Grade Level 8 Semester 20 weeks Author Katelyn GlennClass 8th Grade General Art Course Group

MembersKayla B., Lauren, Taylor, Dane, Bri, Kayla S. and Grace

UNIT 1: 5 weeksUNIT 1: 5 weeksUNIT 1: 5 weeksUNIT 1: 5 weeksUNIT 1: 5 weeksUNIT 1: 5 weeksUNIT 1: 5 weeksUNIT 1: 5 weeks UNIT 2: 5 weeksUNIT 2: 5 weeksUNIT 2: 5 weeksUNIT 2: 5 weeksUNIT 2: 5 weeksUNIT 2: 5 weeks UNIT 3: 6 weeksUNIT 3: 6 weeksUNIT 3: 6 weeksUNIT 3: 6 weeksUNIT 3: 6 weeksUNIT 3: 6 weeks UNIT 4: 4 weeksUNIT 4: 4 weeksUNIT 4: 4 weeksUNIT 4: 4 weeksUNIT 4: 4 weeksUNIT 4: 4 weeksUNIT 4: 4 weeksTitle Distort What You See, Create What You

HearDistort What You See, Create What You HearDistort What You See, Create What You HearDistort What You See, Create What You HearDistort What You See, Create What You HearDistort What You See, Create What You HearDistort What You See, Create What You HearDistort What You See, Create What You Hear

Face the FactsFace the FactsFace the FactsFace the FactsFace the FactsFace the Facts A Whole New WorldA Whole New WorldA Whole New WorldA Whole New WorldA Whole New WorldA Whole New World Circling the GlobeCircling the GlobeCircling the GlobeCircling the GlobeCircling the GlobeCircling the GlobeCircling the Globe

Theme AbstractionAbstractionAbstractionAbstractionAbstractionAbstractionAbstractionAbstraction IdentityIdentityIdentityIdentityIdentityIdentity Past, Present, and FuturePast, Present, and FuturePast, Present, and FuturePast, Present, and FuturePast, Present, and FuturePast, Present, and Future Cultural RitualsCultural RitualsCultural RitualsCultural RitualsCultural RitualsCultural RitualsCultural RitualsDescription

Students explore the notion of abstract artmaking through cultural and subjective frames, by practicing the cutting and distorted reconstruction of images and texts, later focusing on cubism and expressionism. Students study how feeling and mood can be interpreted through sound, allowing them to be individually engaged in the representation of self.

Students explore the notion of abstract artmaking through cultural and subjective frames, by practicing the cutting and distorted reconstruction of images and texts, later focusing on cubism and expressionism. Students study how feeling and mood can be interpreted through sound, allowing them to be individually engaged in the representation of self.

Students explore the notion of abstract artmaking through cultural and subjective frames, by practicing the cutting and distorted reconstruction of images and texts, later focusing on cubism and expressionism. Students study how feeling and mood can be interpreted through sound, allowing them to be individually engaged in the representation of self.

Students explore the notion of abstract artmaking through cultural and subjective frames, by practicing the cutting and distorted reconstruction of images and texts, later focusing on cubism and expressionism. Students study how feeling and mood can be interpreted through sound, allowing them to be individually engaged in the representation of self.

Students explore the notion of abstract artmaking through cultural and subjective frames, by practicing the cutting and distorted reconstruction of images and texts, later focusing on cubism and expressionism. Students study how feeling and mood can be interpreted through sound, allowing them to be individually engaged in the representation of self.

Students explore the notion of abstract artmaking through cultural and subjective frames, by practicing the cutting and distorted reconstruction of images and texts, later focusing on cubism and expressionism. Students study how feeling and mood can be interpreted through sound, allowing them to be individually engaged in the representation of self.

Students explore the notion of abstract artmaking through cultural and subjective frames, by practicing the cutting and distorted reconstruction of images and texts, later focusing on cubism and expressionism. Students study how feeling and mood can be interpreted through sound, allowing them to be individually engaged in the representation of self.

Students explore the notion of abstract artmaking through cultural and subjective frames, by practicing the cutting and distorted reconstruction of images and texts, later focusing on cubism and expressionism. Students study how feeling and mood can be interpreted through sound, allowing them to be individually engaged in the representation of self.

A subjective and structural exploration of portrait creation; procedures and conventions to make artwork that explores the representation of the personal qualities, inner feelings, and character traits of people. A study of how artists communicate meaning through portraits, text, signs, and symbols.

A subjective and structural exploration of portrait creation; procedures and conventions to make artwork that explores the representation of the personal qualities, inner feelings, and character traits of people. A study of how artists communicate meaning through portraits, text, signs, and symbols.

A subjective and structural exploration of portrait creation; procedures and conventions to make artwork that explores the representation of the personal qualities, inner feelings, and character traits of people. A study of how artists communicate meaning through portraits, text, signs, and symbols.

A subjective and structural exploration of portrait creation; procedures and conventions to make artwork that explores the representation of the personal qualities, inner feelings, and character traits of people. A study of how artists communicate meaning through portraits, text, signs, and symbols.

A subjective and structural exploration of portrait creation; procedures and conventions to make artwork that explores the representation of the personal qualities, inner feelings, and character traits of people. A study of how artists communicate meaning through portraits, text, signs, and symbols.

A subjective and structural exploration of portrait creation; procedures and conventions to make artwork that explores the representation of the personal qualities, inner feelings, and character traits of people. A study of how artists communicate meaning through portraits, text, signs, and symbols.

A structural, subjective, and postmodern investigation of the past, present, and future art forms, focusing on hybrid depictions. Students explore the conceptual framework to develop understandings of how artists develop imaginative and innovative depictions of past, present, and future worlds. In critical and historical studies students investigate, interpret, and explain the significance of hybrid forms in different times and places.

A structural, subjective, and postmodern investigation of the past, present, and future art forms, focusing on hybrid depictions. Students explore the conceptual framework to develop understandings of how artists develop imaginative and innovative depictions of past, present, and future worlds. In critical and historical studies students investigate, interpret, and explain the significance of hybrid forms in different times and places.

A structural, subjective, and postmodern investigation of the past, present, and future art forms, focusing on hybrid depictions. Students explore the conceptual framework to develop understandings of how artists develop imaginative and innovative depictions of past, present, and future worlds. In critical and historical studies students investigate, interpret, and explain the significance of hybrid forms in different times and places.

A structural, subjective, and postmodern investigation of the past, present, and future art forms, focusing on hybrid depictions. Students explore the conceptual framework to develop understandings of how artists develop imaginative and innovative depictions of past, present, and future worlds. In critical and historical studies students investigate, interpret, and explain the significance of hybrid forms in different times and places.

A structural, subjective, and postmodern investigation of the past, present, and future art forms, focusing on hybrid depictions. Students explore the conceptual framework to develop understandings of how artists develop imaginative and innovative depictions of past, present, and future worlds. In critical and historical studies students investigate, interpret, and explain the significance of hybrid forms in different times and places.

A structural, subjective, and postmodern investigation of the past, present, and future art forms, focusing on hybrid depictions. Students explore the conceptual framework to develop understandings of how artists develop imaginative and innovative depictions of past, present, and future worlds. In critical and historical studies students investigate, interpret, and explain the significance of hybrid forms in different times and places.

Students explore, practice, and apply various surface treatments to a range of functional and sculptural forms. In critical and historical studies, students examine traditional surface finishes in Aztec and Islamic ceramics and examples of how techniques have been used in contemporary practice. Using the conceptual framework students examine how familiar clay forms contain both traditional and personal ideas and imagery relevant to the world and audience of its time.

Students explore, practice, and apply various surface treatments to a range of functional and sculptural forms. In critical and historical studies, students examine traditional surface finishes in Aztec and Islamic ceramics and examples of how techniques have been used in contemporary practice. Using the conceptual framework students examine how familiar clay forms contain both traditional and personal ideas and imagery relevant to the world and audience of its time.

Students explore, practice, and apply various surface treatments to a range of functional and sculptural forms. In critical and historical studies, students examine traditional surface finishes in Aztec and Islamic ceramics and examples of how techniques have been used in contemporary practice. Using the conceptual framework students examine how familiar clay forms contain both traditional and personal ideas and imagery relevant to the world and audience of its time.

Students explore, practice, and apply various surface treatments to a range of functional and sculptural forms. In critical and historical studies, students examine traditional surface finishes in Aztec and Islamic ceramics and examples of how techniques have been used in contemporary practice. Using the conceptual framework students examine how familiar clay forms contain both traditional and personal ideas and imagery relevant to the world and audience of its time.

Students explore, practice, and apply various surface treatments to a range of functional and sculptural forms. In critical and historical studies, students examine traditional surface finishes in Aztec and Islamic ceramics and examples of how techniques have been used in contemporary practice. Using the conceptual framework students examine how familiar clay forms contain both traditional and personal ideas and imagery relevant to the world and audience of its time.

Students explore, practice, and apply various surface treatments to a range of functional and sculptural forms. In critical and historical studies, students examine traditional surface finishes in Aztec and Islamic ceramics and examples of how techniques have been used in contemporary practice. Using the conceptual framework students examine how familiar clay forms contain both traditional and personal ideas and imagery relevant to the world and audience of its time.

Students explore, practice, and apply various surface treatments to a range of functional and sculptural forms. In critical and historical studies, students examine traditional surface finishes in Aztec and Islamic ceramics and examples of how techniques have been used in contemporary practice. Using the conceptual framework students examine how familiar clay forms contain both traditional and personal ideas and imagery relevant to the world and audience of its time.

Practice Studio Pract. (60%)Studio Pract. (60%)Studio Pract. (60%) Crit/Hist Study (40%)Crit/Hist Study (40%)Crit/Hist Study (40%)Crit/Hist Study (40%)Crit/Hist Study (40%) Studio Pract. (60%)Studio Pract. (60%)Studio Pract. (60%) Crit/Hist Study (40%)Crit/Hist Study (40%)Crit/Hist Study (40%) Studio Pract. (60%)Studio Pract. (60%)Studio Pract. (60%) Crit/Hist Study (40%)Crit/Hist Study (40%)Crit/Hist Study (40%) Studio Pract. (60%)Studio Pract. (60%)Studio Pract. (60%) Crit/Hist Study (40%)Crit/Hist Study (40%)Crit/Hist Study (40%)Crit/Hist Study (40%)

DrawingMixed media collage

DrawingMixed media collage

DrawingMixed media collage

Analysis of traditional and contemporary artists whose work can be related to the abstract movements of Cubism and Expressionism.

Analysis of traditional and contemporary artists whose work can be related to the abstract movements of Cubism and Expressionism.

Analysis of traditional and contemporary artists whose work can be related to the abstract movements of Cubism and Expressionism.

Analysis of traditional and contemporary artists whose work can be related to the abstract movements of Cubism and Expressionism.

Analysis of traditional and contemporary artists whose work can be related to the abstract movements of Cubism and Expressionism.

Relief SculptureDrawingRelief SculptureDrawingRelief SculptureDrawing

Students analyze how artists communicate meaning through portraits using text, signs, and symbols.Critical study of facial expressions.

Students analyze how artists communicate meaning through portraits using text, signs, and symbols.Critical study of facial expressions.

Students analyze how artists communicate meaning through portraits using text, signs, and symbols.Critical study of facial expressions.

PaintingDrawingCollage3-D Sculpture

PaintingDrawingCollage3-D Sculpture

PaintingDrawingCollage3-D Sculpture

Student determined research on a personal, societal, or cultural belief. Research presented as Poster Art on the belief they chose.Critical study of hybrid forms.

Student determined research on a personal, societal, or cultural belief. Research presented as Poster Art on the belief they chose.Critical study of hybrid forms.

Student determined research on a personal, societal, or cultural belief. Research presented as Poster Art on the belief they chose.Critical study of hybrid forms.

Relief SculptureEraser PrintsRelief SculptureEraser PrintsRelief SculptureEraser Prints

Historical study of Aztec and Islamic culture and their ceramic artwork, as well as architectural structures.

Historical study of Aztec and Islamic culture and their ceramic artwork, as well as architectural structures.

Historical study of Aztec and Islamic culture and their ceramic artwork, as well as architectural structures.

Historical study of Aztec and Islamic culture and their ceramic artwork, as well as architectural structures.

Objectives Students will be able to: Students will be able to: Students will be able to: Students will be able to: Students will be able to: Students will be able to: Students will be able to: Students will be able to: Students will be able to: Students will be able to: Students will be able to: Students will be able to: Students will be able to: Students will be able to: Students will be able to: Students will be able to: Students will be able to: Students will be able to: Students will be able to: Students will be able to: Students will be able to: Students will be able to: Students will be able to: Students will be able to: Students will be able to: Students will be able to: Students will be able to:

SECONDARY VISUAL ARTS CURRICULUM

Define characteristics belonging to the realm of abstraction, giving at least two examples of techniques used in the work of Kandinsky and Picasso.

Orally describe at least three similarities and three differences between musical and visual arts

Create a collage using at least three different types of materials provided, that represents their favorite song and reflects the expressionism seen in Kandinsky’s work.

Draw and transform their favorite cartoon character(s) into a cubist artwork

Define characteristics belonging to the realm of abstraction, giving at least two examples of techniques used in the work of Kandinsky and Picasso.

Orally describe at least three similarities and three differences between musical and visual arts

Create a collage using at least three different types of materials provided, that represents their favorite song and reflects the expressionism seen in Kandinsky’s work.

Draw and transform their favorite cartoon character(s) into a cubist artwork

Define characteristics belonging to the realm of abstraction, giving at least two examples of techniques used in the work of Kandinsky and Picasso.

Orally describe at least three similarities and three differences between musical and visual arts

Create a collage using at least three different types of materials provided, that represents their favorite song and reflects the expressionism seen in Kandinsky’s work.

Draw and transform their favorite cartoon character(s) into a cubist artwork

Define characteristics belonging to the realm of abstraction, giving at least two examples of techniques used in the work of Kandinsky and Picasso.

Orally describe at least three similarities and three differences between musical and visual arts

Create a collage using at least three different types of materials provided, that represents their favorite song and reflects the expressionism seen in Kandinsky’s work.

Draw and transform their favorite cartoon character(s) into a cubist artwork

Define characteristics belonging to the realm of abstraction, giving at least two examples of techniques used in the work of Kandinsky and Picasso.

Orally describe at least three similarities and three differences between musical and visual arts

Create a collage using at least three different types of materials provided, that represents their favorite song and reflects the expressionism seen in Kandinsky’s work.

Draw and transform their favorite cartoon character(s) into a cubist artwork

Define characteristics belonging to the realm of abstraction, giving at least two examples of techniques used in the work of Kandinsky and Picasso.

Orally describe at least three similarities and three differences between musical and visual arts

Create a collage using at least three different types of materials provided, that represents their favorite song and reflects the expressionism seen in Kandinsky’s work.

Draw and transform their favorite cartoon character(s) into a cubist artwork

Define characteristics belonging to the realm of abstraction, giving at least two examples of techniques used in the work of Kandinsky and Picasso.

Orally describe at least three similarities and three differences between musical and visual arts

Create a collage using at least three different types of materials provided, that represents their favorite song and reflects the expressionism seen in Kandinsky’s work.

Draw and transform their favorite cartoon character(s) into a cubist artwork

Define characteristics belonging to the realm of abstraction, giving at least two examples of techniques used in the work of Kandinsky and Picasso.

Orally describe at least three similarities and three differences between musical and visual arts

Create a collage using at least three different types of materials provided, that represents their favorite song and reflects the expressionism seen in Kandinsky’s work.

Draw and transform their favorite cartoon character(s) into a cubist artwork

In writing, determine how artists communicate meaning through portrait art using text, sign and symbols.

Looking at the work of various portrait artists, determine what moods were created in specific works shown, and orally give at least two examples of techniques used to create such moods.

Conduct a critical drawing study of their face, including at least three different facial expressions, in front of a mirror.

Correctly demonstrate the proper proportions of the face on their paper.

Create a self-portrait relief sculpture from a slab of clay, using additive and subtractive clay techniques.

In writing, determine how artists communicate meaning through portrait art using text, sign and symbols.

Looking at the work of various portrait artists, determine what moods were created in specific works shown, and orally give at least two examples of techniques used to create such moods.

Conduct a critical drawing study of their face, including at least three different facial expressions, in front of a mirror.

Correctly demonstrate the proper proportions of the face on their paper.

Create a self-portrait relief sculpture from a slab of clay, using additive and subtractive clay techniques.

In writing, determine how artists communicate meaning through portrait art using text, sign and symbols.

Looking at the work of various portrait artists, determine what moods were created in specific works shown, and orally give at least two examples of techniques used to create such moods.

Conduct a critical drawing study of their face, including at least three different facial expressions, in front of a mirror.

Correctly demonstrate the proper proportions of the face on their paper.

Create a self-portrait relief sculpture from a slab of clay, using additive and subtractive clay techniques.

In writing, determine how artists communicate meaning through portrait art using text, sign and symbols.

Looking at the work of various portrait artists, determine what moods were created in specific works shown, and orally give at least two examples of techniques used to create such moods.

Conduct a critical drawing study of their face, including at least three different facial expressions, in front of a mirror.

Correctly demonstrate the proper proportions of the face on their paper.

Create a self-portrait relief sculpture from a slab of clay, using additive and subtractive clay techniques.

In writing, determine how artists communicate meaning through portrait art using text, sign and symbols.

Looking at the work of various portrait artists, determine what moods were created in specific works shown, and orally give at least two examples of techniques used to create such moods.

Conduct a critical drawing study of their face, including at least three different facial expressions, in front of a mirror.

Correctly demonstrate the proper proportions of the face on their paper.

Create a self-portrait relief sculpture from a slab of clay, using additive and subtractive clay techniques.

In writing, determine how artists communicate meaning through portrait art using text, sign and symbols.

Looking at the work of various portrait artists, determine what moods were created in specific works shown, and orally give at least two examples of techniques used to create such moods.

Conduct a critical drawing study of their face, including at least three different facial expressions, in front of a mirror.

Correctly demonstrate the proper proportions of the face on their paper.

Create a self-portrait relief sculpture from a slab of clay, using additive and subtractive clay techniques.

After looking at the work of Wayne White, students will determine the significance in making an old work of art something new, and orally give their opinion as to how, if at all, the meaning of the piece changes.

Research a cultural, societal, or personal belief and in writing give at least two reasons why it is important to them.

Create a social justice poster incorporating whichever belief they chose to research, using text, images, signs and symbols.

Collect e-waste material to create a sculptural assemblage of a hybrid animal form.

After looking at the work of Wayne White, students will determine the significance in making an old work of art something new, and orally give their opinion as to how, if at all, the meaning of the piece changes.

Research a cultural, societal, or personal belief and in writing give at least two reasons why it is important to them.

Create a social justice poster incorporating whichever belief they chose to research, using text, images, signs and symbols.

Collect e-waste material to create a sculptural assemblage of a hybrid animal form.

After looking at the work of Wayne White, students will determine the significance in making an old work of art something new, and orally give their opinion as to how, if at all, the meaning of the piece changes.

Research a cultural, societal, or personal belief and in writing give at least two reasons why it is important to them.

Create a social justice poster incorporating whichever belief they chose to research, using text, images, signs and symbols.

Collect e-waste material to create a sculptural assemblage of a hybrid animal form.

After looking at the work of Wayne White, students will determine the significance in making an old work of art something new, and orally give their opinion as to how, if at all, the meaning of the piece changes.

Research a cultural, societal, or personal belief and in writing give at least two reasons why it is important to them.

Create a social justice poster incorporating whichever belief they chose to research, using text, images, signs and symbols.

Collect e-waste material to create a sculptural assemblage of a hybrid animal form.

After looking at the work of Wayne White, students will determine the significance in making an old work of art something new, and orally give their opinion as to how, if at all, the meaning of the piece changes.

Research a cultural, societal, or personal belief and in writing give at least two reasons why it is important to them.

Create a social justice poster incorporating whichever belief they chose to research, using text, images, signs and symbols.

Collect e-waste material to create a sculptural assemblage of a hybrid animal form.

After looking at the work of Wayne White, students will determine the significance in making an old work of art something new, and orally give their opinion as to how, if at all, the meaning of the piece changes.

Research a cultural, societal, or personal belief and in writing give at least two reasons why it is important to them.

Create a social justice poster incorporating whichever belief they chose to research, using text, images, signs and symbols.

Collect e-waste material to create a sculptural assemblage of a hybrid animal form.

In writing, compare and contrast the characteristics of Islamic and Aztec artwork, listing at least two similarities and two differences.

Create an eraser print design inspired by the images of Islamic architecture shown in class, using at least three different colors.

Create a mosaic Aztec inspired sun tile from a slab, that incorporates both additive and subtractive clay building techniques.

In writing, compare and contrast the characteristics of Islamic and Aztec artwork, listing at least two similarities and two differences.

Create an eraser print design inspired by the images of Islamic architecture shown in class, using at least three different colors.

Create a mosaic Aztec inspired sun tile from a slab, that incorporates both additive and subtractive clay building techniques.

In writing, compare and contrast the characteristics of Islamic and Aztec artwork, listing at least two similarities and two differences.

Create an eraser print design inspired by the images of Islamic architecture shown in class, using at least three different colors.

Create a mosaic Aztec inspired sun tile from a slab, that incorporates both additive and subtractive clay building techniques.

In writing, compare and contrast the characteristics of Islamic and Aztec artwork, listing at least two similarities and two differences.

Create an eraser print design inspired by the images of Islamic architecture shown in class, using at least three different colors.

Create a mosaic Aztec inspired sun tile from a slab, that incorporates both additive and subtractive clay building techniques.

In writing, compare and contrast the characteristics of Islamic and Aztec artwork, listing at least two similarities and two differences.

Create an eraser print design inspired by the images of Islamic architecture shown in class, using at least three different colors.

Create a mosaic Aztec inspired sun tile from a slab, that incorporates both additive and subtractive clay building techniques.

In writing, compare and contrast the characteristics of Islamic and Aztec artwork, listing at least two similarities and two differences.

Create an eraser print design inspired by the images of Islamic architecture shown in class, using at least three different colors.

Create a mosaic Aztec inspired sun tile from a slab, that incorporates both additive and subtractive clay building techniques.

In writing, compare and contrast the characteristics of Islamic and Aztec artwork, listing at least two similarities and two differences.

Create an eraser print design inspired by the images of Islamic architecture shown in class, using at least three different colors.

Create a mosaic Aztec inspired sun tile from a slab, that incorporates both additive and subtractive clay building techniques.

Forms 2D2D 3D3D3D 4D4D4D 2D2D 3D3D 4D4D 2D2D 3D3D 4D4D 2D2D 3D3D 4D4D4DFrames Cultural Subj.Subj. Struct.Struct.Struct. PModPMod Cultural Subj.Subj. Struct.Struct. PMod Cultural Subj.Subj. Struct.Struct. PMod Cultural Subj.Subj. Struct.Struct. PModPModConceptualFramework Artwork ArtistArtist Aud.Aud.Aud. WorldWorld Artwork ArtistArtist Aud.Aud. World Artwork ArtistArtist Aud.Aud. World Artwork ArtistArtist Aud.Aud. WorldWorld

Key Artists Pablo PIcasso, Thomas C. Fedro, Paul Cezanne, Jean Metzinger, Wayne White, Lynne Taetzsch, Vance Kirkland, Wassily Kandinsky

Pablo PIcasso, Thomas C. Fedro, Paul Cezanne, Jean Metzinger, Wayne White, Lynne Taetzsch, Vance Kirkland, Wassily Kandinsky

Pablo PIcasso, Thomas C. Fedro, Paul Cezanne, Jean Metzinger, Wayne White, Lynne Taetzsch, Vance Kirkland, Wassily Kandinsky

Pablo PIcasso, Thomas C. Fedro, Paul Cezanne, Jean Metzinger, Wayne White, Lynne Taetzsch, Vance Kirkland, Wassily Kandinsky

Pablo PIcasso, Thomas C. Fedro, Paul Cezanne, Jean Metzinger, Wayne White, Lynne Taetzsch, Vance Kirkland, Wassily Kandinsky

Pablo PIcasso, Thomas C. Fedro, Paul Cezanne, Jean Metzinger, Wayne White, Lynne Taetzsch, Vance Kirkland, Wassily Kandinsky

Pablo PIcasso, Thomas C. Fedro, Paul Cezanne, Jean Metzinger, Wayne White, Lynne Taetzsch, Vance Kirkland, Wassily Kandinsky

Pablo PIcasso, Thomas C. Fedro, Paul Cezanne, Jean Metzinger, Wayne White, Lynne Taetzsch, Vance Kirkland, Wassily Kandinsky

Lou Ros, Vincent Van Gogh, Emma Tingard, Markus Muller, Magdalena Ana Rosso, Barry Goldstein, Judith Nelson

Lou Ros, Vincent Van Gogh, Emma Tingard, Markus Muller, Magdalena Ana Rosso, Barry Goldstein, Judith Nelson

Lou Ros, Vincent Van Gogh, Emma Tingard, Markus Muller, Magdalena Ana Rosso, Barry Goldstein, Judith Nelson

Lou Ros, Vincent Van Gogh, Emma Tingard, Markus Muller, Magdalena Ana Rosso, Barry Goldstein, Judith Nelson

Lou Ros, Vincent Van Gogh, Emma Tingard, Markus Muller, Magdalena Ana Rosso, Barry Goldstein, Judith Nelson

Lou Ros, Vincent Van Gogh, Emma Tingard, Markus Muller, Magdalena Ana Rosso, Barry Goldstein, Judith Nelson

Jessica Joslin, Christopher Conte, David Hume Kennerly, Art Spiegelman, Kara Walker, Banksy

Jessica Joslin, Christopher Conte, David Hume Kennerly, Art Spiegelman, Kara Walker, Banksy

Jessica Joslin, Christopher Conte, David Hume Kennerly, Art Spiegelman, Kara Walker, Banksy

Jessica Joslin, Christopher Conte, David Hume Kennerly, Art Spiegelman, Kara Walker, Banksy

Jessica Joslin, Christopher Conte, David Hume Kennerly, Art Spiegelman, Kara Walker, Banksy

Jessica Joslin, Christopher Conte, David Hume Kennerly, Art Spiegelman, Kara Walker, Banksy

Hans Cohn, Edward Binney

Many of the examples I will be using don’t name artists, they are early historical Islamic and Aztec artworks.

Hans Cohn, Edward Binney

Many of the examples I will be using don’t name artists, they are early historical Islamic and Aztec artworks.

Hans Cohn, Edward Binney

Many of the examples I will be using don’t name artists, they are early historical Islamic and Aztec artworks.

Hans Cohn, Edward Binney

Many of the examples I will be using don’t name artists, they are early historical Islamic and Aztec artworks.

Hans Cohn, Edward Binney

Many of the examples I will be using don’t name artists, they are early historical Islamic and Aztec artworks.

Hans Cohn, Edward Binney

Many of the examples I will be using don’t name artists, they are early historical Islamic and Aztec artworks.

Hans Cohn, Edward Binney

Many of the examples I will be using don’t name artists, they are early historical Islamic and Aztec artworks.

Key Artworks -Picasso, “Factory, Horta de Ebbo”, 1909-Picasso, “Weeping Woman”, 1937-Fedro, “Seeing Sounds”, 2012-Fedro, “Darned Tootin”, 2013-Taetzsch, “Memories of You”, 2013-Kandinsky, Compostion VII”, 1913

-Picasso, “Factory, Horta de Ebbo”, 1909-Picasso, “Weeping Woman”, 1937-Fedro, “Seeing Sounds”, 2012-Fedro, “Darned Tootin”, 2013-Taetzsch, “Memories of You”, 2013-Kandinsky, Compostion VII”, 1913

-Picasso, “Factory, Horta de Ebbo”, 1909-Picasso, “Weeping Woman”, 1937-Fedro, “Seeing Sounds”, 2012-Fedro, “Darned Tootin”, 2013-Taetzsch, “Memories of You”, 2013-Kandinsky, Compostion VII”, 1913

-Picasso, “Factory, Horta de Ebbo”, 1909-Picasso, “Weeping Woman”, 1937-Fedro, “Seeing Sounds”, 2012-Fedro, “Darned Tootin”, 2013-Taetzsch, “Memories of You”, 2013-Kandinsky, Compostion VII”, 1913

-Picasso, “Factory, Horta de Ebbo”, 1909-Picasso, “Weeping Woman”, 1937-Fedro, “Seeing Sounds”, 2012-Fedro, “Darned Tootin”, 2013-Taetzsch, “Memories of You”, 2013-Kandinsky, Compostion VII”, 1913

-Picasso, “Factory, Horta de Ebbo”, 1909-Picasso, “Weeping Woman”, 1937-Fedro, “Seeing Sounds”, 2012-Fedro, “Darned Tootin”, 2013-Taetzsch, “Memories of You”, 2013-Kandinsky, Compostion VII”, 1913

-Picasso, “Factory, Horta de Ebbo”, 1909-Picasso, “Weeping Woman”, 1937-Fedro, “Seeing Sounds”, 2012-Fedro, “Darned Tootin”, 2013-Taetzsch, “Memories of You”, 2013-Kandinsky, Compostion VII”, 1913

-Picasso, “Factory, Horta de Ebbo”, 1909-Picasso, “Weeping Woman”, 1937-Fedro, “Seeing Sounds”, 2012-Fedro, “Darned Tootin”, 2013-Taetzsch, “Memories of You”, 2013-Kandinsky, Compostion VII”, 1913

-Tingard, “Portrait of Sahara II”, 2013- Muller, “Worming Portrait”, 2012- Van Gogh, “Portrait of the postman Joseph

Roulin”, 1889- Van Gogh, “Self Portrait”, 1890

-Tingard, “Portrait of Sahara II”, 2013- Muller, “Worming Portrait”, 2012- Van Gogh, “Portrait of the postman Joseph

Roulin”, 1889- Van Gogh, “Self Portrait”, 1890

-Tingard, “Portrait of Sahara II”, 2013- Muller, “Worming Portrait”, 2012- Van Gogh, “Portrait of the postman Joseph

Roulin”, 1889- Van Gogh, “Self Portrait”, 1890

-Tingard, “Portrait of Sahara II”, 2013- Muller, “Worming Portrait”, 2012- Van Gogh, “Portrait of the postman Joseph

Roulin”, 1889- Van Gogh, “Self Portrait”, 1890

-Tingard, “Portrait of Sahara II”, 2013- Muller, “Worming Portrait”, 2012- Van Gogh, “Portrait of the postman Joseph

Roulin”, 1889- Van Gogh, “Self Portrait”, 1890

-Tingard, “Portrait of Sahara II”, 2013- Muller, “Worming Portrait”, 2012- Van Gogh, “Portrait of the postman Joseph

Roulin”, 1889- Van Gogh, “Self Portrait”, 1890

-Walker, “I’ll Be a Monkey’s Uncle”, 1996-Conte, “Bellona”, 2013-Conte, “Victoria”, 2012-Joslin, “Sylvian and Ezra”, 2014-Joslin, “Silvio”, 2006

-Walker, “I’ll Be a Monkey’s Uncle”, 1996-Conte, “Bellona”, 2013-Conte, “Victoria”, 2012-Joslin, “Sylvian and Ezra”, 2014-Joslin, “Silvio”, 2006

-Walker, “I’ll Be a Monkey’s Uncle”, 1996-Conte, “Bellona”, 2013-Conte, “Victoria”, 2012-Joslin, “Sylvian and Ezra”, 2014-Joslin, “Silvio”, 2006

-Walker, “I’ll Be a Monkey’s Uncle”, 1996-Conte, “Bellona”, 2013-Conte, “Victoria”, 2012-Joslin, “Sylvian and Ezra”, 2014-Joslin, “Silvio”, 2006

-Walker, “I’ll Be a Monkey’s Uncle”, 1996-Conte, “Bellona”, 2013-Conte, “Victoria”, 2012-Joslin, “Sylvian and Ezra”, 2014-Joslin, “Silvio”, 2006

-Walker, “I’ll Be a Monkey’s Uncle”, 1996-Conte, “Bellona”, 2013-Conte, “Victoria”, 2012-Joslin, “Sylvian and Ezra”, 2014-Joslin, “Silvio”, 2006

-Cohn, “Base of a Bottle”, Unknown-Binney, “Muqarnas Decoration”, Unknown-Tiled exterior of the Friday Mosque of Herat,1446-Islamic ceramic pottery and architecture

-Cohn, “Base of a Bottle”, Unknown-Binney, “Muqarnas Decoration”, Unknown-Tiled exterior of the Friday Mosque of Herat,1446-Islamic ceramic pottery and architecture

-Cohn, “Base of a Bottle”, Unknown-Binney, “Muqarnas Decoration”, Unknown-Tiled exterior of the Friday Mosque of Herat,1446-Islamic ceramic pottery and architecture

-Cohn, “Base of a Bottle”, Unknown-Binney, “Muqarnas Decoration”, Unknown-Tiled exterior of the Friday Mosque of Herat,1446-Islamic ceramic pottery and architecture

-Cohn, “Base of a Bottle”, Unknown-Binney, “Muqarnas Decoration”, Unknown-Tiled exterior of the Friday Mosque of Herat,1446-Islamic ceramic pottery and architecture

-Cohn, “Base of a Bottle”, Unknown-Binney, “Muqarnas Decoration”, Unknown-Tiled exterior of the Friday Mosque of Herat,1446-Islamic ceramic pottery and architecture

-Cohn, “Base of a Bottle”, Unknown-Binney, “Muqarnas Decoration”, Unknown-Tiled exterior of the Friday Mosque of Herat,1446-Islamic ceramic pottery and architecture

SECONDARY VISUAL ARTS CURRICULUM

Key Critical Questions

1. What feelings does this artwork evoke? In what ways has the artist shared their feelings and experiences with the viewer?

2. What are the qualities of this artwork that make you feel the way you do?

3. What principles and interests govern the stylistic qualities of this work?

4. What influence has the work of Kandinsky had on other artists or designers?

1. What feelings does this artwork evoke? In what ways has the artist shared their feelings and experiences with the viewer?

2. What are the qualities of this artwork that make you feel the way you do?

3. What principles and interests govern the stylistic qualities of this work?

4. What influence has the work of Kandinsky had on other artists or designers?

1. What feelings does this artwork evoke? In what ways has the artist shared their feelings and experiences with the viewer?

2. What are the qualities of this artwork that make you feel the way you do?

3. What principles and interests govern the stylistic qualities of this work?

4. What influence has the work of Kandinsky had on other artists or designers?

1. What feelings does this artwork evoke? In what ways has the artist shared their feelings and experiences with the viewer?

2. What are the qualities of this artwork that make you feel the way you do?

3. What principles and interests govern the stylistic qualities of this work?

4. What influence has the work of Kandinsky had on other artists or designers?

1. What feelings does this artwork evoke? In what ways has the artist shared their feelings and experiences with the viewer?

2. What are the qualities of this artwork that make you feel the way you do?

3. What principles and interests govern the stylistic qualities of this work?

4. What influence has the work of Kandinsky had on other artists or designers?

1. What feelings does this artwork evoke? In what ways has the artist shared their feelings and experiences with the viewer?

2. What are the qualities of this artwork that make you feel the way you do?

3. What principles and interests govern the stylistic qualities of this work?

4. What influence has the work of Kandinsky had on other artists or designers?

1. What feelings does this artwork evoke? In what ways has the artist shared their feelings and experiences with the viewer?

2. What are the qualities of this artwork that make you feel the way you do?

3. What principles and interests govern the stylistic qualities of this work?

4. What influence has the work of Kandinsky had on other artists or designers?

1. What feelings does this artwork evoke? In what ways has the artist shared their feelings and experiences with the viewer?

2. What are the qualities of this artwork that make you feel the way you do?

3. What principles and interests govern the stylistic qualities of this work?

4. What influence has the work of Kandinsky had on other artists or designers?

1. How can the artwork be read as a system of signs or fragments?

2. What values and beliefs are represented by the signs in the artwork?

3. How can meaning in the work be read by an audience?

4. How can symbols and signs in an artwork refer to the world?

1. How can the artwork be read as a system of signs or fragments?

2. What values and beliefs are represented by the signs in the artwork?

3. How can meaning in the work be read by an audience?

4. How can symbols and signs in an artwork refer to the world?

1. How can the artwork be read as a system of signs or fragments?

2. What values and beliefs are represented by the signs in the artwork?

3. How can meaning in the work be read by an audience?

4. How can symbols and signs in an artwork refer to the world?

1. How can the artwork be read as a system of signs or fragments?

2. What values and beliefs are represented by the signs in the artwork?

3. How can meaning in the work be read by an audience?

4. How can symbols and signs in an artwork refer to the world?

1. How can the artwork be read as a system of signs or fragments?

2. What values and beliefs are represented by the signs in the artwork?

3. How can meaning in the work be read by an audience?

4. How can symbols and signs in an artwork refer to the world?

1. How can the artwork be read as a system of signs or fragments?

2. What values and beliefs are represented by the signs in the artwork?

3. How can meaning in the work be read by an audience?

4. How can symbols and signs in an artwork refer to the world?

1. How has the new context of the text changed its meaning?

2. What values and beliefs are represented by the signs in the artwork?

3. How do the signs in the work refer to the world?

4. How does your immediate experience of this work make you feel?

5. Using your imagination, what other ideas or experiences can you relate to this artwork?

1. How has the new context of the text changed its meaning?

2. What values and beliefs are represented by the signs in the artwork?

3. How do the signs in the work refer to the world?

4. How does your immediate experience of this work make you feel?

5. Using your imagination, what other ideas or experiences can you relate to this artwork?

1. How has the new context of the text changed its meaning?

2. What values and beliefs are represented by the signs in the artwork?

3. How do the signs in the work refer to the world?

4. How does your immediate experience of this work make you feel?

5. Using your imagination, what other ideas or experiences can you relate to this artwork?

1. How has the new context of the text changed its meaning?

2. What values and beliefs are represented by the signs in the artwork?

3. How do the signs in the work refer to the world?

4. How does your immediate experience of this work make you feel?

5. Using your imagination, what other ideas or experiences can you relate to this artwork?

1. How has the new context of the text changed its meaning?

2. What values and beliefs are represented by the signs in the artwork?

3. How do the signs in the work refer to the world?

4. How does your immediate experience of this work make you feel?

5. Using your imagination, what other ideas or experiences can you relate to this artwork?

1. How has the new context of the text changed its meaning?

2. What values and beliefs are represented by the signs in the artwork?

3. How do the signs in the work refer to the world?

4. How does your immediate experience of this work make you feel?

5. Using your imagination, what other ideas or experiences can you relate to this artwork?

1. What are the ideological views, values, and beliefs of the society that surround the work?

2. Is the artist, craftsperson, or designer part of a movement or style?

3. What principles and interests govern the stylistic qualities of the work?

4. What are the conventions, traditions, or rules that construct the codes, symbols, or signs that are used in the artwork?

1. What are the ideological views, values, and beliefs of the society that surround the work?

2. Is the artist, craftsperson, or designer part of a movement or style?

3. What principles and interests govern the stylistic qualities of the work?

4. What are the conventions, traditions, or rules that construct the codes, symbols, or signs that are used in the artwork?

1. What are the ideological views, values, and beliefs of the society that surround the work?

2. Is the artist, craftsperson, or designer part of a movement or style?

3. What principles and interests govern the stylistic qualities of the work?

4. What are the conventions, traditions, or rules that construct the codes, symbols, or signs that are used in the artwork?

1. What are the ideological views, values, and beliefs of the society that surround the work?

2. Is the artist, craftsperson, or designer part of a movement or style?

3. What principles and interests govern the stylistic qualities of the work?

4. What are the conventions, traditions, or rules that construct the codes, symbols, or signs that are used in the artwork?

1. What are the ideological views, values, and beliefs of the society that surround the work?

2. Is the artist, craftsperson, or designer part of a movement or style?

3. What principles and interests govern the stylistic qualities of the work?

4. What are the conventions, traditions, or rules that construct the codes, symbols, or signs that are used in the artwork?

1. What are the ideological views, values, and beliefs of the society that surround the work?

2. Is the artist, craftsperson, or designer part of a movement or style?

3. What principles and interests govern the stylistic qualities of the work?

4. What are the conventions, traditions, or rules that construct the codes, symbols, or signs that are used in the artwork?

1. What are the ideological views, values, and beliefs of the society that surround the work?

2. Is the artist, craftsperson, or designer part of a movement or style?

3. What principles and interests govern the stylistic qualities of the work?

4. What are the conventions, traditions, or rules that construct the codes, symbols, or signs that are used in the artwork?

Vocabulary Abstract artAbstract ExpressionismAcrylicBalanceCollageCompositionCubismWet vs Dry MediaMixed MediaRhythmTexture

Abstract artAbstract ExpressionismAcrylicBalanceCollageCompositionCubismWet vs Dry MediaMixed MediaRhythmTexture

Abstract artAbstract ExpressionismAcrylicBalanceCollageCompositionCubismWet vs Dry MediaMixed MediaRhythmTexture

Abstract artAbstract ExpressionismAcrylicBalanceCollageCompositionCubismWet vs Dry MediaMixed MediaRhythmTexture

Abstract artAbstract ExpressionismAcrylicBalanceCollageCompositionCubismWet vs Dry MediaMixed MediaRhythmTexture

Abstract artAbstract ExpressionismAcrylicBalanceCollageCompositionCubismWet vs Dry MediaMixed MediaRhythmTexture

Abstract artAbstract ExpressionismAcrylicBalanceCollageCompositionCubismWet vs Dry MediaMixed MediaRhythmTexture

Abstract artAbstract ExpressionismAcrylicBalanceCollageCompositionCubismWet vs Dry MediaMixed MediaRhythmTexture

Portrait SgraffitoRepresentation GlazeSymbol FiringRelief Sculpture BisqueSculpture KilnAdditiveSubtractiveFace proportionsSlabCoilSlip and Scoring

Portrait SgraffitoRepresentation GlazeSymbol FiringRelief Sculpture BisqueSculpture KilnAdditiveSubtractiveFace proportionsSlabCoilSlip and Scoring

Portrait SgraffitoRepresentation GlazeSymbol FiringRelief Sculpture BisqueSculpture KilnAdditiveSubtractiveFace proportionsSlabCoilSlip and Scoring

Portrait SgraffitoRepresentation GlazeSymbol FiringRelief Sculpture BisqueSculpture KilnAdditiveSubtractiveFace proportionsSlabCoilSlip and Scoring

Portrait SgraffitoRepresentation GlazeSymbol FiringRelief Sculpture BisqueSculpture KilnAdditiveSubtractiveFace proportionsSlabCoilSlip and Scoring

Portrait SgraffitoRepresentation GlazeSymbol FiringRelief Sculpture BisqueSculpture KilnAdditiveSubtractiveFace proportionsSlabCoilSlip and Scoring

SculptureE-waste HybriditySocial JusticeText

SculptureE-waste HybriditySocial JusticeText

SculptureE-waste HybriditySocial JusticeText

SculptureE-waste HybriditySocial JusticeText

SculptureE-waste HybriditySocial JusticeText

SculptureE-waste HybriditySocial JusticeText

PrintPatternEmphasisSlabAdditive SubtractiveImprintingCoilSgraffito

PrintPatternEmphasisSlabAdditive SubtractiveImprintingCoilSgraffito

PrintPatternEmphasisSlabAdditive SubtractiveImprintingCoilSgraffito

PrintPatternEmphasisSlabAdditive SubtractiveImprintingCoilSgraffito

PrintPatternEmphasisSlabAdditive SubtractiveImprintingCoilSgraffito

PrintPatternEmphasisSlabAdditive SubtractiveImprintingCoilSgraffito

PrintPatternEmphasisSlabAdditive SubtractiveImprintingCoilSgraffito

Language Functions

analyze, describe, interpret, question. analyze, describe, interpret, question. analyze, describe, interpret, question. analyze, describe, interpret, question. analyze, describe, interpret, question. analyze, describe, interpret, question. analyze, describe, interpret, question. analyze, describe, interpret, question. analyze, describe, interpret. analyze, describe, interpret. analyze, describe, interpret. analyze, describe, interpret. analyze, describe, interpret. analyze, describe, interpret. analyze, critique, question, interpret. analyze, critique, question, interpret. analyze, critique, question, interpret. analyze, critique, question, interpret. analyze, critique, question, interpret. analyze, critique, question, interpret. analyze, describe. analyze, describe. analyze, describe. analyze, describe. analyze, describe. analyze, describe. analyze, describe.

Language Modes Read WriteWriteWrite ListenListenListen Speak Read WriteWrite ListenListen Speak Read WriteWrite ListenListen Speak Read WriteWrite ListenListenListen SpeakLanguage Demands SyntaxSyntaxSyntax DiscourseDiscourseDiscourseDiscourseDiscourse SyntaxSyntaxSyntax DiscourseDiscourseDiscourse SyntaxSyntaxSyntax DiscourseDiscourseDiscourse SyntaxSyntaxSyntax DiscourseDiscourseDiscourseDiscourseLanguage Tasks & Activities

1. Orally describe some similarities and differences between the musical and visual arts

2. Read the handout on characteristics of abstract art, and then write down which of the characteristics apply to the work of Kandinsky and which ones apply to the work of Picasso

1. Orally describe some similarities and differences between the musical and visual arts

2. Read the handout on characteristics of abstract art, and then write down which of the characteristics apply to the work of Kandinsky and which ones apply to the work of Picasso

1. Orally describe some similarities and differences between the musical and visual arts

2. Read the handout on characteristics of abstract art, and then write down which of the characteristics apply to the work of Kandinsky and which ones apply to the work of Picasso

1. Orally describe some similarities and differences between the musical and visual arts

2. Read the handout on characteristics of abstract art, and then write down which of the characteristics apply to the work of Kandinsky and which ones apply to the work of Picasso

1. Orally describe some similarities and differences between the musical and visual arts

2. Read the handout on characteristics of abstract art, and then write down which of the characteristics apply to the work of Kandinsky and which ones apply to the work of Picasso

1. Orally describe some similarities and differences between the musical and visual arts

2. Read the handout on characteristics of abstract art, and then write down which of the characteristics apply to the work of Kandinsky and which ones apply to the work of Picasso

1. Orally describe some similarities and differences between the musical and visual arts

2. Read the handout on characteristics of abstract art, and then write down which of the characteristics apply to the work of Kandinsky and which ones apply to the work of Picasso

1. Orally describe some similarities and differences between the musical and visual arts

2. Read the handout on characteristics of abstract art, and then write down which of the characteristics apply to the work of Kandinsky and which ones apply to the work of Picasso

1. After viewing multiple images of portrait art, students will write down their views on how portrait artists create meaning through the use of symbols and sign.

2. Orally describe how mood can be created through artwork.

1. After viewing multiple images of portrait art, students will write down their views on how portrait artists create meaning through the use of symbols and sign.

2. Orally describe how mood can be created through artwork.

1. After viewing multiple images of portrait art, students will write down their views on how portrait artists create meaning through the use of symbols and sign.

2. Orally describe how mood can be created through artwork.

1. After viewing multiple images of portrait art, students will write down their views on how portrait artists create meaning through the use of symbols and sign.

2. Orally describe how mood can be created through artwork.

1. After viewing multiple images of portrait art, students will write down their views on how portrait artists create meaning through the use of symbols and sign.

2. Orally describe how mood can be created through artwork.

1. After viewing multiple images of portrait art, students will write down their views on how portrait artists create meaning through the use of symbols and sign.

2. Orally describe how mood can be created through artwork.

1. Research a cultural, societal, or personal belief and in writing list reasons why it is important to them.

2. Vocabulary crossword, one for each of the three projects of this unit

1. Research a cultural, societal, or personal belief and in writing list reasons why it is important to them.

2. Vocabulary crossword, one for each of the three projects of this unit

1. Research a cultural, societal, or personal belief and in writing list reasons why it is important to them.

2. Vocabulary crossword, one for each of the three projects of this unit

1. Research a cultural, societal, or personal belief and in writing list reasons why it is important to them.

2. Vocabulary crossword, one for each of the three projects of this unit

1. Research a cultural, societal, or personal belief and in writing list reasons why it is important to them.

2. Vocabulary crossword, one for each of the three projects of this unit

1. Research a cultural, societal, or personal belief and in writing list reasons why it is important to them.

2. Vocabulary crossword, one for each of the three projects of this unit

1. In writing, fill out the compare and contrast worksheet on Islamic and Aztec artwork, after viewing the PowerPoint in class.

2. Discussion of stylistic qualities of both Islamic and Aztec art.

1. In writing, fill out the compare and contrast worksheet on Islamic and Aztec artwork, after viewing the PowerPoint in class.

2. Discussion of stylistic qualities of both Islamic and Aztec art.

1. In writing, fill out the compare and contrast worksheet on Islamic and Aztec artwork, after viewing the PowerPoint in class.

2. Discussion of stylistic qualities of both Islamic and Aztec art.

1. In writing, fill out the compare and contrast worksheet on Islamic and Aztec artwork, after viewing the PowerPoint in class.

2. Discussion of stylistic qualities of both Islamic and Aztec art.

1. In writing, fill out the compare and contrast worksheet on Islamic and Aztec artwork, after viewing the PowerPoint in class.

2. Discussion of stylistic qualities of both Islamic and Aztec art.

1. In writing, fill out the compare and contrast worksheet on Islamic and Aztec artwork, after viewing the PowerPoint in class.

2. Discussion of stylistic qualities of both Islamic and Aztec art.

1. In writing, fill out the compare and contrast worksheet on Islamic and Aztec artwork, after viewing the PowerPoint in class.

2. Discussion of stylistic qualities of both Islamic and Aztec art.

Language Supports

1. Handout on the characteristics of Abstract art.

2. PowerPoint of images of Kandinsky and Picasso’s artwork.

1. Handout on the characteristics of Abstract art.

2. PowerPoint of images of Kandinsky and Picasso’s artwork.

1. Handout on the characteristics of Abstract art.

2. PowerPoint of images of Kandinsky and Picasso’s artwork.

1. Handout on the characteristics of Abstract art.

2. PowerPoint of images of Kandinsky and Picasso’s artwork.

1. Handout on the characteristics of Abstract art.

2. PowerPoint of images of Kandinsky and Picasso’s artwork.

1. Handout on the characteristics of Abstract art.

2. PowerPoint of images of Kandinsky and Picasso’s artwork.

1. Handout on the characteristics of Abstract art.

2. PowerPoint of images of Kandinsky and Picasso’s artwork.

1. Handout on the characteristics of Abstract art.

2. PowerPoint of images of Kandinsky and Picasso’s artwork.

1. PowerPoint of images of portrait art2. Handout on how to read an artwork.1. PowerPoint of images of portrait art2. Handout on how to read an artwork.1. PowerPoint of images of portrait art2. Handout on how to read an artwork.1. PowerPoint of images of portrait art2. Handout on how to read an artwork.1. PowerPoint of images of portrait art2. Handout on how to read an artwork.1. PowerPoint of images of portrait art2. Handout on how to read an artwork.

1. Online research/ Laptop cart2. vocabulary crosswords (3)1. Online research/ Laptop cart2. vocabulary crosswords (3)1. Online research/ Laptop cart2. vocabulary crosswords (3)1. Online research/ Laptop cart2. vocabulary crosswords (3)1. Online research/ Laptop cart2. vocabulary crosswords (3)1. Online research/ Laptop cart2. vocabulary crosswords (3)

1. Compare and Contrast worksheet on Aztec and Islamic art

2. PowerPoint of images of Islamic and Aztec artwork with labeled vocabulary

1. Compare and Contrast worksheet on Aztec and Islamic art

2. PowerPoint of images of Islamic and Aztec artwork with labeled vocabulary

1. Compare and Contrast worksheet on Aztec and Islamic art

2. PowerPoint of images of Islamic and Aztec artwork with labeled vocabulary

1. Compare and Contrast worksheet on Aztec and Islamic art

2. PowerPoint of images of Islamic and Aztec artwork with labeled vocabulary

1. Compare and Contrast worksheet on Aztec and Islamic art

2. PowerPoint of images of Islamic and Aztec artwork with labeled vocabulary

1. Compare and Contrast worksheet on Aztec and Islamic art

2. PowerPoint of images of Islamic and Aztec artwork with labeled vocabulary

1. Compare and Contrast worksheet on Aztec and Islamic art

2. PowerPoint of images of Islamic and Aztec artwork with labeled vocabulary

SECONDARY VISUAL ARTS CURRICULUM

Assessments FormativeFormativeFormative SummativeSummativeSummativeSummativeSummative FormativeFormativeFormative SummativeSummativeSummative FormativeFormativeFormative SummativeSummativeSummative FormativeFormativeFormative SummativeSummativeSummativeSummativeClass discussion (participation)

Exit Slip

Class discussion (participation)

Exit Slip

Class discussion (participation)

Exit Slip

Teacher Observation

Sketchbook Check

Teacher Observation

Sketchbook Check

Teacher Observation

Sketchbook Check

Teacher Observation

Sketchbook Check

Teacher Observation

Sketchbook Check

Think Pair Share

Written Reflection

Exit Slip (on the proportions of the face)

Think Pair Share

Written Reflection

Exit Slip (on the proportions of the face)

Think Pair Share

Written Reflection

Exit Slip (on the proportions of the face)

Checklist for clay portrait

Student demonstration of face proportions on paper.

Checklist for clay portrait

Student demonstration of face proportions on paper.

Checklist for clay portrait

Student demonstration of face proportions on paper.

Think Pair Share

Gallery Walk (for both Poster Art and Steampunk projects)

Think Pair Share

Gallery Walk (for both Poster Art and Steampunk projects)

Think Pair Share

Gallery Walk (for both Poster Art and Steampunk projects)

Discussion Interview on Poster Art and E-waste animal

Discussion Interview on Poster Art and E-waste animal

Discussion Interview on Poster Art and E-waste animal

Class Discussion(participation)Class Discussion(participation)Class Discussion(participation)

ChecklistChecklistChecklistChecklist

National Standards

VA:Cr1-8a, VA:Cr2-8a, VA:Re7-8bVA:Cr1-8a, VA:Cr2-8a, VA:Re7-8bVA:Cr1-8a, VA:Cr2-8a, VA:Re7-8bVA:Cr1-8a, VA:Cr2-8a, VA:Re7-8bVA:Cr1-8a, VA:Cr2-8a, VA:Re7-8bVA:Cr1-8a, VA:Cr2-8a, VA:Re7-8bVA:Cr1-8a, VA:Cr2-8a, VA:Re7-8bVA:Cr1-8a, VA:Cr2-8a, VA:Re7-8b VA: Cr1-8b, VA:Cr3-8a, VA:Pr6-8a, VA:Re8-8aVA: Cr1-8b, VA:Cr3-8a, VA:Pr6-8a, VA:Re8-8aVA: Cr1-8b, VA:Cr3-8a, VA:Pr6-8a, VA:Re8-8aVA: Cr1-8b, VA:Cr3-8a, VA:Pr6-8a, VA:Re8-8aVA: Cr1-8b, VA:Cr3-8a, VA:Pr6-8a, VA:Re8-8aVA: Cr1-8b, VA:Cr3-8a, VA:Pr6-8a, VA:Re8-8a

VA:Cr1-8a, VA:Cr2-8c, VA:Cr3-8a, VA:Pr5-8a, VA:Re8-8a, VA:Cn11-8aVA:Cr1-8a, VA:Cr2-8c, VA:Cr3-8a, VA:Pr5-8a, VA:Re8-8a, VA:Cn11-8aVA:Cr1-8a, VA:Cr2-8c, VA:Cr3-8a, VA:Pr5-8a, VA:Re8-8a, VA:Cn11-8aVA:Cr1-8a, VA:Cr2-8c, VA:Cr3-8a, VA:Pr5-8a, VA:Re8-8a, VA:Cn11-8aVA:Cr1-8a, VA:Cr2-8c, VA:Cr3-8a, VA:Pr5-8a, VA:Re8-8a, VA:Cn11-8aVA:Cr1-8a, VA:Cr2-8c, VA:Cr3-8a, VA:Pr5-8a, VA:Re8-8a, VA:Cn11-8a

VA:Cr3-8a, VA:Re7-8a, VA:Cn10-8aVA:Cr3-8a, VA:Re7-8a, VA:Cn10-8aVA:Cr3-8a, VA:Re7-8a, VA:Cn10-8aVA:Cr3-8a, VA:Re7-8a, VA:Cn10-8aVA:Cr3-8a, VA:Re7-8a, VA:Cn10-8aVA:Cr3-8a, VA:Re7-8a, VA:Cn10-8aVA:Cr3-8a, VA:Re7-8a, VA:Cn10-8a

Common Core State StandardsIllustrative Artwork

Kandinsky, “Composition VII”, 1913Kandinsky, “Composition VII”, 1913Kandinsky, “Composition VII”, 1913Kandinsky, “Composition VII”, 1913Kandinsky, “Composition VII”, 1913Kandinsky, “Composition VII”, 1913Kandinsky, “Composition VII”, 1913Kandinsky, “Composition VII”, 1913

Tingard, “Portrait of Sahara II”, 2013 Tingard, “Portrait of Sahara II”, 2013 Tingard, “Portrait of Sahara II”, 2013 Tingard, “Portrait of Sahara II”, 2013 Tingard, “Portrait of Sahara II”, 2013 Tingard, “Portrait of Sahara II”, 2013

Joslin, “Sylvian and Ezra”, 2014 Joslin, “Sylvian and Ezra”, 2014 Joslin, “Sylvian and Ezra”, 2014 Joslin, “Sylvian and Ezra”, 2014 Joslin, “Sylvian and Ezra”, 2014 Joslin, “Sylvian and Ezra”, 2014

Tiled exterior of the Friday Mosque of Herat,1446Tiled exterior of the Friday Mosque of Herat,1446Tiled exterior of the Friday Mosque of Herat,1446Tiled exterior of the Friday Mosque of Herat,1446Tiled exterior of the Friday Mosque of Herat,1446Tiled exterior of the Friday Mosque of Herat,1446Tiled exterior of the Friday Mosque of Herat,1446

SECONDARY VISUAL ARTS CURRICULUM