Unit Plan Design Template - New Jersey
|Unit Overview |
|Content Area: Visual and Performing Arts: Visual Art |
|Unit Title: Pictures Without Borders |
|Target Course/Grade Level: 9-12 |
|Unit Summary |
|In this extended unit, which could be lengthened slightly to be the design for a trimester- or semester-long art course, students first study |
|various artists who have used their art as a means of social commentary. Of particular interest is art as a response to terrorism, which is |
|broadly defined for maximum relevance to students. After sharing and discussing works by these artists as a class, students choose a focus and |
|collaborate with students from a school in Germany in the creation of their own “art as social commentary.” Using online technologies, as well |
|as by shipping paintings back and forth overseas, the two groups of students create and exhibit shared works of art that take a position on, |
|document, or respond to terrorism. The unit provides interdisciplinary opportunities that may be strengthened according to the aims of |
|individual teachers. |
|Primary Interdisciplinary Connections: Social Studies and Language Arts |
|21st-Century Themes: Global Awareness and Civic Literacy |
|Unit Rationale |
|This unit enables students to experience firsthand the power of the arts as a tool for communication and expression that surpasses linguistic |
|and cultural barriers. Throughout history, artists have used their work to engage in social commentary. In Pictures Without Borders, students |
|examine the global issue of terrorism as commentators, analysts, and artists using Web 2.0 tools (i.e., the latest generation of Internet |
|communication technologies). They engage in both synchronous (e.g., Web conferencing) and asynchronous (e.g., blogs) threaded dialogue with |
|students in Germany about this international issue, and about art, thereby gaining additional perspectives on multiple topics. In the process of|
|jointly creating two purposeful works of art with their German peers, students engage in an extended and authentic cross-cultural learning |
|opportunity that promises to hone their critical-thinking, creative-thinking, and problem-solving skills in ways that are transferable to other |
|real-life situations. |
|Learning Targets |
|Standards: Visual and Performing Arts |
|Standard 1.1 The Creative Process: All students will demonstrate an understanding of the elements and principles that govern the creation of |
|works of art in dance, music, theatre, and visual art. |
|Strand D. Visual Art |
|Standard 1.2 History of the Arts and Culture: All students will understand the role, development, and influence of the arts throughout history |
|and across cultures. |
|Strand: A. History of the Arts and Culture |
|Standard 1.3 Performing: All students will synthesize skills, media, methods, and technologies that are appropriate to creating, performing, |
|and/or presenting works of art in dance, music, theatre, and visual art. |
|Strand D. Visual Art |
|Standard 1.4 Aesthetic Responses & Critique Methodologies: All students will demonstrate and apply an understanding of arts philosophies, |
|judgment, and analysis to works of art in dance, music, theatre, and visual art. |
|Strand A: Aesthetic Responses |
|Strand B: Critique Methodologies |
|Related Content Statements for Standard 1.1 |
|Common themes exist in artwork from a variety of cultures across time and are communicated through metaphor, symbolism, and allegory. |
|Related Content Statements for Standard 1.2 |
|Cultural and historical events impact art-making as well as how audiences respond to works of art. |
|Related Content Statements for Standard 1.3 |
|Culturally and historically diverse art media, art mediums, techniques, and styles impact originality and interpretation of the artistic |
|statement. |
|Artists interpret/render themes using traditional art media and methodologies as well as new art media and methodologies. |
|Related Content Statements for Standard 1.4, Strand A |
|Contextual clues within artwork often reveal artistic intent, enabling the viewer to hypothesize the artist’s concept. |
|Artistic styles, trends, movements, and historical responses to various genres of art evolve over time. |
|Criteria for assessing the historical significance, craftsmanship, cultural context, and originality of art are often expressed in qualitative, |
|discipline-specific arts terminology. |
|Related Content Statements for Standard 1.4, Strand B |
|Archetypal subject matter exists in all cultures and is embodied in the formal and informal aspects of art. |
|The cohesiveness of a work of art and its ability to communicate a theme or narrative can be directly affected by the artist’s technical |
|proficiency as well as by the manner and physical context in which it is performed or shown. |
|Art and art-making reflect and affect the role of technology in a global society. |
|CPI # | Cumulative Progress Indicator (CPI) |
|1.1.12.D.1 |Distinguish innovative applications of the elements of art and principles of design in visual artworks from diverse cultural|
| |perspectives and identify specific cross-cultural themes. |
|1.2.12.A.1 |Determine how dance, music, theatre, and visual art have influenced world cultures throughout history. |
|1.3.12.D.2 |Produce an original body of artwork in one or more art mediums that demonstrates mastery of visual literacy, methods, |
| |techniques, and cultural understandings. |
|1.3.12.D.4 |Analyze the syntax and compositional and stylistic principles of two- and three-dimensional artworks in multiple art media |
| |(including computer-assisted artwork), and interpret themes and symbols suggested by the artworks. |
|1.4.12.A.2 |Speculate on the artist’s intent, using discipline-specific arts terminology and citing embedded clues to substantiate the |
| |hypothesis. |
|1.4.12.A.3 |Develop informed personal responses to an assortment of artworks across the four arts disciplines (dance, music, theatre, |
| |and visual art), using historical significance, craftsmanship, cultural context, and originality as criteria for assigning |
| |value to the works. |
|1.4.12.A.4 |Evaluate how exposure to various cultures influences individual, emotional, intellectual, and kinesthetic responses to |
| |artwork. |
|1.4.12.B.1 |Formulate criteria for arts evaluation using the principles of positive critique and observation of the elements of art and |
| |principles of design, and use the criteria to evaluate work of dance, music, theatre, visual and multimedia artwork from |
| |diverse cultural contexts and historical eras. |
|1.4.12.B.2 |Evaluate how an artist’s technical proficiency may affect the creation or presentation of a work of art, as well as how the |
| |context in which a work is performed or shown may impact perceptions of its significance/meaning. |
|1.4.12.B.3 |Determine the role of art and art-making in a global society by analyzing the influence of technology on the visual, |
| |performing, and multimedia arts for consumers, creators, and performers around the world. |
|Unit Essential Questions |Unit Enduring Understandings |
|Does art have boundaries? |People express themselves in unique ways based on socio-economic, political, and |
|How can you make your voice heard through art? |geographical considerations. |
|How does the critical process enable you to formulate |Breaking accepted norms often gives rise to new forms of artistic expression. |
|judgments regarding the artistic and aesthetic merits |Art can be a dynamic and poignant means of communication and can serve as a catalyst for|
|of artworks? |action. |
| |The critical process of observing, describing, analyzing, interpreting, and evaluating |
| |leads to judgment regarding the relative merits of artworks. |
|Unit Learning Targets |
|Students will ... |
|Explore how various artists throughout history have employed their creativity to document and/or respond to contemporary social issues. |
|Analyze artistic responses to terrorism. |
|Understand that the history of “art as social commentary” is a long-lived, cultural narrative about the world that involves rules and |
|rule-breaking. |
|Use 21st-century technology to communicate and collaborate with German students. |
|Co-design, plan, and execute two final paintings with an international partner. |
|Use studio processes to work toward final drafts of planned collaborative paintings. |
|Maintain digital art portfolios. |
|Share work and engage in positive critique with each other and their international partners. |
|Reflect on the artwork they observe, events of terror they have witnessed, or events of terror that they read or hear about, and respond using |
|literary modes of writing. |
|Reflect on and self-assess their work. |
|Host up to four related exhibitions that together illustrate the impact on youth of the global issue of terrorism. |
|Evidence of Learning |
|Summative Assessment |
|Each student collaborates on the creation of two works of art, working with a German student as a partner, using online tools, as well as by |
|shipping paintings back and forth overseas. Through their artworks, students take a position on and/or articulate a response to acts of |
|terrorism, as they define the term. Over the course of this extended process-driven unit, they design, plan, execute, critique, and discuss |
|their developing artwork until the two paintings are brought to completion. In addition, they exhibit, photograph, and save their work in |
|digital portfolios, as well as create a virtual gallery of their collaborative creations. |
|Equipment needed: Traditional painting media, canvas/canvas board, watercolor paper, student computers, Web conferencing set-up, LCD projector, |
|scanner |
|Teacher Resources: |
|See Visual Arts Rubric for performance expectations. |
|Formative Assessments |
|Class discussions |Artistic ideas/concepts |
|Quick sketches |Thumbnail sketches |
|Guided Internet research |Self-Critiques |
|Responses to guided questions |Critiques of others |
|Presentations on “Art as Social Commentary” |Journal entries |
|Participation in Web conferences |Draft and final paintings |
|Blog entries |Digital portfolios |
|Use of sketchbook as a visual diary to record ideas and related |Reflective writing |
|research |Literary responses to terrorism |
|Communication with international partners |Exhibitions |
|Lesson Plans |
|Lesson |Timeframe* |
|Lesson 1 |10 days |
|Art as Social Commentary | |
|Lesson 2 |15 days |
|Witness to Terror | |
|Lesson 3 |15 days |
|Art in Action I | |
|Lesson 4 |7-10 days |
|Art in Action II | |
|* Based on a 50-minute class period. |
|Teacher Notes |
|This unit was developed and piloted in Jersey City, N. J., where many students had firsthand experiences with the horrific collapse of the World|
|Trade Center towers on September 11, 2001. However, the unit does not depend on this kind of experience. Teachers are encouraged to help |
|students define “terrorism” to include whatever experiences make the unit most relevant for them; for example, many students have experience |
|with bullying, domestic violence, gang violence, or even what could be called “terrorism by media” (e.g., the uncut depiction of violence in the|
|news). |
|Because German students begin their study of English in the early grades, language poses no barrier to oral or written communication during this|
|unit. |
|Prior to the implementation of this unit, a cultural partnership needs to be established between the local school and a school in Germany. (One |
|way to do this is to post a request on for a teacher-partner by describing the nature of the collaboration you have in mind; you can |
|also scan existing postings for a possible pairing.) Once the partnership is established, the parameters for the unit should be determined |
|collaboratively by the American and German teachers; this can be done via email, video conferencing (e.g., , or ), |
|and online discussion boards (e.g., EPals). The unit should be implemented simultaneously in America and in Germany. |
|This unit also presents opportunities for interdisciplinary adaptations that individual teachers may wish to pursue on their own, based on the |
|contexts in which they teach. For example: |
|Art teachers might wish to consult with their students’ social studies teachers to learn whether students are studying relevant historic acts of|
|terrorism (e.g., Native American Removal [Trail of Tears], American slavery, the Great Depression, the Holocaust, Tiananmen Square Protests of |
|1989, the Vietnam War, 9/11, etc.); the unit could then be adapted so that all students create artistic responses to the same event. It would be|
|necessary to make changes to student handouts (e.g., to the resources students use) before implementing the unit. |
|World Languages is another potential link for interdisciplinary learning. While the unit can be conducted in English, blogs and other |
|communication between students from the two countries present many opportunities for students to communicate in a language other than English. |
|Thus, the choice of country for collaboration presents another possible adaptation, which can be done by working with a World Languages teacher.|
|This unit uses poetry to provide students with multiple opportunities to respond emotionally to what they learn about terrorism. This |
|connection—which can be tied to either the curricular or extra-curricular programs—may be strengthened through collaboration with language arts |
|teachers, or may also be used to engage other groups of students in the topic and process. For example, the unit could also be the focus of |
|students’ work in their English classes, or the unit could be broadened to include a poetry class, to be the theme of a literary magazine, or to|
|be the subject of a journalism course. In the latter cases, student exhibits could also be broadened to include the literary responses of the |
|other students. |
|Depending on the time available for the unit, some of the technological work can be facilitated through a collaboration with a technology |
|teacher (e.g., students in a Website design course could be responsible for creating the virtual gallery). |
|Early in the international teacher-to-teacher communication about this unit, the collaborating teachers should discuss the combined impact of |
|their schedules and time zones on the potential for real-time Web-conferencing. |
|Depending on the professional relationship that emerges between the collaborating teachers, the unit may be further enhanced by planned |
|team-teaching using Web-conferencing. For example, through video conferencing, the teachers could alternate the facilitation of mini-lessons or |
|the demonstration of art techniques. Similarly, discussions and student presentations could be enhanced by opening them up to students from both|
|countries using this technology. |
|Though it should be slight, there is some cost associated with the unit, due to the shipping of artworks (canvases) overseas. Teachers are |
|advised to look into these costs before implementing the unit, as the cost may be based on the overall dimensions, as well as weight, of |
|packages. The size of students’ final artworks may have to be determined based on this limitation. |
|Because this unit relies on Web-conferencing and other high-end technologies (such as Website creation), individual teachers may want to consult|
|with a school- or district-level technology expert to ensure everything goes smoothly. Possible interactive technologies include oovoo |
|(), Skype (), iChat (), and others. During |
|planned whole-class Web-conferences, it may minimize disruptions to open a “chat” window with the collaborating teacher so that you can |
|communicate in real time about any technical difficulties that may arise. |
|For this unit, the teacher and/or the collaborating partner in Germany will need to establish a blog to facilitate student communication and |
|information sharing (see, for example, ; you can limit public access to this particular blog by answering NO to the|
|following two questions on the “Customize: Settings” tab: (1) “Add your blog to our listings?” and (2) “Let search engines find your blog?”) |
|A possible technology literacy extension for this unit could be to have students create a Delicious account () or use some other |
|technological means to bookmark/archive key resources they locate, use, and wish to return to later. |
|This unit presents opportunities for at least four student exhibitions that have the potential to draw others into the process of creating “art |
|as social commentary.” As the unit progresses, students can exhibit their work in stages as follows: |
|their own partially completed artworks before shipping them to Germany |
|their German partners’ partially completed artworks when they arrive from Germany |
|their German partners’ artworks, as completed by the American students, before shipping them back to Germany |
|their own artworks, as completed by the German students, when they arrive from Germany |
|Curriculum Development Resources |
|Technology Resources: |
| |
| |
|Professional Resources: |
|Yang, G-M., & Suchan, T. (2009). The cultural revolution and contemporary Chinese art. Art Education, 62(6), 25-32. |
|Overby, A. (2009). The new conversation: Using Weblogs for reflective practice in the studio art classroom. Art Education, 62(4) 18-24. |
|Pictures Without Borders Lesson Plan 1 |
|Content Area: Visual and Performing Arts: Visual Art |
|Lesson Title: Art as Social Commentary |Timeframe: 10 days |
|Lesson Components |
|21st Century Themes |
|x |
|x |Creativity and Innovation |x |Critical Thinking and Problem |x |Communication and Collaboration |
| | | |Solving | | |
|Interdisciplinary Connections: Social Studies |
|Integration of Technology: Guided Internet research, Web conferencing, blogging |
|Equipment needed: Teacher computer/projection set-up, appropriate set-up for Web conferencing, student computer/Internet access, student |
|journals/sketchbooks |
|Goals/Objectives |Learning Activities/Instructional Strategies |Formative Assessment Tasks |
|Students: |Teacher Note |Class discussion of poverty and hunger|
|Explore how various artists throughout|Some high school students may struggle over the prospect of |Quick sketches on poverty and hunger |
|history have employed their creativity|making their artwork public or with shared ownership of their |Step 1 research: “Art as Social |
|to document and/or respond to |artworks, as occurs in this unit. Depending on what you know |Commentary” |
|contemporary social issues. |about your particular students, you may want to begin talking |Step 1 journal responses to guided |
|Analyze a particular artist’s artistic|about the importance of this level of sharing early in the unit. |questions |
|responses to terrorism. |Lesson Sequence |Presentations on “Art as Social |
|Understand that the history of “art as|Teacher: |Commentary” |
|social commentary” is a long-lived, |Introduces the concept of “art as social commentary” to students.|Class discussion of history of art as |
|cultural narrative about the world |Presents a video on the work of Käthe Kollwitz using the resource|social commentary |
|that involves rules and rule-breaking.|provided: KATHE_KOLLWITZ.mp4. |Class discussion of “terrorism” |
|Discuss the meaning of “terrorism.” |Engages students in a discussion of the effects of war, poverty, |Web conference or introductory blog |
|Begin communicating with German |and hunger on women and children, using the images included in |entries |
|students through Web conferencing |the video as a starting point. |Step 2 research: “Artists on |
|and/or the class blog. |Students: |Terrorism” |
|Compare views of American and German |Respond to the discussion of the effects of poverty and hunger in|Step 2 journal responses to guided |
|students through blog entries. |quick sketches. |questions |
| |Research “art as social commentary” following Step 1 of the |Blog postings: “Artists on Terrorism” |
| |Student Research Guidelines handout. |Participation in class discussion of |
| |Present their findings to the class. |American and German students’ views |
| |Teacher: |Quick sketches on terrorism |
| |Engages students in a discussion about the history of the use of |Use of sketchbook as a visual diary to|
| |art for social commentary (the goal is for students to arrive an |record ideas and related research |
| |understanding that the tradition constitutes a long-lived, | |
| |cultural narrative about the world that involves rules and | |
| |rule-breaking). Possible questions for discussion include: | |
| |Think about the range of events and time periods the presented | |
| |artists responded to: What does this say about the use of art as | |
| |a way to communicate about “terror” or other ills of society? | |
| |What do you notice about works of “art as social commentary” that| |
| |is different than other classes/schools of artwork? (List all | |
| |possible answers.) | |
| |What role do “rules” and “rule-breaking” play in the creation of | |
| |“art as social commentary?” | |
| |What if none of these artists had shared these artworks with the | |
| |world: What would be some possible consequences? | |
| |Presents the concept behind the Pictures Without Borders unit to | |
| |students. | |
| |Explains that they will collaborate with a class of German art | |
| |students to complete a work of art that is a response to | |
| |“terrorism.” | |
| |Engages students in a discussion of what “terrorism” means using | |
| |the following questions (resulting definition should be broad | |
| |enough to include students’ own experiences with “terrorism,” | |
| |such as bullying, domestic abuse, gang violence, violent crime | |
| |[theft/mugging/assault]): | |
| |What is terrorism? | |
| |Why do people engage in terrorism? In other words, what is the | |
| |goal of terrorism? Is it always the same? | |
| |Does terrorism exist in our country? In our community? What | |
| |“terrorism,” if any, do you see in your own neighborhoods/lives? | |
| |How is terrorism manifested in different parts of the world? Do | |
| |you imagine it differs from country to country? Or can it be | |
| |defined globally? | |
| |Facilitates an introduction of American and German students. If | |
| |possible, this can be done through Web conferencing (e.g., | |
| |, , ). If not (or in addition), | |
| |students can briefly introduce themselves via blog posts, shared | |
| |autobiographical videos, and the sharing of favorite sketches. | |
| |Students: | |
| |Work in pairs to research “artists on terrorism” following Step 2| |
| |of the Student Research Guidelines handout. | |
| |Post a brief synopsis of an artist’s life and work on the class | |
| |blog, following Step 2 of the Student Research Guidelines | |
| |handout. | |
| |View classmates’ blog entries as well as entries of German | |
| |students. | |
| |Discuss similarities and differences among American and German | |
| |students’ views of “artists on terrorism,” as reflected in blog | |
| |entries. | |
| |Articulate a personal response to terrorism using quick sketches.| |
| |Homework | |
| |Encourage students to continue exploring German students’ blog | |
| |entries from home and to expand their own entries with | |
| |information about themselves (such as favorite artists). They can| |
| |initiate communication with individual students via email or | |
| |using instant messaging/chat software. The sharing/posting of | |
| |digital images of their past artworks is particularly important. | |
| |The affinities students feel for each other as artists and | |
| |individuals can form the basis for deciding partners later in the| |
| |unit. (Alternatively, the collaborating teachers may choose to | |
| |pair students randomly.) | |
|Differentiation |
|The lesson is constructed so that students can follow their interest in various artists. As students conduct their research, the teacher can |
|suggest strategies and modifications as needed. |
|Resources Provided |
|Video Resource: KATHE_KOLLWITZ.mp4 |
|Student Handout: Student Research Guidelines |
| Pictures Without Borders Lesson Plan 2 |
|Content Area: Visual and Performing Arts: Visual Art |
|Lesson Title: Witness to Terror |Timeframe: 15 days |
|Lesson Components |
|21st Century Themes |
|x |
|x |Creativity and Innovation |x |Critical Thinking and Problem |x |Communication and Collaboration |
| | | |Solving | | |
|Interdisciplinary Connections: Social Studies, Language Arts |
|Integration of Technology: Web conferencing, blogging, virtual gallery, digital portfolios |
|Equipment needed: Appropriate set-up for Web conferencing, student computer/Internet access, scanner, student journals/sketchbooks |
|Goals/Objectives |Learning Activities/Instructional Strategies |Formative Assessment Tasks |
|Students: |Lesson Sequence |Artistic ideas/concepts |
|Brainstorm ideas, verbally and |Teacher: |Thumbnail sketches |
|visually, for a personal artistic |Facilitates the selection or assignment of student partners, in |Critiques of posted thumbnail sketches|
|response to terrorism. |cooperation with the German teacher. |Communication with partners |
|Collaborate with an international |Shares Visual Arts Rubric handout with students. |Journals |
|partner on the design of two planned |Students: |Sketchbooks |
|art compositions. |Synthesize the research completed in Lesson 1 into five or six |Draft paintings |
|Create draft paintings in preparation|key ideas for an artwork based on a personal response to |Written comments on partners’ draft |
|for the contribution they will send |terrorism; the ideas should in some way document or reference a |paintings |
|to their international partners. |personal or global terrorism event, as well as their response to |Digital portfolios |
|Maintain their digital art portfolios|that event. If necessary, students may research witness accounts |Reflective writing |
|by adding images of artworks as they |related to the event in question in order to stimulate their |Literary responses to terrorism |
|are finished and posted. |thinking. | |
|Share work and engage in positive |Share these ideas/concepts with their German partners. | |
|critique with each other and |Create a minimum of six thumbnail sketches based on one or more | |
|international partners. |of their ideas/concepts. | |
|Reflect on the artwork they observe, |Post the thumbnails on the class blog or a virtual gallery (such | |
|events of terror they have witnessed,|as ) to be shared by both the American | |
|or events of terror that they read or|and German classes. | |
|hear about, and respond in writing. |Critique and post comments to all thumbnails posted by both | |
| |American and German students, applying the principles of positive| |
| |critique. Some options include: | |
| |Comment on something they like or find interesting (content, | |
| |composition, style, technique, choice/use of materials). | |
| |Seek insight into the other student’s thought processes (content,| |
| |composition, style, technique, choice/use of materials). | |
| |Journal additional observations and responses, both verbal and | |
| |visual, using their sketchbooks. | |
| |Discuss their personal experiences with terrorism and/or their | |
| |personal responses to national/international terrorism, as well | |
| |as the thumbnails, with their German partners; determine some | |
| |areas of common ground, or interesting juxtaposition, based on: | |
| |a terrorism event or events | |
| |a form or forms of terrorism | |
| |the nature of their responses to terrorism | |
| |their styles of painting | |
| |something else (consult teacher) | |
| |Map out the parameters of the two works of art that they will | |
| |create together, including: | |
| |The subject and possibly a working title. | |
| |How each partner will handle the subject or subjects. | |
| |Materials, colors, techniques to be used. | |
| |Where on the canvas each partner will work. | |
| |Any guidelines for working on or overlapping each other’s work. | |
| |Who will “own” each painting once the works are completed (once | |
| |each class has had a chance to exhibit all paintings, the first | |
| |painting that each student began will be back in his or her | |
| |hands). | |
| |Studio sessions: Select a thumbnail to enlarge into the first | |
| |unified composition, and execute that composition in the painting| |
| |medium of choice (e.g., watercolors, acrylic; with or without | |
| |elements of collage). | |
| |Post a digital image of the composition at the completion of each| |
| |studio session. | |
| |Save a digital image of the artwork in their digital portfolios. | |
| |Comment on each new posting by their partners. | |
| |Repeat as many times as indicated by the teacher. | |
| |Teacher: | |
| |Holds individual conferences with students once they have mapped | |
| |out the two planned artworks with their partners to discuss the | |
| |planned compositions; it may be possible to hold a four-way | |
| |conference with each student pair and the German teacher (which | |
| |could be helpful if a student pair is struggling). | |
| |Demonstrates techniques as appropriate. | |
| |Provides video/vignettes and/or mini-lessons about artists who | |
| |used art as vehicles for social commentary during the studio | |
| |sessions, based on students’ interests, artworks, styles, and | |
| |other considerations.. | |
| |Provides opportunities for students to reflect on and/or respond | |
| |in writing to (e.g., poetry or narrative prose) the artwork they | |
| |observe, events of terror they have witnessed, or events of | |
| |terror that they read or hear about. | |
|Differentiation |
|The flexibility of the timeframe and the structure of the lesson are designed to enable all students to achieve individual levels of mastery |
|and to receive the individual support they need. |
|Resources Provided |
|Student Handout: Visual Arts Rubric |
| Pictures Without Borders Lesson Plan 3 |
|Content Area: Visual and Performing Arts: Visual Art |
|Lesson Title: Art in Action I |Timeframe: 15 days |
|Lesson Components |
|21st Century Themes |
|x |
|x |Creativity and Innovation |x |Critical Thinking and Problem |x |Communication and Collaboration |
| | | |Solving | | |
|Interdisciplinary Connections: Social Studies, Language Arts |
|Integration of Technology: Web conferencing, blogging, virtual gallery, digital portfolios |
|Equipment needed: Appropriate set-up for Web conferencing, student computer/Internet access, scanner, student journals/sketchbooks |
|Goals/Objectives |Learning Activities/Instructional Strategies |Formative Assessment Tasks |
|Students: |Lesson Sequence |Final paintings |
|First painting: Plan and execute |Students: |Self-critiques |
|final compositions based on the plans|Develop a final draft of their first painting—one that they feel |Critiques of others |
|they devised with their partners. |sufficiently expresses their emotional response to, and/or their |Use of rubric |
|Create draft paintings in preparation|intended commentary on, terrorism both technically and |Artist talks during exhibits |
|for their contribution to their |artistically (that is, in an aesthetically rendered, unified |Artistic ideas/concepts for second |
|international partners’ paintings. |composition that lends itself to a critical response by their |painting |
|Maintain their digital art portfolios|international partners). |Thumbnail sketches |
|by adding images of artworks as they |Post digital images of the final artwork on the class |Critiques of posted thumbnail sketches|
|are finished and posted. |blog/gallery and add them to their digital portfolios. |Communication with partners |
|Share work and engage in positive |Self-critique all of their own completed works using the Visual |Journals |
|critique with each other and |Arts Rubric and Student Self-Assessment Guidelines handouts. |Sketchbooks |
|international partners. |View and critique the completed works of their peers from both |Draft paintings |
|Reflect on the artwork they observe, |countries using the Visual Arts Rubric handout and applying the |Written comments on partners’ draft |
|events of terror they have witnessed,|principles of positive critique. |paintings |
|or events of terror that they read or|Exhibit the paintings and describe to others how they relate to |Digital portfolios |
|hear about, and respond in writing. |the process through which they are being created. |Reflective writing |
|Exhibit their work and explain to |Ship the paintings to their international partners. |Literary responses to terrorism |
|others the process in which the work |When paintings arrive from Germany, exhibit the paintings and | |
|is being created. |describe to others how they relate to the process through which | |
| |they are being created. | |
| |Studio sessions: Working from the online version of their | |
| |partner’s painting until the actual paintings arrive, create six | |
| |thumbnail sketches of their planned addition to the partner’s | |
| |painting. | |
| |Repeat the studio process from Lesson 2. | |
| |Teacher: | |
| |Supports student work as described in Lesson 2. | |
| |Provides opportunities for reflection and expression as described| |
| |in Lesson 2. | |
|Differentiation |
|The flexibility of the timeframe and the structure of the lesson are designed to enable all students to achieve individual levels of mastery |
|and to receive the individual support they need. |
|Resources Provided |
|Student Handout: Visual Arts Rubric |
|Student Handout: Student Self-Assessment Guidelines |
| Pictures Without Borders Lesson Plan 4 |
|Content Area: Visual and Performing Arts: Visual Art |
|Lesson Title: Art in Action II |Timeframe: 7-10 days |
|Lesson Components |
|21st Century Themes |
|x |
|x |Creativity and Innovation |x |Critical Thinking and Problem |x |Communication and Collaboration |
| | | |Solving | | |
|Interdisciplinary Connections: Social Studies, Language Arts |
|Integration of Technology: Web conferencing, blogging, virtual gallery, digital portfolios |
|Equipment needed: Appropriate set-up for Web conferencing, student computer/Internet access, scanner, student journals/sketchbooks |
|Goals/Objectives |Learning Activities/Instructional Strategies |Formative Assessment Tasks |
|Students: |Lesson Sequence |Final paintings |
|Second painting: Plan and execute |Students: |Self-critiques |
|final compositions based on the plans|Develop a final draft of their second painting—one that they feel|Critiques of others |
|they devised with their partners. |sufficiently expresses their emotional response to, and/or their |Use of rubric |
|Maintain their digital art portfolios|intended commentary on, terrorism both technically and |Artist talks during exhibits |
|by adding images of artworks as they |artistically (that is, in an aesthetically rendered, unified |Digital portfolios |
|are finished and posted. |composition that lends itself to a critical response by their |Reflective writing |
|Share work and engage in positive |international partners). |Literary responses to terrorism |
|critique with each other and |Post digital images of the final artwork on the class |Final journal entries |
|international partners. |blog/gallery and add them to their digital portfolios. | |
|Reflect on the artwork they observe, |Self-critique all of their own completed works using the Visual | |
|events of terror they have witnessed,|Arts Rubric and Student Self-Assessment Guidelines handouts. | |
|or events of terror that they read or|View and critique the completed works of their peers from both | |
|hear about, and to respond in |countries using the Visual Arts Rubric handout and applying the | |
|writing. |principles of positive critique. | |
|Exhibit their work and explain to |Exhibit the paintings and describe to others how they relate to | |
|others the process in which the work |the process through which they are being created. | |
|has been created. |Ship the paintings to their international partners. | |
|Reflect on their learning. |Teacher: | |
| |Continue to support student work as described in Lesson 2. | |
| |Provides opportunities for reflection and expression as described| |
| |in Lesson 2. | |
| |Conclusion | |
| |Students: | |
| |When the completed paintings arrive from Germany, hold the final | |
| |exhibit and describe to others how they relate to the process | |
| |through which they were created (include a projection of the | |
| |virtual gallery, so that participants can view the entire | |
| |process). | |
| |Reflect in their journals on the Pictures Without Borders | |
| |experience using the End-of-Unit Reflection handout. | |
|Differentiation |
|The flexibility of the timeframe and the structure of the lesson are designed to enable all students to achieve individual levels of mastery |
|and to receive the individual support they need. |
|Resources Provided |
|Student Handout: Visual Arts Rubric |
|Student Handout: Student Self-Assessment Guidelines |
|Student Handout: End-of-Unit Reflection |
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