UNIT  TITLE:    Exposing    ENDURING  IDEAS:    

Throughout  time  and  across  cultures  artists  have  worked  with  the  idea  of  “exposure”.  Whether  the  exposure  is  technically  through  drawing  or  literally  as  with  photography  exposure  creates  a  sense  of  vulnerability  that  must  be  shared.    COURSE:    Foundations    ELO  (Essential  Learning  Objectives-­‐list  provided)  Create  a  metaphorical  self-­‐portrait  Investigates  &  experiments  the  medium  of  drawing  and  photography  Integrate  the  mediums  of  drawing/photography/mixed  media  Experiment  with  layering  Explore  the  idea  of  Exposure  Apply  Exposure  to  student’s  life  to  create  personal  meaning  Create  a  Secretive  or  Metaphor  Image  underneath  for  what’s  being  “exposed”  Focus  on  artists  who  work  in  these  particular  mediums  Organize  knowledge  of  a  self-­‐portrait  by  constructing  one  Execute  a  finished  piece    ESSENTIAL  QUESTIONS  (What  are  students  investigating?  What  will  they  discover?)    

Students  should  be  investigating  these  questions:  How  little  can  one  draw  for  someone  to  understand  its  meaning?  Compositionally,  what  creates  a  successful  minimal  project?  How  does  it  mean  to  be  “exposed”?  How  does  it  make  you  feel  when  you  are  “exposed”?  Is  it  a  good  or  bad  thing  to  be  “exposed”?  Can  you  connect  “exposure”  to  something  personal  in  your  life?  

 EXEMPLAR  ARTISTS:    

 Leonardo  da  Vinci  

Classical  Rendering  of  a  famous  self-­‐portrait  of  and  by  Leonardo  da  Vinci;  Here  we  are  able  to  view  the  facial  features  and  part  of  the  hair  despite  the  faintness  of  it  against  the  background.    http://www.ted.com/talks/siegfried_woldhek_shows_how_he_found_the_true_face_of_leonardo.html    

Self-­‐portrait  Date:  c.1512    Bruno  Catalano-­‐  Bronze  Sculpture  Artist  

 Sylvie          Matteo  http://brunocatalano.com/      Bryan  Lewis  Saunders    “Artist  draws  8,  628  Self-­‐Portraits  under  the  Influence  of  Love  and  Other  Drugs.”    

                                                 I’m  all  out  of  hair  I’m  so  Lost  Without  You  2                                                            

http://www.wired.com/underwire/2012/08/bryan-­‐lewis-­‐saunders-­‐self-­‐portraits/?pid=7974    Different  Self-­‐Portraits  of  this  artist’s  alternative  views  of  himself;  The  use  of  the  title  also  creates  a  different  level  of  exposure  of  the  artist.    OBJECTIVES  (Artists  will  be  able  to:  1.  2.  3.)    

1. Define  exposure  &  its  meaning  to  self  2. In  journals  write  down  what  exposure  means  and  how  it  applies  to  self  3. Discuss  as  a  class  what  exposure  means  4. Show  video  of  exposure  and  self-­‐portraits  

Third  Ear  Experiment  1    

       MATERIALS:  -­‐Camera  -­‐Found  Objects  -­‐Drawing  Utensils:  Colored  Pencils         Charcoal         Pencils         Pastels         Etc.  etc.  -­‐Foam  Core  -­‐Paper    PROCEDURES  (Artists  will…  explore,  play  relate,  choose,  reflect)  

1. Investigate  the  meaning  of  “exposure”  and  the  idea  of  “less  is  more”  2. Explore  minimal  artists  &  artists  who  extenuate  their  work  on  exposing  oneself  

emotionally  or  in  other  forms  3. Sketch  out  10  different  possible  ideas  of  your  self-­‐portrait  using  the  idea  of  

exposure  4. Then  show  my  teacher  exemplar  of  what  is  to  be  expected.  5. Create  a  two-­‐layered  self-­‐portrait  using  these  previous  examples  &  sketches  to  

relate  to  their  self  and  what  they  will  be  “exposing”.  6. Apply  different  mediums  &  techniques  to  accurately  display  their  knowledge  of  

exposure  &  how  it  applies  to  them.    ASSESSMENT  (What  evidence  do  you  have  about  what  the  students  know  and  what  will  they  be  able  to  do?)  

CULMINATING  ACTIVITY  (Will  it  include  rubrics/portfolios/journals/performances/artists  statements/exhibitions/videos/websites/blogs?)    

Create  a  Haku  poem  about  your  exposure  that  is  relevant  to  the  artwork  and  emphasizes  what  the  title  is.    I  will  also  be  using  ongoing  formative  assessment  which  “…refers  to  judgments  made  during  the  implementation  of  a  program  that  are  directed  toward  modifying,  learning,  or  improving  the  program  before  it  is  completed…”  (90).  Formative  assessment  also  includes  “…informal  oral  activities  such  as  conversations  with  students,  questioning  students  during  instruction,  or  student  interviews;  pencil-­‐and-­‐paper  techniques;  or,  alternative  methods  such  as  questionnaires  and  journal  entries.”  (90)          

 UNIT  EXEMPLAR  (Compelling  piece  showing  your  metacognition  and  technical  facility)    EVIDENCE  OF  PRIOR  KNOWLEDGE  (Unit  exhibits  a  deep  understanding  of  current  issues  in  Art  Education  to  include  the  ideas  of  Gude,  Eisner,  Walker,  Pink,  TETAC,  etc.)    As  evidence  of  prior  knowledge  I  often  refer  back  to  “Rethinking  Curriculum  in  Art”  by  Stewart  and  Walker.  I  first  refer  to  the  TETAC  project  that  includes:    

“Actively  construct[ing]  knowledge,  rather  then  passively  receiving  knowledge,  Pursue  understanding,  not  simply  memorize  and  reproduce  knowledge.  Engage  in  developing  contextualized  meanings,  not  learn  isolated  facts  Develop  self-­‐awareness  as  learners”  (42).