Monday, February 19, 2018

Pop Art Wood




Lesson Objective: Students will learn about the Pop Art Movement. Students will create a Pop Art Food Sculpture in the style of the Pop Art Movement and Texture 

Project Requirements: 
Sketchbook: Create a full-color drawing of final food sculpture 
Include: Details
Texture
Pop Art Elements 
Final Project: 
Construction includes fully realized food structure
Student uses the additive construction method 
Details include accurate food texture and detail
Pop art sculpture is complete from all sides and is in keeping with pop art style

Assessment: 
Informal: Small group written critique
Formal: Artist Statement
Formal: Grading final sculpture

Modifications: 
English Language Learner: Handout for project, project samples, Powerpoint with visuals, Critique for additional understanding, Demonstration of techniques, group activities to check for understanding
Special Needs: Handout for project, project samples, Powerpoint with visuals, Critique for additional understanding, Demonstration of techniques
Accelerated Learner: Expand on skills learned to create a unique project. 
Advanced art students will be asked to increase the difficulty of their final sculpture They will also be expected incorporate more details and principles into the final project

Scaffolding adaptations: 
Students will revisit contrast, Color, Repetition, and Pattern from the earlier learning. We will use similar visuals to refresh earlier learning.  Notes on Art history, Key Vocabulary and artists will be taken throughout discussions for added understanding. Creating sketchbook plans and Constructing final sculpture will be demo started in class using guided instruction. 

Art Link: 
Compare Pop art and Op art
What is pop short for
What artist do you associate with Pop art? 
If you had to create a Pop art project what would you create? 

INTRODUCTION to the lesson (Anticipatory Set): 
Show Wayne Thiebaud’s ice cream
Analyze
Describe
Interpret

Key Vocabulary:
Pop Art
Texture
Physical Texture
Visual texture
CA STANDARDS: 
1.1 Analyze and discuss complex ideas, such as color theory, arbitrary color, scale, expressive content, and real versus virtual in works of art.
1.3 Research and analyze the work of an artist and write about the artist's distinctive style and its contribution to the meaning of the work.
1.6 Describe the use of the elements of art to express mood in one or more of their works of art.
1.4 Analyze and describe how the composition of a work of art is affected by the use of a particular principle of design.
2.1 Create original works of art of increasing complexity and skill in a variety of media that reflect their feelings and points of view.
2.2 Plan and create works of art that reflect complex ideas, such as distortion, color theory, arbitrary color, expressive content, and real versus virtual.
3.3 Identify and describe trends in the visual arts and discuss how the issues of time, place, and cultural influence are reflected in selected works of art.
4.4 Articulate the process and rationale for refining and reworking one of their own works of art.
5.2 Compare and contrast works of art, probing beyond the obvious and identifying psychological content found in the symbols and images.
5.3 Prepare portfolios of their original works of art for a variety of purposes 

INSTRUCTION: 
Students will receive details about Pop Art
Pop Artists
Texture in art
MATERIALS: 
Craft Sticks
Coffee stirrers
Wooden blocks
Small Wood pieces

DIRECT INSTRUCTION:
Day 1: PowerPoint Presentation Pop Art
Opening: Art Link:
What is pop short for?
When you hear the words Pop Art what artist comes to mind? 
If you were asked to create a Pop Art project, what would you 
Create? 
Pre-assessment: Sketchbook: Wayne Thiebaud’s Ice Cream Cones
How does this art effect you? 
Review: Describe, analyze, interpret
Teacher Models: 
Pop Art and art History
Students take notes in their sketchbooks 
Teacher Monitors throughout discussion
Check for Understanding: 
Monitor room during Pre-assessment in sketchbook
Monitor throughout discussion to be sure notes are being taken 
Presentation assessment
Art Activity: Critique Roy Lichtenstein’s Flag 
Think-Pair-Share Table Groups
Describe, Analyze, Interpret
Discussion: Pop Art
History
Pop Art defined
Pop Art Characteristics
TEXTURE: 
Texture: 
Discussion: Texture and Color
What is Texture? 
Physical Texture
Visual Texture
Teacher Models: 
Texture
Students take notes in their sketchbooks 
Teacher Monitors throughout discussion
Check for Understanding: 
Monitor room during Pre-assessment in sketchbook
Monitor throughout discussion to be sure notes are being taken 
Presentation assessment
ART HISTORY: Indirect Instruction
Each table will receive research paper on one of nine artists
Students will read, collect data and present one artist to the class as a
Group
The presentation will be of a group artwork inspired by their artist. 
Artwork must be of the subject matter most identified with the artist
Artwork must include characteristics of the artist
Students will aid in instruction by researching one of nine artists and sharing the information with the class. 
Students will take notes in their sketchbook about each of the nine artists
Wayne Theibaud
Jasper johns
Andy Warhol
Jim Dine
Roy Lichtenstein
Tom Wesselman
Claes Oldenburg
David Hockney
Robert Indiana

Day 3: Art Link: ART HISTORY: Wayne Thiebaud
VIDEO
Critique works of dessert
Color 
Texture
ART HISTORY: Barbara Spring 
Barbara Spring (1916- 2011)  94 years old
An exceptional wood sculptor, 
Barbara Spring's career began in 1935 in her native England 
She studied at the Gravesend School of Art in Kent and the Central School of Art in London. 
Her exhibits in this country span from 1962 to present.
Actively worked at the studio she built in 1972 next to her home in Big Sur. 
"Barbara is Magic.” "She can give an ordinary face so much emotion," says Greg Hawthorne of the Hawthorne Gallery, where much of her work is exhibited. 
She pokes fun at the human frailties of her characters, their pettiness, self-importance, and self-doubt
Spring's gentle sense of humor makes them sympathetically engaging. 
Her keen observation of human nature and genius for creating the subtlest nuances are further enhanced by punning titles like "Major Faupar" and "Upton O'Goode".
Sketchbook Activity: 
Begin to sketch your final wood project
Sketchbook Activity: 
Continue to sketch your final wood project add texture and color
Check for Understanding: 
Monitor room during Pre-assessment in sketchbook
Monitor throughout discussion to be sure notes are being taken 
Presentation assessment
Students will use texture (wood chips, saw dust) to achieve an emotion or mood








Environmental Installation Slab



Objective: Students explore outdoors to create an original environmental installation that demonstrates this acquired knowledge
Students define, identify and discuss the significance of these art terms in relation to their own artwork, their peer’s artwork as well as current and historical artist’s work
Historical and cultural exemplars: Andy Goldsworthy, Christo and Jeanne-Claude
Final Project is inspired by environmental photo and created through slab building with clay. 

Project Requirements: 
  • Student will explore and create an environmental installation while on nature walk
  • Student will preserve the installation through photography and video
  • Student will use the installation to inspire a final project as a slab vase. 
  • Student will design and create a hand built slab base in a style of their choosing while sticking with demo instructions. 
  • The vase will be a min of 6” and a max of 10”
  • Vase should include relief, indentation, subtraction and pattern, 
  • Student will complete the vase using only one, neutral glaze color

CA Art Standards: 
1.1 Identify and use the principles of design to discuss, analyze, and write about visual aspects in the environment and in works of art, including their own.
1.5 Analyze the material used by a given artist and describe how its use influences the meaning of the work.
2.3 Develop and refine skill in the manipulation of digital imagery (either still or video).
3.3 Identify and describe trends in the visual arts and discuss how the issues of time, place, and cultural influence are reflected in selected works of art.
4.4 Articulate the process and rationale for refining and reworking one of their own works of art.
5.3 Compare and contrast the ways in which different media (television, newspapers, magazines) cover the same art exhibition.

DISCUSSION: 
ARTIST: Christo Javacheff (June 13, 1935-           )
Christo attended the Fine Arts Academy, Bulgaria, 
When the Hungarian Revolution of 1956 broke out, he fled to Vienna.
He studied for a semester, moved to Paris and began exhibiting his works with the nouveaux réalistes. 
Christo’s earliest sculptures were composed of cans and bottles—some as found and some  painted or wrapped in paper, plastic, or fabric.

Vocabulary: Nouveaux Réalistes: Founded in 1960 by the critic Pierre Restany, artists associated with nouveau réalism (which translates as ‘new realism’) made extensive use of collage and assemblage as well as painting

While working there as a portrait artist, Christo met Jeanne-Claude de Guillebon, whom he married in 1959. 

ARTIST: Jeanne-Claude de GuillebJon  (June 13, 1935- 2009)
environmental sculptors, noted for their controversial outdoor sculptures that often involved monumental displays of fabrics and plastics.

Jeanne-Claude was once described as her husband’s publicist and business manager. 
She later received equal billing with him in all creative and administrative aspects of their work. In 1964 the pair relocated to New York City, where their art was seen as a form of Arte Povera.

Vocabulary: Arte povera:  means literally ‘poor art’ but the word poor here refers to the movement’s signature exploration of a wide range of materials beyond the traditional ones of oil paint on canvas, bronze, or carved marble
 
Christo and Jeanne-Claude’s first collaborative works included Dockside Packages
In 1968 they also completed a suspended 18,375-foot (5,600-metre) “air package” over Minneapolis, Minnesota, 
Their monumental later projects included Valley Curtain (1972; Rifle Gap, Colorado), 
Running Fence (1976; Marin and Sonoma counties, California), 
In 1985 in Paris, they wrapped the Pont Neuf (bridge) in beige  cloth. 
In 1995 the couple received the Japan Art Association’s Praemium Imperiale prize for sculptures
ARTIST:Christo and Jeanne-ClaudeThe Gates, Central Park, New York City, 1979–2005 was unveiled in 2005. Stretching across 23 miles (37 km) of walkway in Central Park, the work featured 7,503 steel  gates that were 16 feet (5 metres) high and decorated with saffron-coloured cloth panels. The Gates was on display for 16 days and attracted more than four million visitors.
Christo and Jeanne-Claude’s huge, usually outdoor sculptures are temporary and involve hundreds of assistants in their construction. 
Seen as they are by all manner of passersby, including those who would not necessarily visit museums
These works force observers to confront questions regarding the nature of art. 
As the scope of the projects widened, increased time was needed for planning and construction phases, the securing of permits, and environmental-impact research. 
For each project, they formed a corporation, which secured financing and sold the primary models and sketches. 
Most installations were documented in print and on film, and the materials that created them were sold or given away after the projects were dismantled.

ARTIST: Andy Goldsworthy (1956-     )
Born in Cheshire, England
Currently resides in Scotland. 
He studied at Bradford School of Art and Preston Polytechnic and has been making art in the environment, both rural and urban, since the  mid-1970s. 
Over the past 25 years, Goldsworthy has gained a significant reputation for both his ephemeral works and his permanent installations that draw out the endemic character of a place. 
The artist works with natural materials, such as leaves, sand, ice, and stone that often originate from the local site. 
Goldsworthy has produced more than 70 exhibitions and projects all over the world
In addition, he has made temporary museum installations at the J. Paul Getty Museum, The Metropolitan Museum, and The Tate. 
Goldsworthy's other large-scale installations in the United States include Garden of  Stones (2003, Museum of Jewish Heritage, New York); 
All of these large-scale commissioned works have their origins in ephemeral works.

Vocabulary: ephemeral: lasting for a very short time.

Andy Goldsworthy's Garden of Stones at the Museum of Jewish Heritage in NYC has trees growing from boulders creating an ongoing process of growth 

PROCEDURES: 
Students receive and hour of class time outside to create an environmental installation. 
Students document that installation in photograph
Students use their photograph to inspire their slab sculpture 

SLAB STEPS: 
  • Slab-built ceramics: the artist assembles an artwork by hand using flat slabs of clay.
  • Artists form slabs by forcing a lumps of clay through a roller mechanism, flattening the clay to a consistent thickness. 
  • Roll slabs of clay using 1/4” slab sticks (Guides)
  • Slabs can be used to build sculpture or functional vessels, and often gives the artist more freedom to alter a form from the beginning of the process.
  • Start with wedging and throwing clay on a flat surface (covered with canvas).
  • **Wedging: throwing or kneading clay to remove air bubbles
  • Spread the clay out by patting it with your whole hand.
  • Flip the clay over carefully.
Place wooden slab sticks (guides) on both sides of the clay to help you achieve an even thickness
Trace from sketchbook planning and cut with a needle tool.

Sketchbook plan should be to scale. 


Once slab is complete: Students will use additive, subtractive and relief methods to create the look of their environmental sculpture in their final sale vase.