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. 

Dinner Plate Final

Lesson Objective: Create 3-D artwork in Clay from Famous 2-D artwork explore and review cumulative learning of additive, subtractive construction and the elements and principles of art.

Project Requirements: 

Sketchbook: Complete a plan of the final plate, with famous artwork  in your sketchbook including:

Plan for addition and subtraction of clay

      Update the work for contemporary day
Details with Measurements for final construction

Full Color Study with approval to move to final project

Final Art work:  

      Create a uniform dinner plate, with a famous artwork, in clay

Must have addition and subtraction

Must consider line, shape, value, color, texture, balance, unity & movement 

Update the work to represent contemporary day

      Glaze is applied with detail and precision

Presentation: 

Famous Artist Information

Birth/Death

School

Art Movement Association

Major Exhibitions

Lasting Value of the work

Interesting information

Quote 

Final meets California Art Standards: 

1.8 Analyze the works of a well-known artist as to the art media selected and the effect of that selection on the artist's style.

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, scale, expressive content, and real versus virtual.

2.4 Demonstrate in their own works of art a personal style and an advanced proficiency in communicating an idea, theme, or emotion.

2.6 Present a universal concept in a multimedia work of art that demonstrates knowledge of technology skills.

3.2 Identify contemporary artists worldwide who have achieved regional, national, or international recognition and discuss ways in which their work reflects, plays a role in, and influences present-day culture. (artist statement question)

4.1 Describe the relationship involving the art maker (artist), the making (process), the artwork (product), and the viewer.

4.3 Analyze and articulate how society influences the interpretation and message of a work of art.

5.2 Compare and contrast works of art, probing beyond the obvious and identifying psychological content found in the symbols and images.

Assessment: 

Informal: Small group written critique

Formal: Artist Statement

Formal: Grading final sculpture

Modifications: 

English Language Learner: Handout for project, project samples, Power point with visuals, Critique for additional understanding, Demonstration of techniques, group activities to check for understanding

Special Needs: Handout for project, project samples, Power point 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, Pattern, Scale, Proportion, Movement, Rhythm  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.

Key Vocabulary: Feminist Art, 

Materials: 

Clay

Clay Tools

Slip

Glaze

Direct Instruction

Critique:

Small Group: Judy Chicago’s Plate

Large Group: Judy Chicago’s Plate

Judy Chicago (1939-       )

Born Judith Sylvia Cohen in Chicago, Illinois

American feminist artist, art educator

Received her Master of Fine Arts from UCLA in 1964.

Known for her large collaborative art installation pieces which examine the role of women in history and culture. 

By the 1970s, Chicago had coined the term "feminist art" 

She founded the first feminist art program in the United States. 

In 1970 full-time teacher at Fresno State College

Teaching women the skills needed to express the female perspective in their work.

She planned a class that would consist only of women

She would teach students off campus to escape "the presence and the expectations of men.”

It was at this time when Chicago would coin the term "feminist art"[

Chicago's work incorporates stereotypical women's artistic skills, such as needlework, counterbalanced with stereotypical male skills such as welding and pyrotechnics. 

Chicago's masterpiece is The Dinner Party, which is in the collection of the Brooklyn Museum.

Dinner Party: 

First epic feminist artwork

Symbolic history of women in Western civilization. 

39 place settings for mythical and historical famous women

Arranged along a triangular table

Each unique place-setting includes:

A hand-painted china plate, 

Ceramic flatware and chalice

Napkin with an embroidered gold edge. 

Plate, brightly-colored, elaborately styled form. 

Settings are on embroidered runners, with various needlework styles. 

Gargoyle Scale Sculpture

 Lesson Objective: Students will use the pinch pot construction method to create a gargoyle from 1.5 lbs. of clay while exploring the art principle of proportion and scale.  

·Learn the functions of gargoyles & other apotropaic devices from an Art History perspective. 

·Learn about the significance and symbolism of gargoyles in Gothic architecture.

Project Requirements: 

Sketchbook: Create a full color drawing of final gargoyle sculpture 

Include: Detail

Texture

Scale

Proportion/Distortion

Final Project: 

Construction includes fully realized gargoyle structure

Sculpture created from a basic, hollow form (pinch pot method)

Exhibit evidence of proper use of clay hand-building techniques (score and slip additive, smooth rough edges, etc.)

Sculpture features are built-up or developed in the clay

Texture somewhere (scales, resemble stone, have "hair")

Students create disproportionate scale in two places (ex: huge eyes, small arms)

Details with texture and a Vent Hole to kiln 

Gargoyle art sculpture is complete from all sides and has focus on disproportionate

               scale.  

CA Standards: 

1.1 Analyze and discuss complex ideas, such as distortion, color theory, arbitrary color, scale, expressive content, and real versus virtual in works of art.

1.5 Compare how distortion is used in photography or video with how the artist uses distortion in painting or sculpture.

2.2 Plan and create works of art that reflect complex ideas, such as distortion, color theory, arbitrary color, scale, expressive content, and real versus virtual.

3.3 Investigate and discuss universal concepts expressed in works of art from diverse cultures.

3.4 Research the methods art historians use to determine the time, place, context, value, and culture that produced a given work of art.

4.1 Describe the relationship involving the art maker (artist), the making (process), the artwork (product), and the viewer.

5.2 Compare and contrast works of art, probing beyond the obvious and identifying psychological content found in the symbols and images.

Assessment: 

Informal: Written critique

Formal: Artist Statement

Formal: Grading final sculpture

Modifications: 

English Language Learner: Handout for project, project samples, Power point with visuals, Critique for additional understanding, Demonstration of techniques, group activities to check for understanding

Special Needs: Handout for project, project samples, Power point 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 texture and scale 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. 

Vocabulary & Techniques discussed/shown:

Bisque Firing: The first firing of unglazed ware at a low temperature. Removes all moisture from the clay and makes it easier to handle.

Glaze: A compound of minerals that is applied to the surface of greenware or bisqued ware that forms a glassy coating when fired.

Glaze Firing: A kiln firing that reaches temperatures at which glaze will melt. A glaze firing typically brings the clay body to its maturation point.

Leather Hard: The condition of a clay body that has dried somewhat but can still be carved or joined.

Slip: A mixture of clay and water; Works as glue to fuse two clay pieces together.

Score: Making small marks into the surface of the clay before adding slip or water to help fuse clay.

Pinch Pot: Creating a piece of pottery by pinching and molding a solid piece of clay with your fingers/hands.

Also: wedging, kneading, hollow, clay thickness, joining two clay pieces, smoothing & "cleaning" of clay surface, glaze types & proper application

Gargoyle: comes from the Latin word 'gurgulio', not only meaning "throat" but also describing the "gurgling" sound made by water as it ran through the figure.

Vent hole: holes that will allow air to escape during the firing and prevent the piece from exploding.

Architecture: is both the process and the product of planning, designing, and constructing buildings and other physical structures. 

Architectural works, in the material form of buildings, are often perceived as cultural symbols and as works of art. 

Historical civilizations are often identified with their surviving architectural achievements.

Apotropaic: Ap·o·tro·pa·ic adj. Intended to ward off evil: an apotropaic symbol.

Art History: 

Architecture: is both the process and the product of planning, designing, and constructing buildings and other physical structures. 

Architectural works, in the material form of buildings, are often perceived as cultural symbols and as works of art. 

Historical civilizations are often identified with their surviving architectural achievements.

In architecture, a gargoyle is a carved with a spout designed to convey water from a roof and away from the side of a building

Sprout prevents rainwater from running down masonry walls and eroding the mortar between. 

Architects often used multiple gargoyles on buildings to divide the flow of rainwater off the roof to minimize the potential damage from a rainstorm. 

A trough is cut in the back of the gargoyle and rainwater typically exits through the open mouth. 

Gargoyles are usually an elongated fantastic animal

The length of the gargoyle determines how far water is thrown from the wall. 

The term originates from the Latin word 'gurgulio, which in English is likely to mean "throat" or  "gullet"and similar words derived from the root gar, "to swallow", which represented the gurgling sound of water. When not constructed as a waterspout and only serving an ornamental or artistic function, the correct term for such a sculpture is a grotesque. 

Gargoyles on buildings also served another purpose. They act as “Apotropaic devices,” or items intended to scare away evil spirits. 

ap·o·tro·pa·ic adj. Intended to ward off evil: an apotropaic symbol.

Gargoyles are said to frighten off and protect those that it guards, such as a church, from any evil or harmful spirits.

Non-functional figures are technically called “Grotesques,” but most people still refer to them as Gargoyles. 

Gargoyles on buildings also served another purpose. They act as “Apotropaic devices,” or items intended to scare away evil spirits. 

Apotropaic devices have been used since ancient times to scare away not only spirits, but also foreigners and would-be attackers. 

During the 12th century, when gargoyles appeared in Europe, the Roman Catholic Church was growing stronger and converting many new people. Most of the population at this time were illiterate, and therefore images were very important to convey ideas.

Gargoyles were viewed in two ways by the church throughout history. The primary use was to convey the concept of evil through the form of the gargoyle, which was especially useful in sending a stark message to the common people, most of whom were illiterate.

Gargoyles also are said to scare evil spirits away from the church, this reassured congregants that evil was kept outside of the church’s walls. However, some medieval clergy viewed gargoyles as a form of idolatry.

Sacramento Assembly is the Capitol's only gargoyle.

The little devil is on the ceiling of the chambers. Standing in the front of the room, it's the second row of octagons from the left, three up from the front.

With lolling tongue and bug eyes,

Teaching Tips:

• When building pieces that have sealed hollow spaces, make sure that every hollow space has a vent hole. These holes will allow air to escape during the firing and prevent the piece from exploding.

Make sure that you allow plenty of time for the figures to dry as hand-built items are usually built thicker than pottery or slip cast items. 

Fire the pieces slower than you would for pots or slip cast pieces. 

Process:

1. Prior to working with clay, students are given a history about gargoyles. This includes:

purposes of gargoyles as rain spouts and medieval church/cathedrals architecture

purposes of gargoyles in superstition & religion (warding off evil, protecting church, etc.)

different types of gargoyles (grotesques, chimeras, human or animal/like)

It is beneficial to show students a variety of images including the various types of gargoyles.

2. The teacher will also demonstrate various clay techniques essential to creating their finished piece.

3. After students have learned the background of the lesson & clay techniques, they will create two sketches of ideas for their creature-with attention to the requirements. The final product may not resemble their sketches but this is a good way to get students' creative juices flowing.

4. Students create their gargoyle. They begin with a chunk of clay and should utilize the techniques they were taught to build from clay. This includes wedging and kneading their clay (if necessary), creating a hollow form using the pinch pot technique, and building onto their gargoyle in order to meet the requirements.

5. Once clay pieces are completed, dried, and bisque fired, students will glaze their work and have it fired again. To create a more authentic stone-like creature, teachers may choose to have students use under-glaze only (which is not shiny) rather than glaze.

*Teachers may have students make their gargoyle out of clay but use paint instead of glaze to complete the project.

MATERIALS: 

Clay

Clay tools

Slip

Glaze is all colors 

DIRECT INSTRUCTION:

Day 1: Direct Instruction from PPT: 

Art Link: 

What is a gargoyle?

What is their purpose

Have you studied them in history? 

Where does this gargoyle live? 

(Sacramento Assembly)

Pre-assessment: Sketchbook: Answer questions in sketchbook

Critique Review: Describe, analyze, interpret 

Teacher Models: 

Gargoyles 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 Assembly Gargoyle 

Discussion:Architecture 

Architecture: is both the process and the product of planning, designing, and constructing buildings and other physical structures. 

Architectural works, in the material form of buildings, are often perceived as cultural symbols and as works of art. 

Historical civilizations are often identified with their surviving architectural achievements.

Gargoyles are usually an elongated fantastic animal

The length of the gargoyle determines how far water is thrown from the wall. 

The term originates from the Latin word 'gurgulio, which in English is likely to mean "throat" or  "gullet"and similar words derived from the root gar, "to swallow", which represented the gurgling sound of water. 

When not constructed as a waterspout and only serving an ornamental or artistic function, the correct term for such a sculpture is a grotesque. 

Gargoyles on buildings also served another purpose. They act as “Apotropaic devices,” or items intended to scare away evil spirits. 

Gargoyles are said to frighten off and protect those that it guards, such as a church, from any evil or harmful spirits.

During the 12th century, when gargoyles appeared in Europe, the Roman Catholic Church was growing stronger and converting many new people. Most of the population at this time were illiterate, and therefore images were very important to convey ideas.

Gargoyles also are said to scare evil spirits away from the church, this reassured congregants that evil was kept outside of the church’s walls. However, some medieval clergy viewed gargoyles as a form of idolatry.

Day 2: Teacher Models: 

Texture and Pinch Pot 

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 

Day 3: Art Link:

Sketchbook Activity: 

Begin to sketch your final clay project

Sketchbook Activity: 

Continue to sketch your final clay project add texture, color and scale

Day 4:

Art Link: 

What mood does this piece show? 

Discussion: Sculpture

Additive

Subtractive

Scoring and slipping

Teacher Models: 

Clay construction Pinch Pot and slab pot

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

FINAL PROJECT Painting: Day 9, 10, 11, 12

Students will paint clay sculpture using Pop Art style

Students will use color/texture to achieve an emotion or mood

Pop Art Clay with Wayne Thiebaud

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 lesson (Anticipatory set): 

Show Wayne Thiebaud’s ice cream

Analyze

Describe

Interpret

OBJECTIVE: Create clay sculpture inspired by Wayne Thiebaud’s desserts

Score Slip Hand-built Subtractive sculpture

Additive Sculpture Pop Art Texture

Physical Texture Visual texture Leather hard

Bone Dry

CA STANDARDS: 

1.1 Analyze and discuss complex ideas, such as distortion, 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, scale, 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 (e.g., review for post secondary application, exhibition, job application, and personal collection).

PURPOSE: Complete a clay sculpture with texture and an emotional mood based on the art element color. 

INSTRUCTION: 

Students will receive details about Pop Art

Hand built sculpture

Pop Artists

Mood and emotion in art

MATERIALS: 

Clay

Toothpicks

Clay tools

Slip

Acrylic paint

DIRECT INSTRUCTION:

Day 1: Power Point Presentation Pop Art

Opening: Art Link: Compare Op Art to Pop art

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 Claes Oldenburg’s Dropped Cone

Think-Pair-Share Table Groups

Describe, Analyze, Interpret

Discussion: Pop Art

History

Pop Art defined

Pop Art Characteristics

ART HISTORY: Wayne Thiebaud

VIDEO

Critique works of dessert

Color 

Texture

Bio Info

Claes Oldenburg steals from Wayne

We steal from them both!!!

Sketchbook Activity: 

Begin to sketch your final clay project

Day 2: Texture and Color

Art Link: What is Pop Art, compare to Op art

Relate texture to the Wayne Thiebaud video from

                        yesterday

Discussion: Texture and Color

What is Texture? 

Physical Texture

Visual Texture

Color: Mood and emotion

Teacher Models: 

Texture and color

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

Sketchbook Activity: 

Continue to sketch your final clay project add texture and color

Day 3:

Art Link: 

What mood does this piece show? 

Discussion: Sculpture

Additive

Subtractive

Scoring and slipping

Teacher Models: 

Clay construction Pinch Pot and slab pot

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

Sketchbook Activity: 

Continue to sketch your final clay project add texture and color and add 

Plans for scoring and slipping the final project. 

Day 4, 5, 6: create clay and allow it to get leather hard add texture/details when leather 

hard

Final Dry time art activity Day 7 and 8: 

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

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

FINAL PROJECT Painting: Day 9, 10, 11, 12

Students will paint clay sculpture using Pop Art style

Students will use color/texture to achieve an emotion or mood