making classroom assessment work (3rd Ed.). Courtney, BC: Connections Publishing.

This was a valuable resource because it helped us to focus on emphasizing assessment for learning rather than assessment of learning in our unit planning. We really wanted to drive home the message to students that the point of the art classroom is to practice and improve their art skills and to help each other transform into better artists, therefore we have given plenty of opportunities for students to go back to their artworks and to reconsider their art-making choices and processes and to think critically about changes they could make in order to improve their outcomes and to better align themselves and their work with their intentions.

Collage & Assemblage Art Unit: LESSON ONELesson Title: Juxtaposition by Design & Art for Art's Sake

Teachers: Carlie Marsh & Katie HorechkaDate: February 25, 2015

Grade/Subject: Grade 10 ArtClass Length: 60 minutes

LEARNING OUTCOMESGLO COMPOSITIONS:

Components 1: Extend their knowledge of and familiarity with the elements and principals of design through

ENCOUNTERS: Sources of Images: Investigate the process of abstracting form from a source in

COMPOSITIONS: Organizations 1: Experiment with various representational formats.

COMPOSITIONS: Components 2: Solve teacher-directed problems of unity and emphasis in creating compositions.

practice in composing 2D & 3D images.

order to create objects and images.

SLO A. Color and value concepts are important components of an artist’s compositional skill.

B. Positive and negative space are essential to the description of two- and three-dimensional forms.

A. Artists simplify, exaggerate and rearrange parts of objects in their depictions of images.

A. Various materials alter representational formats and processes used in achieving certain intended effects.

A. Compositions use positioning and grouping of subjects for different meanings and emphasis.

Learning Objective

1. Students understand the importance of positive and negative space in 2D & 3D forms.2. Students understand the importance of color and value in composition.

1. Students understand the importance of simplifying, exaggerating, and rearranging images in order to create compositions.2. Students understand how to simplify forms.

1. Students understand that different materials produce different intended effects.

1. Students understand what collage and assemblage art is.2. Students understand how to create juxtapositions with collage.3. Students understand the concepts of juxtaposition, composition, and intertextuality.4. Students understand how to manipulate audience interpretations of artwork through manipulating elements of design.5. Students understand the difference between literal and ambiguous interpretations.6. Students understand that it is human condition to search for meaning and create narratives from images.7. Students understand how to create narratives based on images they have encountered.8. Students understand that individual interpretations of artworks vary.

ASSESSMENT METHODSPERFORMANCE TASK Students will complete a sketchbook assignment that shows they are able to simplify multiple images to create multiple

juxtaposition thumbnails based off of simplified image design elements (color/value, +/- space, material, etc…).CONVERSATION -OBSERVATION -

KEY QUESTIONS What is the value of juxtaposition by design? Why do we create art for art’s sake? How many different ways could you use juxtaposition for arts sake?

ENCOUNTERS & RESOURCES

Joseph Cornell Eduardo Paolozzi Hannah Hoch Kurt Schwitters Raoul Hausmann Man Ray Eileen Agar Nancy Spero

John Stezaker Jesse Treece Annegret Soltau

MATERIALS & SET UP Provide magazines, internet access, etc… as resources for students to find images. Students may also use phones to take their own photos

to draw from. Collect and display exemplars of juxtaposition by design images on the Smartboard. Students will need their sketchbooks, paper for writing their responses, scissors and gluesticks (if cutting images from magazines), rulers,

and drawing pencils. Individual manila folders for each student to keep an ongoing resource portfolio for collecting images.

PROCEDUREINTRODUCTION TIME

AGENDA 1. Comparison & Juxtaposition2. Key Terms3. Juxtaposition by design4. Sketchbook assignment5. Closure

20 min

PREASSESS -HOOK Have a bag of objects and hold two objects up at a time asking them to compare what you are holding. After

going through a few objects, talk about the definition of juxtaposition and that juxtaposition is the key to collage and assemblage art, which is the next unit we will be starting. Transition into talking about the key terms. Then discuss what juxtaposition by design means vs. juxtaposition by meaning. Today we will be purely focused on juxtaposition by design, next class we will move into juxtaposition by meaning. Ask students when and why we might create art for art’s sake. Ask them what the value of juxtaposition by design is. Go thru encounters images and talk about the basic elements that are juxtapositioned in each artwork.

KEY TERMS Collage: a work of art that is made by attaching pieces of different materials to a flat surface; a combination or collection of various things.

Assemblage: consists of making 3D or 2D compositions by putting together (assembling) found objects.

*The important thing to know about assemblage is that it is "supposed" to be three-dimensional and different from collage, which is "supposed" to be two-dimensional (though both are similarly eclectic in nature and composition). But! There's a really fine, nearly invisible line between a bulky, multi-layered collage and an assemblage done in extremely shallow relief. In this large, grey area between assemb- and col-, the safest course is to take the artist's word for it.

Types of Collage/Assemblage: music (mashup), drawing, digital photo, mosaic, photo, magazine, typographic, painting, fabric, multimedia, decoupage (the technique of using cut-outs of paper, linoleum, plastic, or other flat materials and then gluing them to a surface and covering them with lacquer or varnish. Can include adding many copies of the same image/cut layered to a certain depth).

Juxtaposition: the fact of two things being seen or placed close together with contrasting effect. Warm Colors: hues from red through yellow, browns and tans included. Cool Colors: hues from blue green through blue violet, most grays included. Organic Design: Of, relating to, or derived from living organisms. Geometric Design: of or relating to geometry, or according to its methods. Simplification: to make simple or simpler; to reduce to basic essentials. Art for Art's Sake: the beauty of the fine arts is reason enough for pursuing them — that art does not

have to serve purposes taken from politics, religion, economics, etc… Juxtaposition by Design: placing two images/objects side by side in order to imply a comparison of

their basic design elements such as color, +/- space, value, texture, material, line, shape, etc… Juxtaposition by Meaning: placing two images/objects side by side in order to imply a relationship or

narrative between the two. This implication may be obvious (literal) or ambiguous.BODY TIME

LEARNING ACTIVITY 1 Students will create a series of juxtaposition thumbnail pairs in their sketchbooks that look at elements of design: materials, colors, line, value, texture, +/- space, organic/geometric design, etc... For each thumbnail pair, students will choose from the provided resources 2 images that they find interesting and then they will simplify each of them down to one basic element (both images in a pair must be simplified to the same element, ex. texture) and draw them out in a thumbnail sketch. The point of this activity is to practice making and understanding visual comparisons between basic elements – in other words, “juxtaposition by design”.

35 min

Students will be required to complete a minimum of five 2x2” thumbnail pairs in their sketchbooks, each for a different element, however they are encouraged to complete more if they wish.

Teaching Strategies Go through encounters and point out the basic elements in each that are being compared.Differentiation 1. Readiness: Students with higher skill levels will be encouraged to choose images with a higher complexity to

simplify.2. Interest: Students may choose any images that interest them for the sketchbook assignment.3. Learner Profile: show students visual examples, give clear written instructions of the assignment, plus go through instructions orally.

Assessment Students will hand in their sketchbooks so I can see their thumbnail pair assignment. This is not a graded assignment, however I will give feedback to those who have not met the requirements and will have them fix or redo the assignment. Questions to ask myself when assessing: How many different ways did they use juxtaposition? Did they understand the concept of juxtaposition? Were they able to simplify images down to the basic elements?

CLOSURE TIMEEVALUATION Non-graded sketchbook assignment. Set a deadline for when the first round of sketchbook assignments are

due.5 min

TRANSITION PREASSESSMENT: For the next class, students will take a quick survey indicating types of music and specific artists that they listen to for an additional activity.

SPONGE ACTIVITY & PREPContinue working on outstanding sketchbook assignments or ongoing projects. Have students begin collecting images for a resource portfolio that they can pull images from for collaging purposes later (give everyone a manila folder for this).

Collage & Assemblage Art Unit: LESSON TWOLesson Title: Juxtaposition by Meaning & Art as a Narrative

Teachers: Carlie Marsh & Katie HorechkaDate: February 25, 2015

Grade/Subject: Grade 10 ArtClass Length: 60 minutes

LEARNING OUTCOMESGLO DRAWING: Articulate & Evaluate: Use the vocabulary and techniques of art criticism to analyze their own works.SLO A. Discussing the components of composition is part of learning to talk about art.

Learning Objective

1. Students understand how to manipulate audience interpretations of artwork through manipulating elements of design.2. Students understand the difference between literal and ambiguous interpretations.3. Students understand that it is human condition to search for meaning and create narratives from images.4. Students understand how to create narratives based on images they have encountered.5. Students understand that individual interpretations of artworks vary.

ASSESSMENT METHODSPERFORMANCE TASK -CONVERSATION Students will tell me (either orally or in writing) their interpretational narratives of the music and images encountered in

class (free-write activity).OBSERVATION Students will participate in group discussions.

KEY QUESTIONS Do artists embrace ambiguity in terms of inviting the audience to interpret, or are they trying to send specific clear messages? To what extent are images universal? What does this say about individual interpretation? What does this say about the way that people consume music and art? What does this say about the human condition? What is the purpose of art? What is the artist’s intention with their art? ENCOUNTERS & RESOURCES Maddie & Tae “Girl In A Country Song” Music Video: https://www.youtube.com/watch?v=_MOavH-Eivw Metric “Waves (B-side)” song: https://www.youtube.com/watch?v=0udJc_iMlAU Metric “Waves (B-side)” lyrics: http://www.azlyrics.com/lyrics/metric/waves.html Picasso

MATERIALS & SET UP Create slide show with slides for 2 images in the narrative activity, a link to Youtube for “Waves” song by Metric, the lyrics to “Waves”, all

other encounters images, the key terms with their definitions, and key questions for students to consider when they add to their responses at the end of class.

Set up slide show and youtube clip prior to class. Phone timer to time response activities.

PROCEDUREINTRODUCTION TIME

AGENDA 1. Music video2. Purpose of today’s class3. Key terms4. Image free-write5. Music response6. Group discussion7. Closure – key ideas taken away from today’s lesson8. Prep for next class

10 min

PREASSESS To inform this class, preassess students ahead of time on the types of music and specific musical artists that they listen to.

HOOK Start the class by playing a music video that sends a strong message. The purpose of today’s class will be: art as the vehicle for communication, juxtaposition by meaning, and art as a narrative. Go through the agenda. Talk about the key terms. After talking about the key terms ask class what the message in the music video was (that girls are more than how they are portrayed in typical country songs, they are not sexual objects, they are people) and whether it sent a literal or an ambiguous message. What made it literal or ambiguous? What were the Intertextual references? (George Strait’s music, Florida Georgia Line “sugar shaker”, Jason Aldean “tan-legged Juliette”, Chris Young “painted on jeans”, Luke Brian “barefoot”…). This is just one example of how artists use their craft in order to send messages to an audience. So instead of juxtaposition for design, like we discussed last class, or “art for art’s sake”, now we are looking at juxtaposition for meaning, and art as a narrative or as a means for communication; the artist as activist and the artist as author.

KEY TERMS Symbolism: the use of symbols to represent ideas or qualities. Metaphor: a comparison that does not use “like” or “as”. Simile: a comparison using “like” or “as”. Intertextual: the shaping of a text's meaning by another text; embedding references to a text within

a text (similar to metacognition, a meta-picture, or an Easter egg in video games). Hidden Text: reading between the lines, the hidden messages. Literal: taking words in their usual or most basic sense without metaphor or allegory. Ambiguous: open to more than one interpretation; having a double meaning. Interpretation: the action of explaining the meaning of something. Narrative: a spoken or written account of connected events; a story.

BODY TIME

LEARNING ACTIVITY 1 Image Free-WriteStudents will be writing a response to two images (balloons and wolf). Put two images up on the Smartboard and ask students to complete a free-write of what they see, what the images cause them to think about, and what they think the relationship is between the images. Instruct them to put their pens to the paper and just write whatever comes to mind, they will have two minutes to do this, time and stop them. Once they are done have them flip over their piece of paper in preparation for the next task.

3 min

Teaching Strategies Free-write.Differentiation Learner Profile: Students will have the option to write their interpretations of the images or to explain their

interpretations orally to a scribe/record themselves speaking. By using a visual piece I am giving students the opportunity to learn about narratives and intertextuality visually.

Assessment Collect written/recorded responses after the class. Questions to ask myself when assessing: Did the student propose a relationship between the images? Did they explain their ideas using logic and reasoning?

LEARNING ACTIVITY 2 Music ResponseOn the back of the page that students completed their image relationship narrative on, students will be writing a second response but this time to a piece of music. Put lyrics to the song up on the Smartboard, instruct students that when the song comes on they may begin writing if they wish or they can wait until the song is over to write. Again, students will be expected to write whatever comes to their head – what does the song make you think about, what do you think the song is about? Play the song and then provide 2 minutes afterwards for students to finish writing their responses.

5 min

Teaching Strategies Free-write.Differentiation Interest: a contemporary music artist may be more relatable to students than a traditional piece of music,

however, the music chosen could be anything - preassess students to see what artists they are listening to currently.

Learner Profile: Students will have the option to write their interpretations of the music or to explain their interpretations orally to a scribe/record themselves speaking. By using a musical piece I am giving students the opportunity to learn about narratives and intertextuality auditorally. A visual of the lyrics is also provided for the visual/linguistic learners.

Assessment Collect written/recorded responses after the class. Questions to ask myself when assessing: Did the student make an interpretation? Did they explain their interpretations using logic and reasoning?

LEARNING ACTIVITY 3 Think-Pair-ShareHave students pair up and share their narratives and interpretations twice.

7 min

Teaching Strategies Think-Pair-Share their response narratives and interpretations.Differentiation Students who prefer to work in pairs to working solo may now work with a partner.Assessment Observe whether students are participating in sharing their ideas with a partner.

LEARNING ACTIVITY 4 Group Jigsaw DiscussionHave students share their findings in a class discussion. How did their individual responses to the images and the music differ from that of their classmates? How are they similar?

Split students into groups of 3-5 and assign them each a question on the board: based on the results of these activities,

What can we deduce about the nature of individual interpretation? What can we deduce about humans and narratives? To what extent are images universal? What can we deduce about the way that people consume music and art? What is the purpose of art? What is the artist’s intention with their art?

Come together and share each groups question and their findings as a class. Afterwards have them go back and add to their original interpretations what they have learned about the nature of interpretation and human narrative, then they will hand in their oral/written interpretations. Question for students to think about during their writing: Do artists embrace ambiguity in terms of inviting the audience to interpret, or are they trying to send specific clear messages (Literal vs. Ambiguous)?

30 min

Teaching Strategies Group discussion of individual, pair , and small group findings. Jigsaw style discussion.Differentiation Students who work best orally/auditorally have a chance to participate in a group discussion (also good for

students who may find writing difficult).Assessment Observe whether students participated in the group discussion. Collect finished written/recorded observations

at the end of class. Questions to ask myself when assessing: Did the student make any observations about the nature of individual interpretation based on the group discussions? What other key ideas did students discover?

CLOSURE TIMEEVALUATION Collect written/recorded responses. 5 minTRANSITION Next class we will be looking at politics in art, mainly the artist’s role in creating messages for the audience in

their artwork and we will begin a long-term collage/assemblage art project with the intention of sending our own message(s) to the viewer. In preparation for this project I would like you to think about what kinds of things you value or are interested in. Perhaps some of you animal lovers are vegetarians or are against testing products on animals, perhaps some of you have experienced racism and would like to make a statement about it, perhaps you have something to say about sexism and equality of the genders, perhaps you don’t like school and you think there is something wrong with the education system, perhaps you read something like The Hunger Games trilogy and you think that our society would be better off run in a different way… these are all interesting places to start and you may certainly come up with any type of message you wish, these are just a few of many examples. Remember, the personal is political so if you are unsure of where to start, start with yourself: what you are interested in, what you are good at, what you do in your spare time, what books you read, what TV shows or movies you watch, what sports you play – the choices are endless, be creative and have fun with it.

SPONGE ACTIVITY & PREPHave students find a collage and write a 1/2 page (or record orally) about their interpretations of that collage. Then research what the intended artists message was and indicate this in their writing/recording after their initial interpretations. Compare the two interpretations. Based off of this experience, what do you think this means for artist's wishing to send a message to their audience? How could the artist go about doing this to ensure that their message is received? Include this in your written/oral account before handing it in.

Collage & Assemblage Art Unit: LESSON THREELesson Title: Creating a Collage/Assemblage Artwork & Artist as Manipulator

Teachers: Carlie Marsh & Katie HorechkaDate: February 25, 2015

Grade/Subject: Grade 10 ArtClass Length: Three 60 minute classes

LEARNING OUTCOMESGLO COMPOSITIONS:

Components 1: Extend their knowledge of and familiarity with the elements and principals of design through practice in composing 2D & 3D images.

ENCOUNTERS: Sources of Images: Investigate the process of abstracting form from a source in order to create objects and images.

COMPOSITIONS: Organizations 1: Experiment with various representational formats.

COMPOSITIONS: Components 2: Solve teacher-directed problems of unity and emphasis in creating compositions.

DRAWING: Articulate & Evaluate: Use the vocabulary and techniques of art criticism to analyze their own works.

SLO A. Color and value concepts are important components of an artist’s compositional skill.

B. Positive and negative space are essential to the description of two- and three-

A. Artists simplify, exaggerate and rearrange parts of objects in their depictions of images.

A. Various materials alter representational formats and processes used in achieving certain intended effects.

A. Compositions use positioning and grouping of subjects for different meanings and emphasis.

A. Discussing the components of composition is part of learning to talk about art.

dimensional forms.Learning Objective

1. Students understand the importance of positive and negative space in 2D & 3D forms.2. Students understand the importance of color and value in composition.

1. Students understand the importance of simplifying, exaggerating, and rearranging images in order to create compositions.2. Students understand how to simplify forms.

1. Students understand that different materials produce different intended effects.

1. Students understand what collage and assemblage art is.2. Students understand how to create juxtapositions with collage.3. Students understand the concepts of juxtaposition, composition, and intertextuality.4. Students understand how to manipulate audience interpretations of artwork through manipulating elements of design.5. Students understand the difference between literal and ambiguous interpretations.6. Students understand that it is human condition to search for meaning and create narratives from images.7. Students understand how to create narratives based on images they have encountered.8. Students understand that individual interpretations of artworks vary.

1. Students understand how to manipulate audience interpretations of artwork through manipulating elements of design.2. Students understand the difference between literal and ambiguous interpretations.3. Students understand that it is human condition to search for meaning and create narratives from images.4. Students understand how to create narratives based on images they have encountered.5. Students understand that individual interpretations of artworks vary.

ASSESSMENT METHODSPERFORMANCE TASK Students will complete a collage or assemblage artwork.CONVERSATION Students will explain to me (either orally or in writing) the process and intentions behind their collage or assemblage

artwork, the success of those intentions based off of their group critique, and any changes they would make to their work in order to meet their intended goals.

OBSERVATION Students will participate in small group critiques.KEY QUESTIONS

How might the human condition of searching for meaning affect an artist's choice of materials/processes? How might the human condition of searching for meaning affect the artist's choice in simplifying, exaggerating or rearranging images in

their collages?ENCOUNTERS & RESOURCES

Carl Beam Joane Cardinal Schubert

MATERIALS & SET UP Students will need to come prepared with their sketchbooks and regular art materials. Paint stations will be set up in class Drawing materials will be set up at table groups Magazines and other various materials will be available Have students bring in materials from home

Ask woodshop and welding shop ahead of time for access to scraps for students should they require them Book computer lab for students wishing to print images from online to work with Collect school recycling bins for students to “dumpster dive” in for recycled art materials

PROCEDUREINTRODUCTION TIME

AGENDA 1. Review Juxtaposition by design vs. by meaning2. Explain new art project3. Work period

10 min

PREASSESS Who can tell me the difference between juxtaposition by design vs. juxtaposition by meaning? Review. Show examples from last class to jog memories.

HOOK At the end of last class I asked you to start thinking about some kind of personal or political message that you would like to extend to your audience in a collage or assemblage art work. Today we are going to begin those projects. I would like you (like for any other project) to use your sketchbook to show evidence of your project planning, this can include text, preliminary sketches, cutouts or images from research, play with materials, etc… If you are unsure of what kind of a message you would like to send, think about what your own interests are (sports, animals, religion, music, hobbies, etc…) this can be your jumping point. You then will also need to choose whether you want your message to be literal, or ambiguous – and you will need to plan out how to do that. If you are stuck at this point, go back and look through the examples provided in our last two classes and think about how those artists would have chosen their materials or art-making processes in order to make their messages literal vs. ambiguous. Then you can apply similar strategies to your own work. Once you have come up with some type of message, decided on literal or ambiguous clarity, and have completed your project planning you may start your collage/assemblage piece. Some things to keep in mind while planning and creating: color, value, material, positive/negative space, line, organic/geometric design, etc… all will have an effect on the message that you are sending to your audience, every aspect of your artwork needs to be carefully thought out and have a reason behind it (even if the reason is purely aesthetic).

KEY TERMS Personal: of or concerning one's private life, relationships, and emotions rather than matters connected with one's public or professional career.

Political: of or relating to the government or the public affairs of a country.BODY TIME

LEARNING ACTIVITY 1 Message & CollageStudents will create a personal or political message and choose whether they will deliver it literally or ambiguously to their audience. Then they will create a collage or assemblage artwork that delivers this message

45 min of class one

55 min of class two

30 min of class three

Teaching Strategies A checklist of things to consider for this project will be on the board or printed out for students. Students who require more structure will be given the opportunity to check in with the teacher after each piece of the art-making process has been completed.

Differentiation Readiness: Students having difficulty in creating a message may look to some of our encounters and try to recreate a message of another artist in a different way.

Interest: Students who would like to create a collage/assemblage piece that runs on a different theme or idea will be allowed to do so as long as they present their ideas as a written project-proposal to the teacher and it has been approved by the teacher. Otherwise, students have a choice in the type of message they will produce (personal vs. political), in the way that message is delivered (literal vs. ambiguous), and in the materials and processes they use for collaging/assembling.]

Learner Profile: Students are producing a created work of art for their performance piece. This assignment hits multiple learning styles overall (visual, written, oral/auditory, kinesthetic).

Assessment Evidence of project planning will be noted in their sketchbooks, which will be collected. The collages/assemblage pieces will be collected when they are finished.

LEARNING ACTIVITY 2 Written Rationale & Self-ReflectionStudents will provide a written/oral rationale that describes their intentions with their collage and explains their design choices. Observations from their peer critiques will be added to these rationales after. These observations will include whether their intentions were successful (based off the critique), and will consider any changes they would make to their work in order to strengthen/make more ambiguous their messages.

Students will also complete a self-reflection of their artwork that focuses on their skills with particular mediums, what their strengths and weaknesses in the project are and what they would change about the

10 min of class three

process or materials used in the future.

Teaching Strategies Rationale, critique, and reflection templates will be given to students so they have structure for what is expected in the reflective components.

Differentiation Learner Profile: Students will have the opportunity to provide written or recorded oral accounts of their rationales if needed.

Assessment The written rationale and self-reflection will be collected when the project is handed in.

LEARNING ACTIVITY 3 Peer CritiqueIn small groups or partners, students will critique each others artwork. They will be instructed to not explain their rationales, but to simply let their audience view their work and orally give their thoughts and interpretations.

Critique Format:1. Describe what you see using art vocabulary from class.2. What relationships can you deduce from this image? What might you interpret the

message/narrative of these relationships to be?3. What do you think works well in this image/what could be changed?

After this step, the artist may compare the audiences interpretations with their own intentions/messages. Students should then add their findings from this process to their written/oral rationales. Is there anything they would change in their artwork in order to ensure that their message is literal/ambiguous? Have them explain themselves.

20 min of class three

Teaching Strategies Pair-Share style critiques.Differentiation Readiness: Students are doing paired/small group critiques of their personal artworks at this point rather than

large group critiques as some students may not yet be ready to attempt a large group critique of their own work.

Assessment Observe whether students are participating in critiquing their partner’s artwork.CLOSURE TIME

EVALUATION Collect artwork, written/oral rationale, and written self-reflection altogether when the deadline for this project has come up.

5 min

TRANSITION Students will have three classes to work on this project (including today). On the last day, students will hand in their projects and be prepared to critique each others work in pairs or small groups. Provide clean up time.

SPONGE ACTIVITY & PREPContinue working on outstanding sketchbook assignments or ongoing projects.