Wednesday 27 February 2013
Tuesday 26 February 2013
"The Scream", 2004 Article
The following is a Grade 10 literacy reading selection for Feb. 27, to be completed during silent reading.
Look for explicit and implicit questions at the end:
2004 Article: Munch’s Famous ‘Scream’ and‘Madonna’ Stolen (source: chronicle.augusta.com)
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Police fielded a flood of tips but still had no motive Monday for the daring theft of “The Scream” and another Edvard Munch masterpiece by armed robbers who barged into a lightly guarded Oslo museum and ripped the paintings from the walls before the eyes of stunned visitors.
Police, who launched a nationwide hunt for the works, said there had been no word from the thieves, who were widely expected to demand a ransom. “The Scream,” a 20th century icon of angst, is too well known for the thieves to try to sell, experts say.
“It can only be with horror that you react to something like this,” Deputy Culture Minister Yngve Slettholm said by telephone, also expressing shock over what he said was Norway’s first armed art theft. “We can only hope they end up back at the Munch Museum.”
“The Scream” — there are four versions of Munch’s best-known painting — depicts an anguished figure who appears to be screaming or shielding his ears from a scream.
Masked, armed thieves broke into the Oslo’s Munch Museum on Sunday and, as visitors and staff watched in shock, tore “The Scream” and another famous Munch work, “Madonna,” from the walls and loaded them into a car. The getaway car and the picture frames were found by police in Oslo hours later.
Oslo police inspector Iver Stensrud said all resources were being used to search for the national treasures, and that tips continued to pour in. “We are still working on new tips and are hoping for more,” he said on the state radio network NRK.
Stensrud said the police were conducting a broad investigation, and have not focused on specific motives. Experts said the paintings were probably stolen for ransom or as a “trophy” robbery to impress other criminals, since it would be virtually impossible to sell them anywhere because they are so well known.
No suspects yet
‘The paintings could just as well be in Oslo as anywhere else,” he said. Stensrud said police have been interrogating witnesses, but have no suspects.
“The world screams,” said a headline in the major Norwegian newspaper Aftenposten over international reaction to the theft. Another newspaper, Oslo’s Verdens Gang, said the Munch paintings were stolen on the same date, Aug. 22, as “Mona Lisa” was stolen in Paris in 1911.
The Munch works were not insured against theft, because it was impossible to set a price on them, said John Oeyaas, managing director of Oslo Forsikring, the city-owned company that insure the paintings against damage.
“It was a conscious decision,” he told The Associated Press. “These are irreplaceable, and insurance would mean nothing. The total loss of an irreplaceable item cannot be compensated.... In principle, these are artworks that are not possible to sell.”
However, he said the theft in from one of Norway’s most visited museums raises the question of security.
“How can we make these artworks available to the public while still securing them?” he said.
Second such robbery
It’s the second time in a decade that a version of the painting had been stolen. Another version of “The Scream” was taken from Oslo’s National Gallery in February 1994, but recovered three months later.
Slettholm, of the culture ministry, said it was impossible to totally protect artworks “unless we lock them in a mountain bunker” especially when thieves are willing to use force.
“It is food for thought that the spiral of violence has now reached the art world,” he said. “This is a first for Norway, and we can only be glad that no one was hurt.”
The stolen “Madonna” was painted in 1893-1894, and depicts an erotic Madonna with a blood-red halo in a dark, swirling aura. Munch later produced woodcut lithographs with a similar depiction.
Munch, a Norwegian painter and graphic artist who worked in Germany as well as his home country, developed an emotionally charged style that was of great importance in the birth of the 20th century Expressionist movement.
He painted “The Scream” in 1893, and together with “Madonna” it was a part of his “Frieze of Life” series, in which sickness, death, anxiety, and love are central themes. He died in 1944 at the age of 81.
Questions
1) In what city and country was the painting stolen from?
2) In what year was the "Mona Lisa" stolen?
3) In what year was "The Scream" painted?
4) What do you think is the universal appeal of the painting "The Scream"?
5) This crime seems particulary violent and chaotic. In what ways is this act similar to the painting and different than art in general?
6) If you could have any one painting in your house, which one would it be?
Group of Seven
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In the Grade 11/12 class, we discussed the Group of Seven today. We talked about their members through history, their connection to the Canadian landscape, and how we as Canadians connect to our environment as part of our cultural identity. We reviewed the steps of a critique and chose a work from the Group of Seven to practise our four important steps of art critique:
- Description
- Analysis
- Interpretation
- Judgement or Evaluation
As a parting note, here is the quote from Lawren Harris that discussed for your thoughts:
“Art is long. Life is short. A picture can become for us a highway between a particular thing and a universal feeling.”
Wednesday 20 February 2013
Featured Artist: Salvador Dali
"The Persistence of Memory"
Salvador Dali (May 11, 1904 - January 23, 1989)
"Born in Figueres, Spain in 1904, Salvador Dali is known for his technical skill as a painter and the shocking quality of his imagination. His pioneering spirit was also accompanied by a reverence of tradition and a will for continuity. Dali consistently depicted the landscape of his homeland, one that became synonymous with the landscape of the imagination and of dreams. He forged in his long career a remarkable body of work, and his life demonstrates the richness of living creatively in every aspect of one's existence.
Salvador Dali was the only surviving male child of a prosperous Catalan family that divided its time between Figueres and the coastal village of Cadaqués. Dali attended a prominent art academy in Madrid. From his earliest years as an artist he exhibited his work widely, lectured, and wrote. In 1929 he joined the Surrealist movement becoming its most visible and controversial member. That year, Dali met Gala Eluard when she visited him with her husband, poet Paul Eluard. Subsequently, Gala became Dali's wife, his muse, primary model, and life-long obsession.
Dali broke with the Surrealist movement in 1939. He and Gala fled Europe in 1940 and spent the war years in the United States where he revised his strategy toward art, rejecting modernism and connecting with other traditions of art. In 1947 Dali and Gala returned to Spain and thereafter divided their time between Europe and the United States. In 1974, Dali organized a museum of his own collection of art, the Teatro-Museo Dali in Figueres. After the death of Gala in 1982, Dali's health declined. His final years were spent in seclusion at his museum. Salvador Dali died on January 23, 1989 in the place of his birth."
"Born in Figueres, Spain in 1904, Salvador Dali is known for his technical skill as a painter and the shocking quality of his imagination. His pioneering spirit was also accompanied by a reverence of tradition and a will for continuity. Dali consistently depicted the landscape of his homeland, one that became synonymous with the landscape of the imagination and of dreams. He forged in his long career a remarkable body of work, and his life demonstrates the richness of living creatively in every aspect of one's existence.
Salvador Dali was the only surviving male child of a prosperous Catalan family that divided its time between Figueres and the coastal village of Cadaqués. Dali attended a prominent art academy in Madrid. From his earliest years as an artist he exhibited his work widely, lectured, and wrote. In 1929 he joined the Surrealist movement becoming its most visible and controversial member. That year, Dali met Gala Eluard when she visited him with her husband, poet Paul Eluard. Subsequently, Gala became Dali's wife, his muse, primary model, and life-long obsession.
Dali broke with the Surrealist movement in 1939. He and Gala fled Europe in 1940 and spent the war years in the United States where he revised his strategy toward art, rejecting modernism and connecting with other traditions of art. In 1947 Dali and Gala returned to Spain and thereafter divided their time between Europe and the United States. In 1974, Dali organized a museum of his own collection of art, the Teatro-Museo Dali in Figueres. After the death of Gala in 1982, Dali's health declined. His final years were spent in seclusion at his museum. Salvador Dali died on January 23, 1989 in the place of his birth."
- Source: http://thedali.org/about_the_museum/about_dali.php
Snow Day Thoughts!
Just because it's a snow day, doesn't mean we can't still be thinking just a little bit about the Visual Arts. I wanted to share a few things with you.
Years ago I toured through Italy. When visiting the many different museums, churches, and galleries I was fortunate to see a great many beautiful pieces of art, masterpieces of human achievement. Michelangelo's work figured prominently in this tour. His sculptures and frescoes were so intricate. The tour guide explained one thing to the group that stuck with me. She said that Michelangelo would receive large pieces of marble and it was his thought as a sculptor that the statue he hoped to create was already in the marble, he just needed to chip away the pieces to reveal it. I thought that was such a unique and simple view of his work, and I marveled at the juxtaposition between the complexity of his final product and the simplicity of his approach. Now I can't say for sure whether or not Michelangelo ever said that, but as we prepare to move into our sculpting unit, it might be worthwhile to keep that story in our minds.
Here is an interesting article about some new research regarding the Carrara marble that Michelangelo used to create "David", arguably his most famous piece:
Michelangelo's Flawed Marble
Enjoy your snow day folks!
Years ago I toured through Italy. When visiting the many different museums, churches, and galleries I was fortunate to see a great many beautiful pieces of art, masterpieces of human achievement. Michelangelo's work figured prominently in this tour. His sculptures and frescoes were so intricate. The tour guide explained one thing to the group that stuck with me. She said that Michelangelo would receive large pieces of marble and it was his thought as a sculptor that the statue he hoped to create was already in the marble, he just needed to chip away the pieces to reveal it. I thought that was such a unique and simple view of his work, and I marveled at the juxtaposition between the complexity of his final product and the simplicity of his approach. Now I can't say for sure whether or not Michelangelo ever said that, but as we prepare to move into our sculpting unit, it might be worthwhile to keep that story in our minds.
Here is an interesting article about some new research regarding the Carrara marble that Michelangelo used to create "David", arguably his most famous piece:
Michelangelo's Flawed Marble
Enjoy your snow day folks!
Thursday 14 February 2013
Grade 9 contour line exemplar
Note that only the contour lines of the boot are drawn. No strong shading effect is incorporated. To quote Wikipedia, "Contour drawing is an artistic technique used in the field of Art in which the artist sketches the contour of a subject by drawing lines the result in a drawing that is essentially an outline.
Tuesday 5 February 2013
Are You an Artist?
Written by Eolake Stobblehouse:
You, an artist?
In many cultures on Earth it is not very popular to speak well or even think well about oneself. This fact is a great evil, since all your abilities come, of course, from yourself, and when you think less of them, you reduce them down and limit them.
And since, unfortunately, the creation of art is seen upon as a rare and special ability, instead of an ability native to us all, calling oneself an Artist is often seen as a big and improper self-compliment. Something one must not do.
Add to this that since art is so valuable, the vicious or simply small-minded of our population have a great tendency to cut down artists and art in whatever ways they can (of which many are disguised as help), it is seen as a thing to be proven strongly that you should be able to call yourself an artist.
We seriously need to change this.
Let me define it:
If you have ever attempted to create art, no matter successfully or not, and if you would like to continue to do so, if you have an urge to create art, you are an artist.
No ifs, ands, or buts about it.
Monday 4 February 2013
Critique
What is a critique?
A critique is an oral or written discussion strategy used to analyze, describe, and interpret works of art. Critiques help students hone their persuasive oral and writing, information-gathering, and justification skills.
Below is a sample set of focus questions for an art critique related to four major areas of art criticism: description, analysis, interpretation, judgment. (The number of questions and aspects of specificity will vary according to the art form and number of works in the critique).
Description
Describe the work without using value words such as "beautiful" or "ugly":
- What is the written description on the label or in the program about the work?
- What is the title and who is (are) the artist(s)?
- When and where was the work created?
- Describe the elements of the work (i.e., line movement, light, space).
- Describe the technical qualities of the work (i.e., tools, materials, instruments).
- Describe the subject matter. What is it all about? Are there recognizable images?
Analysis
Describe how the work is organized as a complete composition:
- How is the work constructed or planned (i.e., acts, movements, lines)?
- Identify some of the similarities throughout the work (i.e., repetition of lines, two songs in each act).
- Identify some of the points of emphasis in the work (i.e., specific scene, figure, movement).
- If the work has subjects or characters, what are the relationships between or among them?
Interpretation
Describe how the work makes you think or feel:
- Describe the expressive qualities you find in the work. What expressive language would you use to describe the qualities (i.e., tragic, ugly, funny)?
- Does the work remind you of other things you have experienced (i.e., analogy or metaphor)?
- How does the work relate to other ideas or events in the world and/or in your other studies?
Judgment or Evaluation
Present your opinion of the work's success or failure:
- What qualities of the work make you feel it is a success or failure?
- Compare it with similar works that you think are good or bad.
- What criteria can you list to help others judge this work?
- How original is the work? Why do you feel this work is original or not original?
* Adapted from http://artsedge.kennedy-center.org/educators/how-to/tipsheets/student-critique.aspx
The Creative Process!!!
The following is an excerpt from the Ontario curriculum document regarding the Creative Process in the Visual Arts:
THE CREATIVE PROCESS
Students are expected to learn and use the creative process to help them acquire and
apply knowledge and skills in the arts. Use of the creative process is to be integrated
with use of the critical analysis process (described on pages 17–22) in all facets of the
arts curriculum as students work to achieve the expectations in the three strands.
Creativity involves the invention and the assimilation of new thinking and its integration
with existing knowledge. Creativity is an essential aspect of innovation. Sometimes the
creative process is more about asking the right questions than it is about finding the
right answer. It is paradoxical in that it involves both spontaneity and deliberate,
focused effort. Creativity does not occur in a vacuum. Art making is a process requiring
both creativity and skill, and it can be cultivated by establishing conditions that encourage
and promote its development. Teachers need to be aware that the atmosphere they create
for learning affects the nature of the learning itself. A setting that is conducive to creativity
is one in which students are not afraid to suggest alternative ideas and take risks.
The creative process comprises several stages:
• challenging and inspiring
• imagining and generating
• planning and focusing
• exploring and experimenting
• producing preliminary work
• revising and refining
• presenting and performing
• reflecting and evaluating
The creative process in the arts is intended to be followed in a flexible, fluid, and cyclical
manner. As students and teachers become increasingly familiar with the creative process,
they are able to move deliberately and consciously between the stages and to vary the
order of stages as appropriate. For example, students may benefit from exploring and
experimenting before planning and focusing; or in some instances, the process may
begin with reflecting. Feedback and reflection take place throughout the process.
THE CREATIVE PROCESS
Students are expected to learn and use the creative process to help them acquire and
apply knowledge and skills in the arts. Use of the creative process is to be integrated
with use of the critical analysis process (described on pages 17–22) in all facets of the
arts curriculum as students work to achieve the expectations in the three strands.
Creativity involves the invention and the assimilation of new thinking and its integration
with existing knowledge. Creativity is an essential aspect of innovation. Sometimes the
creative process is more about asking the right questions than it is about finding the
right answer. It is paradoxical in that it involves both spontaneity and deliberate,
focused effort. Creativity does not occur in a vacuum. Art making is a process requiring
both creativity and skill, and it can be cultivated by establishing conditions that encourage
and promote its development. Teachers need to be aware that the atmosphere they create
for learning affects the nature of the learning itself. A setting that is conducive to creativity
is one in which students are not afraid to suggest alternative ideas and take risks.
The creative process comprises several stages:
• challenging and inspiring
• imagining and generating
• planning and focusing
• exploring and experimenting
• producing preliminary work
• revising and refining
• presenting and performing
• reflecting and evaluating
The creative process in the arts is intended to be followed in a flexible, fluid, and cyclical
manner. As students and teachers become increasingly familiar with the creative process,
they are able to move deliberately and consciously between the stages and to vary the
order of stages as appropriate. For example, students may benefit from exploring and
experimenting before planning and focusing; or in some instances, the process may
begin with reflecting. Feedback and reflection take place throughout the process.
AWM4M Course Outline
Visual Arts, Portfolio, AWM4M
The development of sound learning skills is essential to the success of our students. Teachers and students will work together to understand and further the development of student learning skills in the areas of initiative, work habits, organization, team work, and independent work.
Portfolio preparation emphasizes individual development in drawing, painting and three dimensional artworks and is intended for students pursuing Fine Arts after high school. Students are encouraged to make decisions regarding their immediate artwork as well as their career goals. The creation of a portfolio with both in-depth thematic exploration as well as varied handling of media is a requirement. The development of a sketch book and the completion of ten major works are integral. A properly documented portfolio presentation and written critique will be an integral part of basis of a summative evaluation. Students applying to post-secondary programs will follow portfolio guidelines as set out by each institution to which they apply.
A combination of evaluation techniques will be used: conferencing and informal verbal feedback, formative and summative assessment with numerical grades/levels based on student progress, including studio and written assignments, quizzes and tests, as well as self, peer, and teacher evaluation.
Formative evaluation will make up 70 % of the final mark.
Summative evaluation will make up 30 % of the final mark.
The marks will be weighted according to the following:
The summative project is administered towards the end of the course. It takes the form of a specific performance task studio project with written research and support materials.
Note: Mastery of craftsmanship and sensitivity to the material is a large component of this course, however, image building and awareness in relationship to the chosen media is also stressed through intensive research, brainstorming and creative problem solving. Students will be expected to build on past experiences in creation/application skills. Marks reflect the student’s effective use of all preparation time, the effort and skill demonstrated.
I read a really good example for expectations of a good art portfolio. I wanted to share it with you: A good portfolio should contain from 12 to 20 works of art. If a student has taken a number of art courses, a variety of media should be represented. Copies of published work are unacceptable. An interpretation of a masterwork could be considered, but paintings and drawings copied from magazines or photographs taken by anyone but the artist are just not done. Originality and creativity cannot be stressed enough. Size of the work is not important, though variety in media is desired. Consider including something less than perfect if the student has stretched and shown imagination. The following are the three important skills to include in a portfolio: 1. Drawing: a portfolio should have good examples of drawing in a variety of media such as pastels, colored pencil, magic marker, ink, charcoal, and conte crayon. A sketchbook could be included. The best drawings are familiar objects, people, nature, and architecture. 2. Painting: acrylic, oils, pastels, watercolor paintings. Drawings made with colored media could take the place of painting in the portfolio. 3. Design: include a poster, publicity flyer, photographs, or layout to show ability to combine a variety of elements. Include pieces that show you have a grasp on color theory, proportion, linear and atmospheric perspective. Include pieces that presented a challenge to you. Here are some examples(none of these are required, they are just to explain the concept): An overhead view of an open container holding an object of personal importance. An image that conveys a "caged in" feeling. An album cover depicting someone's life. Two unrelated objects juxtaposed in a way that suggests a possible relationship. Two circles, one inside the other. Fill the larger circle with designs that represent classical music and the smaller circle with designs that represent jazz or rock music. A distorted landscape that expresses a human emotion such as anger, sorrow, jealousy or happiness. An object with interesting reflections in it, i.e. chrome hub cap, metallic box, glass bottle. A book cover. An action figure positioned or distorted to fit the shape of a letterform. Source: answers.yahoo.com |
AVI4M Course Outline
AVI4M
This course focuses on the refinement of students' skills and knowledge in visual arts. Students will analyze art forms; use theories of art in analyzing and producing art; and increase their understanding of stylistic changes in modern and contemporary Western art, Canadian (including Native Canadian) art, and art forms from various parts of the world. Students will produce a body of work demonstrating a personal approach.
Grade Distribution:
As per ministry requirements the final grade for this course will be broken down as follows:
These two areas will be broken down as follows:
Students will also be assessed as per ministry requirements on learning skills, which include independent work, teamwork, organization, work habits/homework and initiative. These skills will be assessed separately based on the expectations outlined on the performance wall rubric.
The course will use technology in two primary ways. It will be used as a tool for teaching art history. The students will also be able to optionally use technology as an artistic tool of self-expression.
Assessment and Evaluation
All work submitted in this course will be assessed and evaluated using the standards set by the Ontario Ministry of Education.
Provincial Standards of Achievement Chart:
- Summative assessments form the basis of your mid-term mark and 70% of your
final mark.
- Only those summative tasks which have been successfully completed will be included in the calculation
- Summative tasks submitted after their assigned deadline WILL NOT be included in the calculation
UNLESS PRIOR CONSULTATION WITH THE TEACHER HAS OCCURRED WITH APPROVAL
- The number of summative assessments included in the calculation will determine the maximum level of achievement
Formative Assessment: Within each unit students will be assigned a number of tasks where they will receive direct feedback on their progress and learning. These tasks and the resulting feedback are designed to improve student learning and to provide a foundation for the successful completion of the summative tasks assigned in each unit.
Summative Assessment: Within each unit there will be at least one summative assessment task that incorporates the knowledge and skills learned throughout the unit. These summative assessments form the basis of your mid-term mark and 70% of the final mark. Summative tasks are evaluated using one or more of the achievement chart categories.
- Review of Creative Process
- Reinforcement of drawing techniques: e.g. value, perspective, line, balance
Assignments Include:
Assignment:
- Review of the printmaking design process
- Review on carving tool and Dremel tool use
- Review of Printing Press use
Assignment:
Unit 5: ISU (final summative 30 % of total mark)
The format for submission is the same in Grade 12 as it was in Grade 11, but with the exception that the focus for Grade 12 is to create a work that is highly personal. An example might be to represent a part of your interests or history in the piece.
Over the course of the project:
On the final deadline:
*The funky thing with Visual Arts is that there’s no single final deadline. Each of the final deadline items have individual deadlines, which is nice because it helps you organize and see when each item is priority.
This course focuses on the refinement of students' skills and knowledge in visual arts. Students will analyze art forms; use theories of art in analyzing and producing art; and increase their understanding of stylistic changes in modern and contemporary Western art, Canadian (including Native Canadian) art, and art forms from various parts of the world. Students will produce a body of work demonstrating a personal approach.
Grade Distribution:
As per ministry requirements the final grade for this course will be broken down as follows:
- Summative activities conducted throughout the course 70%
- Final culminating activity 30%
These two areas will be broken down as follows:
- Knowledge/Understanding 20%
- Thinking/Inquiry 20%
- Communication 20%
- Application 40%
Students will also be assessed as per ministry requirements on learning skills, which include independent work, teamwork, organization, work habits/homework and initiative. These skills will be assessed separately based on the expectations outlined on the performance wall rubric.
The course will use technology in two primary ways. It will be used as a tool for teaching art history. The students will also be able to optionally use technology as an artistic tool of self-expression.
Assessment and Evaluation
All work submitted in this course will be assessed and evaluated using the standards set by the Ontario Ministry of Education.
Provincial Standards of Achievement Chart:
- Summative assessments form the basis of your mid-term mark and 70% of your
final mark.
- Only those summative tasks which have been successfully completed will be included in the calculation
- Summative tasks submitted after their assigned deadline WILL NOT be included in the calculation
UNLESS PRIOR CONSULTATION WITH THE TEACHER HAS OCCURRED WITH APPROVAL
- The number of summative assessments included in the calculation will determine the maximum level of achievement
Formative Assessment: Within each unit students will be assigned a number of tasks where they will receive direct feedback on their progress and learning. These tasks and the resulting feedback are designed to improve student learning and to provide a foundation for the successful completion of the summative tasks assigned in each unit.
Summative Assessment: Within each unit there will be at least one summative assessment task that incorporates the knowledge and skills learned throughout the unit. These summative assessments form the basis of your mid-term mark and 70% of the final mark. Summative tasks are evaluated using one or more of the achievement chart categories.
UNITS OF STUDY
Unit 1: Drawing- Review of Creative Process
- Reinforcement of drawing techniques: e.g. value, perspective, line, balance
Assignments Include:
- Two major drawings (one black & white, one colour) with encouragement to experiment with different drawing materials, such as pencil crayons, drawing pencils, conte, charcoal, soft and oil pastel, etc. An emphasis is paced on instructor guidance, submission and resubmission in order to achieve exemplary work.
Assignment:
- Study of Acrylic or tempera on canvas or MDF board
- Review of the printmaking design process
- Review on carving tool and Dremel tool use
- Review of Printing Press use
Assignment:
- Optional Linocut or Woodcut Print, maximum size for press
Unit 4 Sculpture
- Design Process
-Review steps of Creative Process
Assignment:-Review steps of Creative Process
- Self-Hardening Clay Sculpture (with tempera paint cover)
Unit 5: ISU (final summative 30 % of total mark)
The format for submission is the same in Grade 12 as it was in Grade 11, but with the exception that the focus for Grade 12 is to create a work that is highly personal. An example might be to represent a part of your interests or history in the piece.
During the ISU process, there are multiple items that need to be handed in, both over the course of the project, and on the final deadline (which for this year will be in the beginning of June.) These are the items required for a Visual Arts ISU:
Over the course of the project:
1. ISU Concepts: This, as the title suggests, is a listing of concepts. Its purpose is to quickly sum up a list of possible ISU topics, and for grade 11, a minimum of five different topics are required. Thumbnails (small sketches) are highly recommended. (Meeting with the teacher will be ten times smoother with thumbnails.)
Teacher: “Begin by thinking of 5-7 ideas / concepts you’d like to explore for you ISU. Conduct research on each of these concepts, with a particular focus on artists who have done similar work before. Also begin thinking about how to “personalize” these concepts, so that they are meaningful to you. You will meet with the teacher to discuss your ideas, so be prepared to show thumbnail sketches and research images. It is important that you be able to justify why you want to do something, and how the work will be meaningful and original.”
2. Proposal: After a topic is chosen from the ISU Concepts, students are expected to expand on the topic. Though you may think “Oh, it’s only a proposal,” it’s a very important part of the ISU (and worth quite a bit of your final mark), so make sure to spend some good time on it. The Proposal must be written according to the following guidelines:
A. Concept1. Rationale: What do you want to do for your ISU and why do you feel this is an important and worthwhile task to take on? What will this piece of work “add” to your portfolio?
2. Theme: What are some possible subjects/themes/concepts that you wish to address in your series of work? How did these subjects/themes/concepts come up in your “brainstorming” session? Which questions prompted you to come up with your idea?
3. Subject Matter: Explain how you will explore your subject/theme/concept in your series of work. What is the artistic problem/concerns you wish to address (content: ideas related to theme, sub-topics, different ways it can be explored. stylistic: elements/principles, composition, approaches [controlled vs. painterly, etc], and artists or artistic movements that will serve as inspiration. technical: media and techniques)
B. Media/Materials/Dimensions: What is the media (area of traditional or non-traditional arts) that you would like to work in? What are the materials that you require? Where can these materials be accessed and what are any additional costs required? What are the dimensions of your piece?
C. Timeline: How long will the work take to complete? When are your projected completion dates? Include a calendar outlining your specific daily goals.
2. Theme: What are some possible subjects/themes/concepts that you wish to address in your series of work? How did these subjects/themes/concepts come up in your “brainstorming” session? Which questions prompted you to come up with your idea?
3. Subject Matter: Explain how you will explore your subject/theme/concept in your series of work. What is the artistic problem/concerns you wish to address (content: ideas related to theme, sub-topics, different ways it can be explored. stylistic: elements/principles, composition, approaches [controlled vs. painterly, etc], and artists or artistic movements that will serve as inspiration. technical: media and techniques)
B. Media/Materials/Dimensions: What is the media (area of traditional or non-traditional arts) that you would like to work in? What are the materials that you require? Where can these materials be accessed and what are any additional costs required? What are the dimensions of your piece?
C. Timeline: How long will the work take to complete? When are your projected completion dates? Include a calendar outlining your specific daily goals.
D. Research/Mentor:
Research: Include images with names of artists/explanations of work that you may use as inspiration. You must cite all sources, so include a bibliography.
Mentor: Who can serve as a mentor to you during this process?
E. Thumbnails: Include at least 10 thumbnail sketches to illustrate your ideas.
Research: Include images with names of artists/explanations of work that you may use as inspiration. You must cite all sources, so include a bibliography.
Mentor: Who can serve as a mentor to you during this process?
E. Thumbnails: Include at least 10 thumbnail sketches to illustrate your ideas.
3. ISU Process Check: This is the Visual Art’s equivalent of a Mid Point Proposal. Essentially it’s a short meeting with the teacher in the middle of the ISU timeline. The teacher will record what’s been done (or what hasn’t been done), give suggestions, and either tell you that “You’re too slow, you need learn to work faster,” or “This is good, you’re making progress. Keep it up.” Obviously, the latter feedback is preferable.
Teacher: “The unit will be marked in its preparatory stages as well as when the work the work is completed. If the work is being carried out in a way that cannot be evaluated, you must give detailed sketches and notes regarding its process. Select materials to suit style, technique and budget. Have all materials ready for use, work should not be delayed because of unavailable materials.”
On the final deadline:
*The funky thing with Visual Arts is that there’s no single final deadline. Each of the final deadline items have individual deadlines, which is nice because it helps you organize and see when each item is priority.
4. Final Product: This is the most important part of the ISU: the end product, the thing that’s been made as a result of the ISU learning process. The form of the final product will depend on the ISU topic.
5. Process Binder: The process binder is a comprehesive booklet of the ISU, summarizing the step-by-step process culminating to the final product. It usually includes the following, give or take a few headings: Concept (as seen in the ISU Proposal), Inspiration, Resources/Mentors, Thumbnails, Materials/Scale, Process, Final Product, Conclusion, and Works Cited. Sometimes creating the process binder can be as challenging as the actual ISU; it’s not something to be ignored until the last minute.
6. Formal Presentation: This is a 10-15 minute presentation, made in front of the teacher and class. The Visual Arts Formal Presentation is an overview of the ISU.
AVI3M Course Outline
Visual Arts, Grade 11, University College (AVI3M)
This course provides students with opportunities to further develop their skills and knowledge in visual arts. Students will explore art works that explore a wide range of subject matter, and will evaluate art works, providing grounds for their aesthetic judgments. They will also examine historical and cultural contexts of Western art (including Canadian art) and art from various world cultures to support their study of specific media.
Grade Distribution:
As per ministry requirements the final grade for this course will be broken down as follows:
- Summative activities conducted throughout the course 70%
- Final culminating activity 30%
These two areas will be broken down as follows:
- Knowledge/Understanding 20%
- Thinking/Inquiry 20%
- Communication 20%
- Application 40%
Students will also be assessed as per ministry requirements on learning skills, which include independent work, teamwork, organization, work habits/homework and initiative. These skills will be assessed separately based on the expectations outlined on the performance wall rubric.
The course will use technology in two primary ways. It will be used as a tool for teaching art history. The students will also be able to optionally use technology as an artistic tool of self-expression.
Assessment and Evaluation
All work submitted in this course will be assessed and evaluated using the standards set by the Ontario Ministry of Education.
Provincial Standards of Achievement Chart:
- Summative assessments form the basis of your mid-term mark and 70% of your
final mark.
- Only those summative tasks which have been successfully completed will be included in the calculation
- Summative tasks submitted after their assigned deadline WILL NOT be included in the calculation
UNLESS PRIOR CONSULTATION WITH THE TEACHER HAS OCCURRED WITH APPROVAL
- The number of summative assessments included in the calculation will determine the maximum level of achievement
Formative Assessment: Within each unit students will be assigned a number of tasks where they will receive direct feedback on their progress and learning. These tasks and the resulting feedback are designed to improve student learning and to provide a foundation for the successful completion of the summative tasks assigned in each unit.
Summative Assessment: Within each unit there will be at least one summative assessment task that incorporates the knowledge and skills learned throughout the unit. These summative assessments form the basis of your mid-term mark and 70% of the final mark. Summative tasks are evaluated using one or more of the achievement chart categories.
UNITS OF STUDY
Unit 1: Drawing- Elements and Principles of Art Review
- Reinforcement of drawing techniques: e.g. value, perspective, line, balance
Assignments Include:
- Two major drawings with encouragement to experiment with different drawing materials, such as conte, charcoal, soft and oil pastel, etc.
- Negative Scratch Board (with emphasis on use of positive and negative space)
Unit 2: Painting
Assignment:
- Study of Acrylic on Canvas
- Mixed-media Creation
Unit 3: Printmaking
- Review of the printmaking design process
- Instruction on carving tool and Dremel tool use
- Review of Printing Press use
Assignment:
- Woodcut Print
Unit 4 Sculpture
- Design Process
-Review steps of Creative Process
Assignment:-Review steps of Creative Process
- Self-Hardening Clay Sculpture (with tempera paint cover)
Unit 5: ISU (final summative 30 % of total mark)
During the ISU process, there are multiple items that need to be handed in, both over the course of the project, and on the final deadline (which for this year will be in the beginning of June.) These are the items required for a Visual Arts ISU:
Over the course of the project:
1. ISU Concepts: This, as the title suggests, is a listing of concepts. Its purpose is to quickly sum up a list of possible ISU topics, and for grade 11, a minimum of five different topics are required. Thumbnails (small sketches) are highly recommended. (Meeting with the teacher will be ten times smoother with thumbnails.)
Teacher: “Begin by thinking of 5-7 ideas / concepts you’d like to explore for you ISU. Conduct research on each of these concepts, with a particular focus on artists who have done similar work before. Also begin thinking about how to “personalize” these concepts, so that they are meaningful to you. You will meet with the teacher to discuss your ideas, so be prepared to show thumbnail sketches and research images. It is important that you be able to justify why you want to do something, and how the work will be meaningful and original.”
2. Proposal: After a topic is chosen from the ISU Concepts, students are expected to expand on the topic. Though you may think “Oh, it’s only a proposal,” it’s a very important part of the ISU (and worth quite a bit of your final mark), so make sure to spend some good time on it. The Proposal must be written according to the following guidelines:
A. Concept
1. Rationale: What do you want to do for your ISU and why do you feel this is an important and worthwhile task to take on? What will this piece of work “add” to your portfolio?
2. Theme: What are some possible subjects/themes/concepts that you wish to address in your series of work? How did these subjects/themes/concepts come up in your “brainstorming” session? Which questions prompted you to come up with your idea?
3. Subject Matter: Explain how you will explore your subject/theme/concept in your series of work. What is the artistic problem/concerns you wish to address (content: ideas related to theme, sub-topics, different ways it can be explored. stylistic: elements/principles, composition, approaches [controlled vs. painterly, etc], and artists or artistic movements that will serve as inspiration. technical: media and techniques)
B. Media/Materials/Dimensions: What is the media (area of traditional or non-traditional arts) that you would like to work in? What are the materials that you require? Where can these materials be accessed and what are any additional costs required? What are the dimensions of your piece?
C. Timeline: How long will the work take to complete? When are your projected completion dates? Include a calendar outlining your specific daily goals.
1. Rationale: What do you want to do for your ISU and why do you feel this is an important and worthwhile task to take on? What will this piece of work “add” to your portfolio?
2. Theme: What are some possible subjects/themes/concepts that you wish to address in your series of work? How did these subjects/themes/concepts come up in your “brainstorming” session? Which questions prompted you to come up with your idea?
3. Subject Matter: Explain how you will explore your subject/theme/concept in your series of work. What is the artistic problem/concerns you wish to address (content: ideas related to theme, sub-topics, different ways it can be explored. stylistic: elements/principles, composition, approaches [controlled vs. painterly, etc], and artists or artistic movements that will serve as inspiration. technical: media and techniques)
B. Media/Materials/Dimensions: What is the media (area of traditional or non-traditional arts) that you would like to work in? What are the materials that you require? Where can these materials be accessed and what are any additional costs required? What are the dimensions of your piece?
C. Timeline: How long will the work take to complete? When are your projected completion dates? Include a calendar outlining your specific daily goals.
D. Research/Mentor:
Research: Include images with names of artists/explanations of work that you may use as inspiration. You must cite all sources, so include a bibliography.
Mentor: Who can serve as a mentor to you during this process?
E. Thumbnails: Include at least 10 thumbnail sketches to illustrate your ideas.
Research: Include images with names of artists/explanations of work that you may use as inspiration. You must cite all sources, so include a bibliography.
Mentor: Who can serve as a mentor to you during this process?
E. Thumbnails: Include at least 10 thumbnail sketches to illustrate your ideas.
3. ISU Process Check: This is the Visual Art’s equivalent of a Mid Point Proposal. Essentially it’s a short meeting with the teacher in the middle of the ISU timeline. The teacher will record what’s been done (or what hasn’t been done), give suggestions, and either tell you that “You’re too slow, you need learn to work faster,” or “This is good, you’re making progress. Keep it up.” Obviously, the latter feedback is preferable.
Teacher: “The unit will be marked in its preparatory stages as well as when the work the work is completed. If the work is being carried out in a way that cannot be evaluated, you must give detailed sketches and notes regarding its process. Select materials to suit style, technique and budget. Have all materials ready for use, work should not be delayed because of unavailable materials.”
On the final deadline:
*The funky thing with Visual Arts is that there’s no single final deadline. Each of the final deadline items have individual deadlines, which is nice because it helps you organize and see when each item is priority.
4. Final Product: This is the most important part of the ISU: the end product, the thing that’s been made as a result of the ISU learning process. The form of the final product will depend on the ISU topic.
5. Process Binder: The process binder is a comprehesive booklet of the ISU, summarizing the step-by-step process culminating to the final product. It usually includes the following, give or take a few headings: Concept (as seen in the ISU Proposal), Inspiration, Resources/Mentors, Thumbnails, Materials/Scale, Process, Final Product, Conclusion, and Works Cited. Sometimes creating the process binder can be as challenging as the actual ISU; it’s not something to be ignored until the last minute.
6. Formal Presentation: This is a 10-15 minute presentation, made in front of the teacher and class. The Visual Arts Formal Presentation is an overview of the ISU.
AVI20 Course Outline
Visual Arts, Grade 10, Open (AVI2O)
This course emphasizes learning through practice; building on what students know and introducing them to new ideas, materials, and processes for artistic thinking and experimentation. Student learning will include the refined application of the elements and principles of design, while incorporating thecreative and design processes. Students will also learn about the connections between works of art and their historical contexts. Course objectives will be achieved through a comprehensive program.
Grade Distribution:
As per ministry requirements the final grade for this course will be broken down as follows:
- Summative activities conducted throughout the course 70%
- Final culminating activity 30%
These two areas will be broken down as follows:
- Knowledge/Understanding 20%
- Thinking/Inquiry 20%
- Communication 20%
- Application 40%
Students will also be assessed as per ministry requirements on learning skills, which include independent work, teamwork, organization, work habits/homework and initiative. These skills will be assessed separately based on the expectations outlined on the performance wall rubric.
The course will use technology in two primary ways. It will be used as a tool for teaching art history. The students will also be able to optionally use technology as an artistic tool of self-expression.
Assessment and Evaluation
All work submitted in this course will be assessed and evaluated using the standards set by the Ontario Ministry of Education.
Provincial Standards of Achievement Chart:
- Summative assessments form the basis of your mid-term mark and 70% of your
final mark.
- Only those summative tasks which have been successfully completed will be included in the calculation
- Summative tasks submitted after their assigned deadline WILL NOT be included in the calculation
UNLESS PRIOR CONSULTATION WITH THE TEACHER HAS OCCURRED WITH APPROVAL
- The number of summative assessments included in the calculation will determine the maximum level of achievement
Formative Assessment: Within each unit students will be assigned a number of tasks where they will receive direct feedback on their progress and learning. These tasks and the resulting feedback are designed to improve student learning and to provide a foundation for the successful completion of the summative tasks assigned in each unit.
Summative Assessment: Within each unit there will be at least one summative assessment task that incorporates the knowledge and skills learned throughout the unit. These summative assessments form the basis of your mid-term mark and 70% of the final mark. Summative tasks are evaluated using one or more of the achievement chart categories.
UNITS OF STUDY
Unit 1: Drawing- Elements and Principles of Art Review
- Reinforcement of drawing techniques: e.g. value, perspective, line, balance
Assignments Include:
- Major Grid Drawing
- Blues and The Visual Arts
- Hand Drawing
Unit 2: Painting
Assignments Include:
- Study of Watercolour on Paper (incorporating silhouette)
- Study of Acrylic (including vinyl painting, pointillism painting)
- Study of Tempera (including colour wheel, and colour wheel application)
Unit 3: Printmaking
Introduction to linocut printmaking
- Design Process
- Analysis of historic printmakers
Assignment:
- Linocut Print
Unit 4 Sculpture
- Design Process
Assignment:
- Foam Block Sculpture (with tempera paint cover)
Unit 5: ISU (final summative 30 % of total mark)
For the ISU project you will be assigned a movement, or period, of art history. The ISU will consist of a two part project. The first part is a five paragraph essay and the second part is creating a piece of artwork.
Part One - The Essay
In a well-constructed essay that follows the attached rubric, please explain what you have learned about the movement that you were assigned. This will involve researching the movement, and explaining many factors such as:
- the events or artistic styles that helped bring this movement into being
- the major artists involved
- the style of the movement
- what types of materials were involved (ie. oil painting, fresco, bronze, etc.)
- and any information you found that you think is worth mentioning in your essay.
As a target audience for your essay, I want you to explain what you have learned as though the person you are addressing is completely new to the art world and your essay will be a concise reference (like a wikipedia entry). Speaking of wikipedia, it will not suffice to simply cut and paste from internet sources without giving proper citations. Failure to properly cite constitutes plagiarism, so please avoid this sort of academic dishonesty. Research your movement and understand it - then convey your understanding in your essay.
Part Two - As the overall goal of this project is to build a timeline on the wall of art history, you will be given a 12" x 12" piece of masonite board that you will use to create an example of art that might have come from the movement you studied. This project will be marked according to the performance wall system of evaluation. Be sure not to rush this project, but rather attempt to achieve a high degree of accuracy and relevance to the period that you have been assigned. You project will hang on the wall in the art room as a reference to future students!
You will be given time in the computer lab to work on your research and essay.
Essay Rubric:
Course Level/Grade Achievement
Level 4
80-100%
Very high to outstanding level of achievement. Above provincial standards.
Level 3
70-79%
High level of achievement. At the provincial level.
Level 2
60-69%
Moderate level of achievement. Below, but approaching, the provincial standard
Level 1
50-59%
Passable level of achievement. Below the provincial standard
Below
50%
Insufficient achievement of curriculum expectations. Credit will not be granted.
ALC10 Course Outline
Course Title: GRADE 9 Comprehensive Arts, Open Grade Level: 9
Course Code: ALC 10
Prerequisite: n/a
Course Overview 110 hours
This course examines the similarities and differences between dramatic arts, music and visual arts. Students will learn a specialized arts vocabulary, investigate traditional concepts, stylistic elements, and principles unique to the various arts, as well as apply these principles to writing. The arts nourish the imagination and develop a sense of beauty, while providing unique ways for students to gain insights into the world around them. . . Students who aspire to be writers. . . are not the only ones who can
benefit from study of the arts. In arts courses, students develop their ability to reason and to think critically as well as creatively. They develop their communication and collaborative skills, as well as skills in using different forms of technology. Through studying various works of art, they deepen their appreciation of diverse perspectives and develop the ability to approach others with openness and flexibility. They also learn to approach issues and present ideas in new ways, to teach and persuade, to entertain, and to make designs with attention to aesthetic considerations. . . All the arts reflect historical periods and cultural values. One art form can be used as a stimulus for creating another. . . One art form can be an extension of another. Subject matter from any course in the arts can be combined with subject matter from one or more courses in other disciplines to create an interdisciplinary course. This interdisciplinary course will allow students to be involved in artistic expression, which involves clarifying and restructuring personal experience. It engages students in perception, production, and reflection. This reflection will be communicated in writing, using various genres, giving the students the opportunity to explore various kinds of expression. Writing will be an important, but not the sole, medium for this expression. However, while the students will experiment with media, writing will be the medium which is used consistently throughout the course, weaving all the strands together.
(The Ontario Curriculum Grades 9 & 10: The Arts [1999]).
Visual Arts
Strands:Theory:
• describe, orally and in writing, the elements and principles of the arts found in their own work and
that of others;
• explain the historical context and style of particular artworks/art forms;
• demonstrate an understanding of common practices (e.g., health and safety) while working in the
various arts areas.
• demonstrate an understanding of cultural characteristics that distinguish an individual’s and/or
community’s artistic identity;
• describe similarities and differences among careers in the arts and arts-related fields.
Creation:
• create a work by applying concepts common to all arts areas;
• create works in all arts areas by applying techniques specific to each;
• create works by using technologies and new technological information;
• use the creative process to produce artworks that demonstrate innovative connections among the
arts.
Analysis:
• describe how art can imitate life, with an emphasis on writing as an art form
• demonstrate an understanding that the function of art may vary from culture to culture.
• use critical analysis to examine expression in student and professional artworks;
• demonstrate the ability to conduct a step-by-step critical analysis of their own work and that of
others;
Units of Study
Visual Arts
Written Response
(word wall definitions, Matisse Room assignment, Chinese Calligraphy)
2-D Image Making
(name design, contour line drawing, One-point Perspective, Your Choice Word Wall, Matisse Room pastel, Continuous Line Drawing, Proportion Painting, Cartoon Lesson, Shading Lessons on Hatching, Cross Hatching, Stipling, Value Transition, Personal Item Drawing, Relication Assignment, Album Cover Assignment, Dreams Surreal Collage, Chinese Calligraphy)
Teaching Strategies
A diversity of teaching strategies are used based on class interest, individual needs, student strengths,
proven learning theory, and best practices. For example: workshopping, discussions,
and lectures.
Assessment and Evaluation Strategies
- written and oral feedback is given to the students
- the rubric for artistic create is used (see performance wall for example)
- students are encouraged to revise their work incorporating teacher and
peer feedback
Determination of Final Grade
100% of the grade will be based on evaluations conducted throughout the course. The mark is then averaged with performance in the dramatic art and musical components of the semester.
Evaluation Summary
Evaluation will be based on the four categories as follows:
Knowledge and Understanding 20% Communication 15%
Thinking/Inquiry 15% Application 50%
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