Curriculum Unit: Constructed Reality- Contemporary Landscapes
Kelly R. Rollocks
CTA2: Curriculum in Teaching Art
Dr. Heidi Powell
October 14, 2020
Lesson Title: Constructed Reality- Contemporary Landscapes
Grade Level: 7th
Estimated Completion Time: 6 days/1 hour sessions
Overview
Students will study contemporary landscape artist, Alison Elizabeth Taylor. Alison Elizabeth Taylor constructs her work with wood, paint, and collage elements. The resulting pieces are rich with texture. The landscapes contain subtle design elements that tell a broader story of the economic rise and fall of a particular place, or the complex connection between the place and the people who call it home.
In this unit, students will make personal connections between contemporary artworks shared and his or her own personal connections to place. Students will explore experimental painting and collage as a way to engage in art making processes comparable to those used by Alison Elizabeth Taylor. Additionally, by studying the composition and textural elements used by Alison Elizabeth Taylor, students will translate their understanding in order to compose an artwork that contains a background, middle ground, and foreground.
It is important for students to make personal connections to place by exploring their own identities. By doing so, students will be enabled to engage in deep learning processes because personal connections have been made. Students will also challenge traditional norms of landscapes and broaden the boundaries of the genre. Analyzing the compositional qualities of Alison Elizabeth Taylor’s work will enable students to synthesize their understanding into an original work of art, rich in texture, depth, and meaning.
Page Break
Lesson 1
Enduring Ideas/Essential Questions
Enduring Idea: Informed choices of techniques, processes, and visual representation of place enhance personal expression and communication of ideas.
Essential Questions:
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How does Alison Elizabeth Taylor challenge what you know about landscapes?
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Why is it important for artists to create landscapes?
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What kind of places are important to depict when creating a landscape?
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How can we use compositional strategies to create depth in an artwork?
National or State Learning Standards
8FV.A.1.c: incorporate a variety of sources as inspiration for works of art (e.g., internal inspiration - moods, feelings, self-perception, memory, imagination, fantasy; external inspiration - direct observation, personal experience, events, pop culture, artists and artwork from diverse cultures and periods
8FV.A.1: visualize and generate ideas for creating works of art
8FV.A.1.b: explore essential questions, big ideas, or themes in personally relevant ways
8FV.D.11: develop personal artistic voice through connecting uses of art within a variety of cultural, historical, and contemporary contexts
8FV.A.1.d: formulate and compose a series of ideas
8FV.A.6.d: compose preliminary sketches and drafts
Lesson Objectives
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-Students will examine contemporary artworks
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-Students will understand how landscapes relate to a broader meaning of place
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-Students will study the compositional strategies used to create depth in a landscape.
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-Students will make personal connections to place
Tools and Materials
Students will need sketchbooks and handouts that accompany this lesson.
Teacher: Access to a projector to show and discuss contemporary art references.
Introduction
Guide students to challenge preconceived notions about landscape norms through a series of questions. Allow time for students to contribute to the conversation
(See attached handouts).
Procedure
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Art Analysis: Introduce the artwork of Alison Elizabeth Taylor using the noted resources. Guide students to analyze the components of the artworks shared. Focus the conversation on looking for details in the work. Include conversations about placement working cohesively to create depth
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Guided Ideation: Provide students with the following topics- past, present, and future places. Students should compose a series of 3 thumbnail sketches per topic. Each thumbnail is required to have a distinct background, middle ground, and foreground. Monitor students as they work. Provide feedback as needed
Distribution and Clean-Up
Sketchbooks are kept and maintained by each individual student.
Select 1-2 students to pass out handouts.
Closure
Check that sketches are complete as a ‘ticket out the door’
Assessment
Teacher will provide verbal formative feedback to students individually as they are sketching
Artists or Works of Art Studied
Only Castles Burning. (2019). [Marquetry hybrid]. https://alisonelizabethtaylor.files.wordpress.com/2019/11/only-castles-burning..._2017.jpg?w=1024
Peaking. (2015). [Marquetry hybrid]. https://alisonelizabethtaylor.com/portfolio/land/
Solutionism: Plan B. (2017). [Marquetry hybrid]. https://alisonelizabethtaylor.com/portfolio/land/
Toadstools No. 1. (2019). [Marquetry hybrid on panel]. https://alisonelizabethtaylor.com/portfolio/land/
Lesson 2
Enduring Ideas/Essential Questions
Enduring Idea: Informed choices of techniques, processes, and visual representation of place enhance personal expression and communication of ideas.
Essential Questions:
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How do artists learn from trial and error?
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What techniques are effective in creating textures?
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How can we combine or alter techniques to be more individually expressive?
National or State Learning Standards
8FV.A.1.d: formulate and compose a series of ideas
8FV.A.3: engage in an array of traditional and contemporary processes, media, and techniques through experimentation, practice, and persistence
8FV.A.6.c: practice techniques using a variety of media and tools
8FV.A.6.d: compose preliminary sketches and drafts
Lesson Objectives
-Students will produce drafts of colors and techniques
-Students will explore experimental painting techniques
-Students will consider how techniques and processes may be altered or combined to meet individual needs
Tools and Materials
Students will need sketchbooks and handouts that accompany this lesson.
Paints, bubble wrap, cardboard scraps, q-tips/plastic forks, sponges. It is also helpful to cover tables with newspaper and have paper towels on hand.
Teacher: Access to a projector to show and discuss contemporary art references. Ability to demonstrate experimental painting process with above materials.
Introduction
Review and discuss contemporary artworks shared. Review and discuss thumbnail sketches.
Procedure
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Demonstration: Model each of the following techniques: Scrape/Swipe painting, plastic wrap/bubble wrap, sponge/paper towel blotting, texture with unconventional objects. See handouts for detailed instructions for each technique.
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Experimentation: Allow students time to experiment independently after each demonstration
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Reflection: Have students consider results and consider further how techniques may be altered or combined. Allow time for students to experiment independently. This may be done in sketchbooks.
Distribution and Clean-Up
Sketchbooks are kept and maintained by each individual student.
Select 1-2 students to pass out handouts.
Select 1 student to manage passing out/collecting the following: paint, sponges, q-tips/forks, bubble wrap/ cardboard scraps
Closure
Brief discussion to reflect on the process. What worked, what would you do differently next time?
Assessment
Teacher will provide formative feedback to students individually as students are painting
Artists or Works of Art Studied
Only Castles Burning. (2019). [Marquetry hybrid]. https://alisonelizabethtaylor.files.wordpress.com/2019/11/only-castles-burning..._2017.jpg?w=1024
Peaking. (2015). [Marquetry hybrid]. https://alisonelizabethtaylor.com/portfolio/land/
Solutionism: Plan B. (2017). [Marquetry hybrid]. https://alisonelizabethtaylor.com/portfolio/land/
Toadstools No. 1. (2019). [Marquetry hybrid on panel]. https://alisonelizabethtaylor.com/portfolio/land/
Lesson 3
Enduring Ideas/Essential Questions
Enduring Idea: Informed choices of techniques, processes, and visual representation of place enhance personal expression and communication of ideas.
Essential Questions:
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How does experimental painting connect with preliminary sketched plans?
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How should color, texture, or placement be revised to meet personal plans?
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How compositional strategies be used to create depth in an artwork?
National or State Learning Standards
8FV.A.1: visualize and generate ideas for creating works of art
8FV.A.1.b: explore essential questions, big ideas, or themes in personally relevant ways
8FV.D.11: develop personal artistic voice through connecting uses of art within a variety of cultural, historical, and contemporary contexts
8FV.A.5: reflect on, revise, and refine works of art considering relevant traditional and contemporary practices as well as artistic ideation
8FV.A.5.b: revise works of art based on input from the critique process and group interaction
8FV.A.6.d: compose preliminary sketches and drafts
Lesson Objectives
-Students will compose drafted painted papers to create depth in a landscape.
-Students will demonstrate understanding of depth with evidence of a background, middle ground, and foreground
-Students will construct personal connections to a past, present, or future place
-Students will self-evaluate and revise plans
Tools and Materials
Students will need sketchbooks and handouts that accompany this lesson.
Paints, bubble wrap, cardboard scraps, q-tips/plastic forks, sponges. It is also helpful to cover tables with newspaper and have paper towels on hand.
Teacher: Access to a projector to show and discuss contemporary art references. Ability to demonstrate experimental painting process with above materials.
Introduction
Review and discuss contemporary artworks shared. Review and discuss painting session. Discuss thumbnail sketches, prompt students to select one to test.
Procedure
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Planning: Students will review, reflect, and revise thumbnail sketches and experimental painting drafts.
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Sample: Students will use painted paper draft pages to collage and construct a draft landscape from selected thumbnail sketch. This work is done on a smaller scale inside the sketchbook. Students should begin by cutting or tearing painted papers to construct elements from thumbnail sketch. It is helpful to work from the background towards the foreground.
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Formative Teacher Feedback: Teacher will review sketches on handout and monitor process. Use the formative assessment below to provide each student with specific feedback prior to the next session.
Distribution and Clean-Up
Sketchbooks are kept and maintained by each individual student.
Select 1-2 students to pass out handouts.
Select 1 student to manage passing out/collecting the following: paint, sponges, q-tips/forks, bubble wrap/ cardboard scraps
Closure
Brief discussion to reflect on the process. What worked, what would you do differently next time?
Assessment
Lesson 4
Enduring Ideas/Essential Questions
Enduring Idea: Informed choices of techniques, processes, and visual representation of place enhance personal expression and communication of ideas.
Essential Questions:
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Which colors and textures work to communicate place?
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How does experimental painting connect with preliminary sketched plans?
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How should color or texture be revised?
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What informed choices should be made to create artwork that is personal?
National or State Learning Standards
8FV.A.1: visualize and generate ideas for creating works of art
8FV.D.11: develop personal artistic voice through connecting uses of art within a variety of cultural, historical, and contemporary contexts
8FV.A.1.d: formulate and compose a series of ideas
8FV.A.3: engage in an array of traditional and contemporary processes, media, and techniques through experimentation, practice, and persistence
8FV.A.6.c: practice techniques using a variety of media and tools
Lesson Objectives
-Students will demonstrate understanding of painting processes and techniques
-Students will make selections in regard to color and technique to produce painted papers
-Students will use prior understanding to revise processes
Tools and Materials
Students will need sketchbooks and handouts that accompany this lesson.
4-5 sheets of paper, Paints, bubble wrap, cardboard scraps, q-tips/plastic forks, sponges. It is also helpful to cover tables with newspaper and have paper towels on hand.
Teacher: Access to a projector to show and discuss contemporary art references. Ability to demonstrate experimental painting process with above materials.
Introduction
Review and discuss draft session. Encourage students to consider what colors and textures are most applicable in rendering their individual plans. Students should review formative teacher feedback.
Procedure
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Reflection: Students will reflect on draft to guide and alter plans. Encourage students to consider which colors and textures are effective for the landscape
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Studio Processes: Students work independently to make informed decisions that demonstrate the knowledge and understanding gained from painting processes and techniques. Students should produce a minimum of 4-5 painted papers using the same procedures from lesson 2.
Distribution and Clean-Up
Sketchbooks are kept and maintained by each individual student.
Select 1-2 students to pass out handouts.
Select 1 student to manage passing out/collecting the following: paint, sponges, q-tips/forks, bubble wrap/ cardboard scraps
Closure
Glow and Grows- Have students share out their most successful painted paper. Students should be able to explain what was done to improve from the drafting session.
Assessment
Teacher will provide verbal formative feedback to students individually as they are painting
Lesson 5
Enduring Ideas/Essential Questions
Enduring Idea: Informed choices of techniques, processes, and visual representation of place enhance personal expression and communication of ideas.
Essential Questions:
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How can compositional strategies be used to create depth in an artwork?
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What insights can be gained from peers to revise and finalize ideas?
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What informed choices should be made to ensure personal expression of ideas?
National or State Learning Standards
8FV.A.1.b: explore essential questions, big ideas, or themes in personally relevant ways
8FV.D.11: develop personal artistic voice through connecting uses of art within a variety of cultural, historical, and contemporary contexts
8FV.A.3: engage in an array of traditional and contemporary processes, media, and techniques through experimentation, practice, and persistence
8FV.A.5: reflect on, revise, and refine works of art considering relevant traditional and contemporary practices as well as artistic ideation
8FV.A.5.b: revise works of art based on input from the critique process and group interaction
Lesson Objectives
-Students will demonstrate understanding of composition
-Students will construct a composition with evidence of a background, middle ground, and foreground
-Students will respond to peer feedback, and make further compositional decisions
Tools and Materials
Students will need sketchbooks and handouts that accompany this lesson.
Painted papers, substrate, glue, scissors
Teacher: Access to a projector to show and discuss contemporary art references. Ability to demonstrate experimental painting process with above materials.
Introduction
Review and reflect on painted paper results.
Procedure
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Studio Processes: Students will use draft and sketches to compose a landscape collage. Students may make choices in the process (cutting or tearing) to achieve desired aesthetic result. Students should refrain from gluing any papers until after peer feedback
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Formative Peer Feedback: Prior to finalizing artwork, have students arrange composition. Students should circulate the room, and provide one suggestion and one compliment to a peer using a sticky note. This will inform students to revise composition before it is finalized
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Revisions/Finalization: Students should review and reflect upon the peer feedback received. Students should revise composition before finalizing. When composition decisions have been finalized, students may glue papers.
Distribution and Clean-Up
Sketchbooks are kept and maintained by each individual student.
Select 1-2 students to pass out handouts.
Select 1 student to manage passing out/collecting the following: painted papers, substrate, scissors/glue
Closure
Group share out. After completing artwork and artist statement, each student should be prepared to share their personal experience. Students should be encouraged to support and provide constructive feedback to one another.
Assessment
Students will self-assess using the feedback provided. Students may choose to accept or refute the feedback provided thus far.
Lesson 6
Enduring Ideas/Essential Questions
Enduring Idea: Informed choices of techniques, processes, and visual representation of place enhance personal expression and communication of ideas.
Essential Questions:
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How can language be used to communicate personal connections to artwork?
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What insights can be gained by sharing/hearing with peers?
National or State Learning Standards
8FV.A.1.b: explore essential questions, big ideas, or themes in personally relevant ways
8FV.D.11: develop personal artistic voice through connecting uses of art within a variety of cultural, historical, and contemporary contexts
Lesson Objectives
- Students will share out artwork with group, vocalizing purpose behind work
-Students will use language to articulate an artist statement that explains personal connection to place
Tools and Materials
Students will need sketchbooks and handouts that accompany this lesson.
Finished Artwork
Introduction
Encourage students to reflect individually upon their processes. Consider the strengths and weaknesses. Consider the feedback provided, was it accepted?
Procedure
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Artist Statement: Students will use handout to assist in crafting and articulating a written artist statement
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Share Out: After artist statement has been written, students will display work and share verbally with peers. Encourage students to discuss and question one another
Distribution and Clean-Up
Select 1-2 students to pass out handouts.
Select 1 student to manage passing out finished artwork
Closure
Group share out is concluded with overall teacher feedback
Assessment
See rubric in Appendix A.
References
Only Castles Burning. (2019). [Marquetry hybrid]. https://alisonelizabethtaylor.files.wordpress.com/2019/11/only-castles-burning..._2017.jpg?w=1024
Peaking. (2015). [Marquetry hybrid]. https://alisonelizabethtaylor.com/portfolio/land/
Schwabsky, B., Bradway, T., Shane, R., Sørensen, L., & Scoy, V. S. (2019). Landscape Painting Now: From Pop Abstraction to New Romanticism. D.A.P.
Solutionism: Plan B. (2017). [Marquetry hybrid]. https://alisonelizabethtaylor.com/portfolio/land/
Toadstools No. 1. (2019). [Marquetry hybrid on panel]. https://alisonelizabethtaylor.com/portfolio/land/
