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Lesson Plans

Re: Skoglund on ArtsEdNet

[ Thread ][ Subject ][ Author ][ Date ]
Nalin (nalin)
Fri, 2 Feb 1996 06:16:57 +0000

>I think you have asked a teriffic question. I may be way off (I hope not)
>but when I decide to do a unit (and most everything is unit design not
>lesson design) I try to approach the production aspect as how artists uses
>a particular medium, a theme or concept to explore or the style in which
>the artwork was made.
>If I am teaching a specific media or theme, then I look for a variety of
>artists to make comparisons. An example I particularly like is the first
>unit in the Getty Curriculum Sampler (about people, families,
>celebrations) as a way to take a theme and explore it in several connected
>lessons. When I begin the unit, I display several artworks by Renoir,
>some anonymous early American artist, etc. All these are images of people
>and their prized possessions. The production activity directs students to
>make self-portraits with them and their "favorite" thing, toy or pet.
>In a seond example, I have used the Native American artist (abstract
>expressionist style), Harry Fonseca, as the starting point of my unit.
>Fonseca used pictographs and petroglyph symbols found in the Southwest (my
>geographical location) to paint wall size unstreched canvases. After
>analyzing the image "Stone Poem" we begin a production activity that
>begins with drawing a central "symbol" and other smaller symbols (some
>invented, some from sources). We then begin a process of layering on
>painted and drawn areas, splatters/drips and additional symbols. When we
>do a discussion of our work produced, we discuss our characteristics in
>common with those of Fonseca, our process of layering and the process that
>took place for petroglyphs appearing how they are today as well as
>"readable messages" which then become the interpretations of the students.
>These are natural lead-ins to aesthetics, since we can ask the questions
>regarding artisitic intent (message of the artist and interpretation of
>the viewer) or the importance of painting/drawing on canvas (fine arts)
>and that those on the rocks in the mountains around us. Since I teach
>elementary level, we mainly hit the high points of these, but it's a
>beginning (and everyone should start at the beginning)
>I must say my students are better now at these types of activies than in
>the first few years of my teaching. And I feel that the skills involved
>in discussion (active listening,and making logical argument or provide
>rationale for comments made) are worthy outcomes in the art class.
>As for the Skoglund work, for my elementary students, I have displayed the
>"Greenhouse" work, without any interaction on my part and students are
>naturally drawn to the images and ask wonderful questions about how it was
>done, is it real, why is there grass on everything, how(why) did she get
>the dogs purple?
>Wouldn't it be fun to have students take an "environment" and 1) make a
>model to be photographed or 2) Use black and white photocopies (for
>neutral values) of enclosures and have students collage an element into
>the work (all red objects, all fish objects, etc.) or 3)use digital photos
>and then manipulate the image in the computer and create a dominate
>element that could be imported into the image (maybe this is for secondary

I'll be interested in reading how others integrate DBAE. Sorry about being
so "wordy".

Lorena Nalin
Tucson, AZ

>>I do have a question for you that relates to discussions we've
>>been having here at our Institute about DBAE art production.
>>activities. I realize that the Skoglund site is primarily
>>concerned with criticism, but I would like to know:
>>what significant art production activity or activities would you
>>consider appropriate to accompany a critical discussion of Skoglund's
>>work? And, in a broader sense, what criteria do you think are
>>important in developing meaningful production activities in DBAE
>>lessons centered around a work of art? Perhaps others on
>>ArtsEdNet might also like to contribute to the discussion.
>>Nancy Walkup, Project Coordinator
>>North Texas Institute for Educators on the Visual Arts
>>PO Box 5098, University of North Texas 76203
>>817/565-3986 FAX 817/565-4867

Lorena Nalin
Elementary Art Specialist
Tucson, AZ