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Lesson Plans

Re: artsednet-digest V2 #488

[ Thread ][ Subject ][ Author ][ Date ]
Cynthia A Lundy (clundy)
Wed, 10 Dec 1997 11:18:56 -0700 (MST)

Respond to this message.

to marsh
about your "Are We Divided?" Test scors and the arts
I found some information on studies supporting better standardized
Welshler's intelligence test which stresses nonverbal performance,like
Also, Gardner's Multiple Intelligence Theory, Sternberg's Theory and
Mayor's Emotional Intelligence Theory. Each contribute to testing on a
broader standard, like emotions, different cognitive styles and
multifaceted and everchanging things.
Good luck on your project

Cindy U of A

On Tue, 2 Dec 1997, artsednet-digest

> artsednet-digest Tuesday, December 2 1997 Volume 02 : Number 488
> This edition includes :
> potter's wheel
> Re: Are We Divided?/ Test Scores and the Arts
> Re: Lithography
> Re: aesthetics through awareness?
> Re: a&e.o-homelessness lesson plan in short (long version)
> Re: aesthetics through awareness?
> Used Kiln
> Nevelson
> Re: A&E.A Studio Lesson (Group Project) (fwd)
> Linguistic theory and art education
> A&E-O - Our Effect on Environment and its Inhabitants
> Setting up a 8th gr computer art class--help
> Re: Re: Re: I want a used Pottery Wheel
> Re: aesthetics through awareness?
> recycle centers
> [none]
> ----------------------------------------------------------------------
> Date: Tue, 2 Dec 1997 08:21:46 -0500 (EST)
> From: tmaltbie (Thom Maltbie)
> Subject: potter's wheel
> To anyone interested. I have plans for building a kickwheel. Bearings and
> other stuff will cost about $50 to $100. I'll send plans if you send
> self-addressed, stamped envelope.
> Thom Maltbie
> South Ripley Elementary School
> 1568 South Benham Road
> Versailles, IN 47042
> tmaltbie
> ------------------------------
> Date: Tue, 2 Dec 1997 05:21:41 -0800 (PST)
> From: (Molly Marsh)
> Subject: Re: Are We Divided?/ Test Scores and the Arts
> We are currently involved in the five year SACS evaluation. As co-chair of our school's committee I am interested in finding documentation that supports better standardized test scores because of arts education. If you can be of any help with this please respond as soon as possible! Thanks, Molly Marsh
> ------------------------------
> Date: Tue, 2 Dec 1997 08:05:54 CST6CDT
> From: "Kathrine Walker" <klwalk>
> Subject: Re: Lithography
> I need to add my two cents to the lithosketch discussion. We have
> had only fair results using this product - the plates break down very
> quickly and the solution often dries too quickly for the kids (or
> they end up overcompensating and have too much solution on the plate
> and have to wait ages or get a soggy print.
> You must buy ALL the products that are connected - do not substitute
> other inks etc.
> Kathrine Walker, Education Coordinator
> Beach Museum of Art, Kansas State University
> klwalk
> ------------------------------
> Date: Tue, 2 Dec 1997 08:27:31 CST6CDT
> From: "Kathrine Walker" <klwalk>
> Did NAEA consciously choose the title for their report based on the
> American Association's report Excellence and Equity and is there a
> relationship?
> Kathrine Walker, Education Coordinator
> Beach Museum of Art, Kansas State University
> klwalk
> ------------------------------
> Date: Tue, 02 Dec 1997 09:44:31 +0000
> From: Christine Merriam <>
> Subject: Re: aesthetics through awareness?
> >Anne Marie asked:
> As a follow up I wanted to introduce students to aesthetic concepts in
> other cultures. What qualities/characteristics do other cultures
> regard as aesthetic, and how do these differ from traditional western
> meanings and values? This all comes back to my basic idea regarding
> how we see art as determined by what we value as art and what art
> means to us personally and as a culture. Response? Thanks.
> ****
> Guess what I found out about the Navajo "concept of art"?
> You are art, what you do is art, and you better think good thoughts
> while you do it!
> Christine Merriam
> Kayenta Intermediate School
> ------------------------------
> Date: Tue, 2 Dec 1997 09:30:52 -0800
> From: gbogus (Gary Bogus)
> Subject: Re: a&e.o-homelessness lesson plan in short (long version)
> Dear Andrea,
> I didn't respond to your initial lesson plan, so here is some new input,
> after reading your latest posting:
> This is one of those "PC" issues that I have learned to distance myself
> from here in Berkeley for precisely the reasons you list about your
> commentators: there are,(it is perceived) no neutral positions. Everyone
> has a position, and in these polarized days, we tend to project "bad guy"
> status on to those who we perceive as having different positions.
> Apparently, it is very difficult to have an open exchange of ideas; diaolog
> is really monolog. I often feel, when presenting controversial material,
> that I am forced to take the most "correct" position or be labelled a
> racist, unenlightened, or worse! Isn't art (photography especially) about
> shades of gray?
> Beyond that a few comments: can students be asked to photograph
> homelessness without photographing people? I often feel discomfort at using
> pictures of people to represent issues. Also,there are issues of privacy to
> consider.(consider once being homeless, then not. Do you want that evidence
> available to everyone? Are all people capable of making those decisions?
> What are our rights to privacy?) Can it be done without them?
> A corollary that brings these questions up: have you seen the work of Jim
> Goldberg, who photographs runaway youth? His recent book and museum show is
> "Raised by Wolves". I know Jim and have also worked with the kids in his
> photographs, yet I have enormous problems with his work; although I don't
> necessarily agree with what he does, I respect the dialog, or controversy,
> it provokes.
> Good luck.
> Jai
> ------------------------------
> Date: Tue, 2 Dec 1997 09:51:32 -0800
> From: af063 (Maria Bodmann)
> Subject: Re: aesthetics through awareness?
> >>Anne Marie asked:
> >As a follow up I wanted to introduce students to aesthetic concepts in
> >other cultures. What qualities/characteristics do other cultures
> >regard as aesthetic, and how do these differ from traditional western
> >meanings and values? This all comes back to my basic idea regarding
> >how we see art as determined by what we value as art and what art
> >means to us personally and as a culture. Response? Thanks.
> >****
> Christine answered:
> >Guess what I found out about the Navajo "concept of art"?
> >You are art, what you do is art, and you better think good thoughts
> >while you do it!
> Ditto for Balinese art, in fact they didn't have a formal word for 'art'
> until this century. Art is life, art is religion, art is a way of
> thanking 'higher beings'. Everyone is involved in art in one way or
> another, from the rice farmer to the international touring ensembles.
> Maria
> - --
> Maria Bodmann, BALI & BEYOND, shadow
> Ph/Fax: 818/768-7696
> ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
> ------------------------------
> Date: Tue, 2 Dec 97 13:06:49 EDT
> From: "wrapf" <wrapf>
> Subject: Used Kiln
> There has been a lot of interest in a used Potters wheel on this list so I
> thought I'd let others know that I have a used 4 burner downdraft propane
> fired kiln to sell. It's appoximently 29 cu ft and I have silicon carbide
> shelves, stilts, supports and assorted other things to go with it. It would
> have to be dismanteled and rebuilt to move, but I have the plans for
> reassembly. If interested give me a shout on e-mail or snail mail, or Ma Bell
> Bill Rapf
> Souhegan High School
> PO box 1152
> Amherst, NH 03031
> wrapf
> 603-673-9940 voice mail #390
> ------------------------------
> Date: Tue, 2 Dec 1997 13:26:26 -0500
> From: Louise <>
> Subject: Nevelson
> >Could you elaborate? I have more matboard scraps than should be legal.
> >Always looking for a new, good project.
> Yikes I guess I should be replying to the whole group on this!
> I'm cutting mat bd. into apprx 5X 7" squares for the background and cut
> on the paper cutter geometric pieces for relief layering. Usually I have
> kids do as much of the prep as possible but the bd, is too heavy for our
> scissors.
> I have some Nevelson photos and will discus with the second graders
> about her as a woman artist, about the word RELIEF and the focus on shape
> and not color in their work. They will build up layers of shapes (Elmers)
> and when dry paint either black or white.
> By the way I haven't tried this yet!!!
> Louise in Mich.
> ------------------------------
> Date: Tue, 2 Dec 1997 11:04:56 -0800 (PST)
> From:
> Subject: Re: A&E.A Studio Lesson (Group Project) (fwd)
> I am responding to your lesson as an assignment on lesson critiques. I noticed that the lesson is just a studio lesson. Have you considered activities such as pre-studio's? This would generate discussions and reviewing Goldsworty's art. They are designed to help students further understand the artist as apposed to just choosing a peice of art that the students think are aesthetically pleasing. If they are going to choose an artwork by Goldsworthy they should ask themselves critically why they choose that particular piece of art. When they choose this art are they copying it? or is it just an example of a style they want to produce with their own environment. I have a problem with drawing Goldsworthy's three dimensional environmental in two dimension. Your statement of the issue was clearly Goldsworty's theory, getting in touch with nature and using only the materials from the land. If a student is to draw Goldsworty's art I think they would be missing his actual process and !
> eling of working with the environment. Their is an essence of change in Goldsworty's artwork that will be ignored and I think students will never completely understand environmental art and it's purposes. It is good that you want to discuss art with your students but, without more structure to base the discussions on what will they discuss? Formal qualities? emotions? Issues? What are they going to develop from this studio? Who are we teaching? Age group? I feel like I am missing information here and only getting part of a lesson, let me know if this is true. I am interested in the topic and would like to see the whole lesson if you have it. As for the studio aspect I think, my total opinion, that your lesson should be reflective of your issue statement. That should help you decide what you are going to teach and how you are going to teach it. Thank you for letting me respond to your studio lesson. I hope I made some helpful suggestions.
> Melanie
> ------------------------------
> Date: Tue, 2 Dec 1997 14:32:33 -0600
> From: kmt127
> Subject: Linguistic theory and art education
> In response to the connection between art and linguistics the following
> essay may be of help. It incorporates semiotic theory and
> post-structuralist theory within a larger discourse of art and art
> education;
> "Implications of Gregory Bateson's ideas for a semiotic art education." By
> C.A. Bowers. In Critical essays on education, modernity, and the recovery
> of the ecological imperative. New York: Teachers College Press. 1993
> Some other essays and texts that discuss semiotics and post-structuralism
> include;
> "Semiotics and Art History" by Mieke Bal, N. Bryson
> "Thinking about education structurally: and Thinking about education
> poststructurally."
> By C.H. Cherryholmes. From Power and Criticism: Poststructuralist
> investigations in Education. New York:Teachers College, Columbia
> University. 1988
> Literary Theory: An introduction. (chapter on semiotics and
> poststructuralism) University of Minnesota Press. 1983
> Hope this helps,
> Kevin
> On 12/1/97 Jessica wrote:
> I don't know of any lesson plans for this topic but one of my recent hobbies
> is reading post structuralist and structuralist linquistic theory. Thsi
> segment of linquistic theory really relates to art on many levels...For the
> most part, it deals with the signs and signifiers in language...which relates
> to symbols in art and text in art. I doesn't strictly deal with spoken word.
> I can refer you to a theorist that relates to art.....Roland Barthes. Other
> theorists such as Jaques Derrida, Ferdinand de Saussure, Jaques Lacan, Julis
> Kristeva, Claude Levi Strauss, Norm Chompsky, and Charles Sanders Pierce.
> If you have any questions about linquistic theory please ask....I don't
> know how helpful I may be but I can give it a shot.
> Jessica
> Scotch Plains, NJ
> Kevin Michael Tavin Ph.D. Candidate
> Dept. of Art Education
> The Pennsylvania State University
> School of Visual Arts
> ------------------------------
> Date: Tue, 02 Dec 1997 14:35:35 -0500
> From: Lisa Allen <allen.279>
> Subject: A&E-O - Our Effect on Environment and its Inhabitants
> I am an art education student in Dr. Krug's class at Ohio State
> University and have developed a lesson plan around human's effect on the
> environment and wildlife and what we can do to reduce our impact.
> I think that in order to get people involved in wanting to help the
> environment you need to touch them in some way by: (1) building their
> appreciation of nature so they want to make a difference and (2) by
> helping them realize their personal impact in the scheme of things.
> The focus of my lesson is on building birdhouses (or bat or butterfly
> houses) for a site at school as well as students backyards. As we
> continue to reproduce and build more housing we force wildlife into
> smaller natural areas and into populated areas. We see wildlife in our
> communities trying to survive (not as many varieties as in the country)
> but they are still there trying to co-exist with us. For those
> creatures that try to live with us we can make it easier for them by
> planting natural food sources and making our backyards wildlife refuges.
> First, I would teach students how to recognize different bird species
> visually, through their calls and tracks, then take them on nature walks
> to put to practice what they have learned. Then, we would install
> birdfeeders and suet in our chosen sites to see what birds populate the
> area. We would then research different birds we want to draw to the
> area and the needs of different species. Each child is to choose a
> species to focus on and do further research in class (I would supply a
> good number of books). Then, they are to draw the type of birdhouse
> they will create (taking into consideration such factors as: wind, rain,
> predators, competition with other species, species native to the area,
> which species are cavity nesters, needs of the species, dimensional
> requirements, ease of cleaning, danger to wildlife, habitats that blend
> in with nature, and recycling or reusing materials that are not
> hazardous to the birds). And, each student will build a birdhouse.
> Emphasis would be on using natural materials and reusing leftover
> materials donated by parents/community/businesses. Also, to use
> materials we picked up on nature walks and along streams (there is a lot
> of wonderful debris along rivers -- beautiful driftwood and planks from
> docks). Secondary to the needs of the birds and function, students are
> to be conscious of making the boxes aesthetically interesting and to
> blend in with nature.
> Artists I would present are: NYC Artist Laura Foreman and her
> "Birdhouses as Metaphor" which presents a "Homeless Birdhouse" on the
> plight of the birds and also the housing crisis of the homeless. Also,
> non-functional birdhouses created by local artisans that would serve
> symbolically to represent our unconsciousness in destroying natural
> habitats, our unconsciousness in recognizing our own impact, and our
> being unconscious if we do not take into account the needs of the birds
> when creating birdhouses. These examples show birdhouses where the
> holes are too small, the hole is too low (making birds susceptible to
> predators), multiple holes (which only purple marlins like), and metal
> roofs which can bake the birds. Then, I would show functional birdhouse
> examples made by backyard naturalists that are built properly and show
> natural aesthetic properties or ideas.
> I hope students would get out of this an appreciation for nature,
> recognition of their personal impact, the fact that they can make change
> even if it is one step at a time, and that we can safely reuse and
> recycle materials in doing so. That if we do not make a conscious
> decision to make change then we are making an unconscious decision to
> perpetuate the problem.
> Thank you in advance for any input, I hope someday to really put this
> lesson to the test. Lisa
> ------------------------------
> Date: Tue, 2 Dec 1997 14:36:34 -0500 (EST)
> From: Artgotch
> Subject: Setting up a 8th gr computer art class--help
> I will be presently working with a group of 8th grade students in the tech
> lab. Many students have been my in my art classes and are strong in the arts
> how ever, I will be dealing with all levels of computer sophistication and
> art abilities. Anyone have a lesson or two that might help with such a a
> varied group ? I have a scanner, color printer and all my computers are Power
> Macs. I will be using Dabbler, Claris Works, Poser, Kid Pix and
> Canvass.....Painter is available only for the more advanced students.
> ------------------------------
> Date: Tue, 2 Dec 1997 12:18:39 -0800 (PST)
> From: bdietz
> Subject: Re: Re: Re: I want a used Pottery Wheel
> I am also looking for a used potter's wheel and have
> had no luck locating one that is for sale. If there
> is anyone who could give me any information on this
> please e-mail me!
> ------------------------------
> Date: Tue, 2 Dec 1997 15:02:06 CST6CDT
> From: "Kathrine Walker" <klwalk>
> Subject: Re: aesthetics through awareness?
> There is a wonderful exhibition on the web from the Bayly Museum of
> Art entitled Afridan Art: Aesthetics and Meaning. It is a first rate
> exploration of a non-western set of aesthetics. I highly recommend
> it.
> Kathrine Walker, Education Coordinator
> Beach Museum of Art, Kansas State University
> klwalk
> ------------------------------
> Date: Tue, 2 Dec 1997 13:43:30 -0800
> From: gbogus (Gary Bogus)
> Subject: recycle centers
> In response to the postings about art and recyling;
> I have not noticed anyone mentioning a recyling center like we have here in
> Berkeley. The East Bay Depot was started as a way for teachers to share
> recycled "stuff" for art and classroom projects. Through the support of the
> Alameda County Waste Management Program, it has grown into the best place
> to get cheap,recycled materials, and to drop off unwanted "stuff" for
> others to use. They also sell gift packs of "stuff", do in-service training
> for teachers on using recycled materials, hold classes for kids, and
> sponsor a "Trash to Treasurers" art competion.
> What it really is is a warehouse of egg cartons, plastic trays, maps,
> posters, papers, fabric, tile, wood, discarded material from light industry
> (plastic containers, styrofoam, educational materials, zippers, you name
> it). Heaven for packrat art teahcers! Great ideas and new stuff at every
> visit! I really think every community should have one.
> DOes anyone else have a place like this? How's it staffed/funded?
> ------------------------------
> Date: Tue, 2 Dec 1997 15:56:20 -0700
> From: egarber (elizabeth garber)
> Subject: [none]
> Jose,
> I can't tell much from your lesson as presented. I hope to hear more before
> you are done. There is a section on the Chicana/o Art Website ("Chicana
> and Chicano Space: An Inquiry-Based Art Education Resource,") on protest &
> persuasion. Have you visited it? It's at:
> I'd want to frame my protest & persuasion unit in the context of other
> Latino/a art because students in the US are most likely not going to know
> much about the subject and I'd want them to have more breadth.
> Elizabeth Garber
> ******************
> Date: Mon, 01 Dec 1997 09:49:10 -0400
> From: jose rosa <rosa.3>
> Subject: A&E.O lesson plan
> Hello, my name is Jose Rosa. I am writing a lesson on Latino art that
> reflects issues of protest and persuasion and I would appreciate any
> feedback on these topics. The following is a brief summary of the lesson
> plan. It is intended for high school students.
> Social revolution and political overthrow have been nothing new to Latino
> cultures throughout the years. In many cultures, artists have created
> artworks intended to bring about protest and bring attention to ideas that
> can result in change. Tied throughout the artwork of protest and persuasion
> are many complex issues including religion, politics, national identity,
> education, history, and social class. At this point I would want the
> students to think about how these issues may affect them in their lives
> now. The artists I have researched so far are Diego Rivera and Jose
> Guadalupe Posada. Rivera is a well known Mexican muralist who wanted his
> murals to reflect the Mexican masses. He sought to educate those who could
> not read visually with his murals. The key artwork for Rivera would be
> "Revolt and the New Religion". Posada used printmaking techniques to depict
> images of death and the campesinos, or farm workers. Posada worked during
> the time of the Mexican Revolution. His key artwork would be "Calavera
> Revolucionaria". With this and more historical information students wuld be
> expected to identify protest and persuasion as subject matter in artwork,
> organize ideas about meaning and better understand the historical/social
> context of the murals, posters, etc.
> For a studio activity a demonstration on mural painting or printmaking
> would be done followed by a discussion on examples of protest/persuasion in
> our lives today, and for them to create themes of protest and persuasion
> that they are willing to convert into an artpiece using what they have
> learned from the lesson.
> - - --This is a very rough draft, and more information needs to be
> incorporated, but any feedback would help. Thank you.
> ****************************************************************************
> Elizabeth Garber, Ph.D. office phone: 520.621.9304
> Associate Professor of Art fax: 520.621.2955
> University of Arizona email: egarber
> Department of Art, PO 210002 home phone: 520.740.1529
> Tucson, AZ 85721.0002
> ------------------------------
> End of artsednet-digest V2 #488
> *******************************
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