SECONDARY VISUAL ARTS CURRICULUMGrade Level

High School Semes-ter

20 weeks Author Jessica Wilson

Class Photo

Group Mem-bers

UNIT 1: 5 weeks UNIT 2: 5 weeks UNIT 3: 5 weeks UNIT 4: 5 weeks

Title Fact or Fiction? The Dream Where are we? Let me take a selfieTheme Documentation/Manipulation Narrative Sense of Place IdentityDescrip-tion

In this unit students will explore the idea of a photograph representing truth. We will discuss the implications of a documentary photograph and explain ways in which the artist might have manipulated these photo-graphs. Students will look at Dorthea Lange’s work and contemplate ways that the artist has used manipulation (not pho-toshop) in order to convey a certain mes-sage. We will discuss advertisements and how they might have been manipulated in order to appeal to someone’s emotions. We will also discuss ways that classic film photographers have used post processing in the past (before photoshop) in order to manipulate the viewer. Students will be asked to take a series of photographs and they will manipulate one set and leave the other set raw. They will then be asked to discuss the differences in not only their set but the other students sets as well.

Students will think about a specific dream that they have had in the past, or a story they would like to tell. We will discuss as a class what visual aspects create a narrative and how to read them. Students will create a story board sketch outlining how they would like to create their narrative. We will talk as a class about symbolism and repre-sentation and the students will brainstorm to figure out how they can show their narra-tive in one photograph. Students will be asked to compare and contrast how artists have used multiple images as a set to tell a story vs how you can use symbols in one image to create a narrative. Students will create a six image story board to help the viewer understand a dream or story they are trying to tell.

Students will be asked to produce 5 final photographs that illustrate sense of place. We will have a class discussion about what “sense of place” means to the stu-dents and how you could express that us-ing only the camera (no post processing). Students will choose a place to photo-graph and take a minimum of 25 photo-graphs of that location, then they will sort through the images and choose 5 photo-graphs that best represent the sense of place. Students will be asked to identify what mood or feelings they had when they visited that place as well as some in-teresting points about that location in or-der to more easily translate their idea into a 5 photograph final photography project.

As a class we will discuss the history of the portrait as well as highlighting some contemporary portraits dis-cussing how portraiture has evolved. Students will create a mixed media photo-montage self portrait. As a class we will discuss what a portrait might mean to the audience and the individ-ual. Another class period would be spent talking about personal identity since some students may struggle with this concept. We will look at other pho-tographers who make work about their own identity. Students will take multi-ple photographs of themselves (this can be a selfie) or they can choose to have another student take their portrait as long as they they direct the photo-graph of themselves. They will be en-couraged to incorporate text and im-ages from the media to complete their self portrait. The final product will be one final piece using multiple medi-ums.

SECONDARY VISUAL ARTS CURRICULUMPractice Studio Pract.

(60%)Crit/Hist Study (40%)

Studio Pract. (60%)

Crit/Hist Study (40%)

Studio Pract. (60%)

Crit/Hist Study (40%)

Studio Pract. (60%)

Crit/Hist Study (40%)

Students will take a series of photo-graphs and manipulate one set while leaving the other set un-touched.

Students will learn about Dorthea Lange and study how she has manipu-lated the audi-ence to feel a certain way without post editing.

Students will take a series of photographs reflecting a storyline and place it in a story board to help aid the narrative process along.

Students will look at artists such as Jo Met-son Scott and Duane Michals, They will be looking at how these artist have created narra-tive photo-graphs.

Students will be shooting a series of pho-tographs that represent a sense of place. They will choose a few moods to por-tray and create a five photo-graph project demonstrating that mood.

Students will explore artists such as Kylie Woon, Andrew Wyeth and others who communicate a mood through describing a place. They will be com-paring these artworks to classical land-scape photog-raphy.

Students will be exploring lighting as well as back-grounds props and portraits by creating their own self portrait based off of the alter ego’s they de-velop them-selves.

Students will be exploring the idea of the self portrait and recontexualiz-ing based on modern values and ideas about art. They will be exploring what art is as well as com-paring their own portraits to famous portrait artists of the past.

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

SECONDARY VISUAL ARTS CURRICULUMAnalyze Dorthea Lange’s work and tell me at least two ways in which she has taken her photo-graph to manipulate the viewer.Students will be able to manip-ulate a set of photographs to emphasize an emotion.Students will be able to discuss the other students have manipu-lated their photographs.

Create a story board using at least five images that tell us a clear story about an experience they had.Students will be able to use at least two symbols to create a narrative using only one photo-graph.

Identify a mood or emotion in a photograph or location.Students will be able to create at least five photographs that convey a specific emotion or mood.

Use lighting in three different ways to enhance their photo-graph aesthetically. Students will be able to compare and contrast modern day selfies to historical portraits and self portraits done by artists like Dorthea Lange and Diane Ar-bus.Students will be able to create a portrait that uses background and lighting to tell the viewer about the subject.

Forms 2D 3D 4D 2D 3D 4D 2D 3D 4D 2D 3D 4D

Frames Cultural Subj. Struct. PMod Cultural Subj. Struct. PMod Cultural Subj. Struct. PMod Cultural Subj. Struct. PMod

Concep-tualFrame-work

Artwork Artist Aud. World Artwork Artist Aud. World Artwork Artist Aud. World Artwork Artist Aud. World

Key Artists Dorthea Lange, Sally Mann, Stephen Shames, Thomas Barbey, Angelica Gar-cia, Antionio Mora, Tina Barney,

Jo Metson Scott, Duane Michals, Ryan Shude, Paulina Otylie Surys, Cynthia Preston, Renee Stout, Dara Scully, Cindy Sherman, Hiroshi Sugimoto

Kylie Woon, Andrew Wyeth, Mike Deere, Zaria Forman, Vincent Van Gogh, El Anatsui

Frida Khalo, Flora Borsi, Natalia Pereira, Nigel Tomm, Erin Case, P. Bremer, Da-woud Bey

Key Art-works

Dorthea Lange, “You Don’t have to worriate so much”Antonio Mora, “African Cyclops”

Jo Metson Scott, “And then…”Dara Scully, “The Sinking”

Andrew Wyeth, The Blue DoorMike Deere, The Unseen Side of Brittian

Dawoud Bey, HarlemFrida Kahlo, Self Portrait with Monkey

Key Criti-cal Ques-tions

1. Which of these photographs repre-sents the documentary style of pho-tography and which represents ma-

1. How has Jo Metson Scott used multi-ple photographs to create a narrative? How does this compare to Dara

1. Wyeth uses paint to convey a sense of place, how can you do the same with a photograph?

1. How has Frida used symbols in her painting to tell us more about who she is?

SECONDARY VISUAL ARTS CURRICULUMnipulation?

2. Would the documentary photographs have the same meaning if they were taken during a time when photogshop were popular? Would they be less valid?

3. What are some ways Dorthea Lange might have manipulated her photo-graph to make a point?

4. What do you think Antonio Mora is try-ing to communicate by placing two dif-ferent images together?

Scully’s single photograph?2. What kind of stories can you come up

with based on the images you see?3. How has the artist used symbols to

help us understand the narrative?4. Which photograph reads more like a

story? Scott's or Scully’s?

2. How has Deere manipulated the lighting in order to portray a mood in his photograph?

3. What does mood or feeling contrib-ute to a sense of place?

4. If Deere’s photograph had bright col-ors would your opinion of the place change?

2. Dawoud Bey places his subjects in their own environment or an environ-ment that they are comfortable within. How does the environment tell us more about the person’s identity?

3. Frida uses symbols to help tell her story. Does Dawoud Bey also use symbols? If so how?

4. Khalo emphasizes multiple aspects of her identity in her paintings while Da-woud Bey seems to focus on just a few, does one of these portraits seem more valid than the other? Why or why not?

Vocabu-lary

Documentation, Manipulation, Post-Processing, Editing, Raw

Narrative, Symbols, Sense of place, Likeness Selfie, Postmodern, Contextual, Recontexualize

Language Functions

analyze, compare/contrast, critique, de-scribe, interpret, question

analyze, critique, describe, interpret analyze, compare/contrast, critique, de-scribe, interpret

analyze, compare/contrast, critique, de-scribe, interpret, question

Language Modes Read Write Listen Speak Read Write Listen Speak Read Write Listen Speak Read Write Listen Speak

Language Demands Syntax Discourse Syntax Discourse Syntax Discourse Syntax Discourse

Language Tasks & Activities

1. Research and Compare/Contrast 1. Describe and Compare/Contrast 1. Interpret, Research 1. Compare, Describe

Language Supports

1. Handout, Powerpoint 1. Examples of comics, Handout 1. Handout, Powerpoint 1. Handout, Worksheet

Assess-ments

Formative Summative Formative Summative Formative Summative Formative Summative

In progress check

Rubric In progress check

Rubric In progress check

Rubric In progress check

Rubric

SECONDARY VISUAL ARTS CURRICULUMNational Standards

VA:Cr2.3Demonstrate inworks of art ordesign how visualandmaterial culturedefines, shapes,enhances, inhibits,and/or empowerspeople's lives

VA:Pr4.1Analyze, select, andcritiquepersonalartwork for acollection orportfoliopresentation.

VA:Cr2.1Experiment, plan,and make multipleworks of art anddesign that explorea personallymeaningful theme,idea, orconcept.

VA:Cr1.2.1Choose from arange ofmaterialsand methods oftraditional andcontemporaryartistic practices,following orbreakingestablishedconventions, to planthe making ofmultiple works ofart and designbased on a theme,idea, orconcept.

SECONDARY VISUAL ARTS CURRICULUMCommon Core State Standards

CCSS.ELA-Literacy.RH.9-10.6Compare the point of view of two or more authors for how they treat the same or similar topics, including which details they include and emphasize in their respective accounts.CCSS.ELA-Literacy.RH.11-12.7Integrate and evaluate multiple sources of information pre-sented in diverse formats and media (e.g., visually, quantita-tively, as well as in words) in order to address a question or solve a problem.

CCSS.ELA-Literacy.W.9-10.2.aIntroduce a topic; organize com-plex ideas, concepts, and infor-mation to make important con-nections and distinctions; in-clude formatting (e.g., headings), graphics (e.g., figures, tables), and multimedia when useful to aiding comprehension.CCSS.ELA-Literacy.W.9-10.2.bDevelop the topic with well-cho-sen, relevant, and sufficient facts, extended definitions, con-crete details, quotations, or other information and examples appro-priate to the audience's knowl-edge of the topic

CCSS.ELA-Literacy.W.9-10.2.cUse appropriate and varied transitions to link the major sections of the text, create co-hesion, and clarify the relation-ships among complex ideas and concepts.CCSS.ELA-Literacy.W.11-12.2.bDevelop the topic thoroughly by selecting the most signifi-cant and relevant facts, ex-tended definitions, concrete de-tails, quotations, or other infor-mation and examples appropri-ate to the audience's knowledge of the topic.

CCSS.ELA-Literacy.RH.11-12.8Evaluate an author's premises, claims, and evidence by corrob-orating or challenging them with other information.CCSS.ELA-Literacy.RH.11-12.9Integrate information from di-verse sources, both primary and secondary, into a coherent un-derstanding of an idea or event, noting discrepancies among sources.

Illustrative Artwork

SECONDARY VISUAL ARTS CURRICULUM

SECONDARY VISUAL ARTS CURRICULUM

SECONDARY VISUAL ARTS CURRICULUM