Transcript ARE 4356 Proposal I

ARE 4356
Lesson Plans
By Tia Blackmon
Criticism Lesson
The Office at Night 1985 by Victor Burgin
The Office at Night 1985 by Victor Burgin
The Office at Night 1985 by Victor Burgin
The Office at Night 1985 by Victor Burgin
Objective
This lesson plan will focus on social criticism with use of the
Feldman model of art criticism. Students will be able to identify
the symbols and visual images shown in Victor Burgin’s work and
how they convey a specific message.
Students will be able to correctly utilize the Feldman model and
be able to critique works of art based on each step as well as
understand the artist’s decision in using mixed media in his work.
Students will then come to a conclusive judgment about Victor’s
Burgin’s work and develop their own opinions about the social
issues of gender roles in the workplace.
Next Generation Sunshine
State Standards

VA.912.O.1 Understanding the organizational structure of an art form provides
a foundation for appreciation of artistic works and respect for the creative
process.

VA.912.S.1 The arts are inherently experiential and actively engage learners in
the processes of creating, interpreting, and responding to art.

VA.912.C.1 Cognition and reflection are required to appreciate, interpret, and
create with artistic intent.

VA.912.C.2.2 Assess the works of others, using established or derived criteria,
to support conclusions and judgments about artistic progress.

VA.912.C.3.1 Use descriptive terms and varied approaches in art analysis to
explain the meaning or purpose of an artwork.

VA.912.C.1.6UIdentify rationale for aesthetic choices in recording visual media.
Statement of Origin
After doing some research on contemporary artists I had
stumbled upon Victor Burgin’s work in the book
Contemporary art: Art Since 1970 by Taylor. Burgin’s work is
very engaging and had a clear message conveyed. I saw this
as a great example to be used in a classroom to attract
students interests to get involved with the works and want
to interpret and critique the work to fully understand the
work and the artist’s decisions behind it.
Procedures
1)
Pass out the Feldman model outline sheet (see attached) for students to use as reference and to
take notes on. Review the steps and explain the reason and use of the Feldman critique model.
2)
Introduce the artist Victor Burgin and show his first of four works from his series, “The Office at
Night”. As an example, the teacher will critique the work themselves while explaining step by step
the process of Feldman.
1)
Describe – title, artist, subject, describing just the facts and what’s in the work, like an inventory
2)
Analysis - elements and principles (line, shape, color, space, texture, etc.), aesthetic qualities of the work
3)
Interpretation – What is the meaning of the work? Try to determine the feelings, moods or ideas
communicated.
4)
Judgment – Was this work successful either aesthetically and/or with context? Make decisions and justify
your answer. (Linderman 1996)
3)
Students will then ask questions and have a group discussion if they agree, disagree or had different
interpretations/conclusions about the work.
4)
Present the three remaining works of art and have students individually choose one work to critique
using the Feldman model on a blank piece of paper.
Assessment
Students will be graded based on their ability to critique work
using the Feldman model. The rubric shown will be used when
grading their critiques, students will be able to evaluate their own
work and then the teacher will evaluate their writing afterwards.
(See Rubric on Next Slide)
1 – Needs Work
2 - Fair
3 – Good, Met
Standards
4 – Excellent,
Exceeded
Expectations
Student makes an excellent
description, exceeding
standards and uses
descriptive adjectives as if
the reader could draw the
artwork according to what
was written.
Describe
Student makes poor
description using a few or no
descriptive adjectives.
Student makes a fair
description, still lacking
standards and uses some
descriptive adjectives.
Student makes a good
description, meeting
standards and uses many
descriptive adjectives.
Analyze
Student makes a poor analysis
of the artwork, and rarely if
at all mentions the elements
of art and principles of
design.
Student makes a fair
analysis of the artwork,
and somewhat mentions
the elements of art and
principles of design.
Student makes a good and
detailed analysis of the
artwork and examines the
relationships between the
elements of art and design.
Student can relate how the
work makes him/her feel
personally. Does not give
evidence from artwork.
Student identifies literal
meaning in the artwork.
Gives partial interpretation
of symbolic meaning with
some evidence from the
artwork.
Student forms a reasonable
interpretation of the
symbolic meaning with
evidence from the work.
Explains why the artist make
certain choices.
Student uses 1-2 criteria and
evidence from the work to
tell whether the work was
successful or not. Could be
clearer.
Student uses multiple
criteria to judge the work
such as composition,
creativity, design, and
communication of ideas to
determine the success of the
work and clearly
communicates to the reader.
Interpret
Judge
Student finds it difficult to
interpret any meaning in the
work.
Student evaluates work as
good/bad based on their own
tastes.
Student tries to use
aesthetic criteria and
evidence from the work to
judge artwork, but is not
applied correctly.
Student makes an exemplary
and detailed analysis of the
artwork and examines the
relationships between the
elements of art and design.
Student
Grade
Teacher
Grade
Aesthetics Lesson
Gas Chamber 1986 by Luc Tuymans
Bloodstains 1993 by
Luc Tuymans
Objective
Students will be introduced to Luc Tuyman’s work and to the
concept of aesthetics. Students will be able to correctly
utilize the Feldman model and be able to critique works of art
based on each step as well as understand the artist’s decision
in using controversial titles with simple works of art.
Students will think about the definition of what art is and
what the standard of quality is an question who makes that
decision. (Feldman 1994) Students will also draw their own
judgments of what they consider art and why.
Next Generation Sunshine
State Standards

VA.912.C.1.4 Apply art knowledge and contextual information to analyze how
content and ideas are used in works of art.

VA.912.C.1.3 Evaluate the technical skill, aesthetic appeal, and/or social
implication of artistic exemplars to formulate criteria for assessing personal
work.

VA.912.C.1.2 Use critical-thinking skills for various contexts to develop,
refine, and reflect on an artistic theme.

VA.912.C.2.2 Assess the works of others, using established or derived criteria,
to support conclusions and judgments about artistic progress.
Statement of Origin
While doing research at the library, I had stumbled upon Luc
Tuyman’s work in the book Contemporary Art Since 1970.
While Tuyman’s work is charged with controversial titles, his
work is very simplistic. I want to use this contrast in the
classroom to pull students away from their initial judgments
and took deeper into works of art in order to understand it.
Students will also learn about the three theories of
aesthetics.
Procedures
•
•
•
Present Lucy Truman's work (both images) from a projector screen, begin a discussion
with leading questions
asking different students each time.
•
What stands out the most when you see this?
•
Does anything stand out or seem important in this work?
•
Do you think there are hidden emotions or meanings to this piece?
•
What materials I also do you think are being used?
Talk about the different theories of aesthetics.
•
Imitationalism - focuses on realistic representation, an opinion that work is successful if it loo
ks like and reminds the viewer of what he or she sees in the real world
•
Formalism - places emphasis on the formal qualities, the arrangement of the elements of art
using the principles of design
•
Emotionalism - concerned with the content of the work of art, some critics claim that no obje
ct can be considered art if it fails to arouse a response of feelings, moods, or emotions in the
viewer
Ask the students follow up questions.
•
Do you believe this work is successful bases on any of the aesthetic theories?
•
Name why you believe it is or is not successful on your chosen aesthetic theory.
Procedures
•
•
Let students know the artist and title of this work, then ask again, do you beli
eve this work is successful?
•
Does the title change the artwork?
•
Who believes that this work is still not art/successful?
•
Should we take titles of artwork into account when critiquing art?
•
Or are titles a supplement to art work and just help for clarification?
Have students write a brief reflection on both works to explain their thoughts
on if Lucy Tuymans is successful and if they would classify his work as art. Stu
dents should also think about what their definition of art is.
Assessment
Students will be graded of their writing and their participation in class
discussion. (See Rubric)
1 – Needs Work
2 - Fair
3 – Good, Met
Standards
4 – Excellent,
Exceeded
Expectations
Student makes an excellent
description, exceeding
standards and uses
descriptive adjectives as if
the reader could draw the
artwork according to what
was written.
Describe
Student makes poor
description using a few or no
descriptive adjectives.
Student makes a fair
description, still lacking
standards and uses some
descriptive adjectives.
Student makes a good
description, meeting
standards and uses many
descriptive adjectives.
Analyze
Student makes a poor analysis
of the artwork, and rarely if
at all mentions the elements
of art and principles of
design.
Student makes a fair
analysis of the artwork,
and somewhat mentions
the elements of art and
principles of design.
Student makes a good and
detailed analysis of the
artwork and examines the
relationships between the
elements of art and design.
Student finds it difficult to
interpret any meaning in the
work.
Student can relate how the
work makes him/her feel
personally. Does not give
evidence from artwork.
Student identifies literal
meaning in the artwork.
Gives partial interpretation
of symbolic meaning with
some evidence from the
artwork.
Student forms a reasonable
interpretation of the
symbolic meaning with
evidence from the work.
Explains why the artist make
certain choices.
Student uses 1-2 criteria and
evidence from the work to
tell whether the work was
successful or not. Could be
clearer.
Student uses multiple
criteria to judge the work
such as composition,
creativity, design, and
communication of ideas to
determine the success of the
work and clearly
communicates to the reader.
Interpret
Judge
Student evaluates work as
good/bad based on their own
tastes.
Student tries to use
aesthetic criteria and
evidence from the work to
judge artwork, but is not
applied correctly.
Student makes an exemplary
and detailed analysis of the
artwork and examines the
relationships between the
elements of art and design.
Student
Grade
Teacher
Grade
Criticism and
Aesthetics Lesson
Home and
Away by
David Rathman
Do Yourself a
Favor and
Never Learn to
Cry by
David Rathman
Objective
This lesson will focus on social criticism and content through the Feldman model.
Students will observe, work together, and create critiques of David Rathman's
work. Students will better their understanding and develop their skills in art
criticism and ability to convey messages in works of art.
Next Generation Sunshine
State Standards

VA.912.F.3.4 Follow directions and use effective time-management skills to
complete the art-making process and show development of 21st-century
skills.

VA.912.C.1.4 Apply art knowledge and contextual information to analyze how
content and ideas are used in works of art.

VA.912.C.1.3 Evaluate the technical skill, aesthetic appeal, and/or social
implication of artistic exemplars to formulate criteria for assessing personal
work.

VA.912.C.1.2 Use critical-thinking skills for various contexts to develop,
refine, and reflect on an artistic theme.

VA.912.C.2.3 Process and apply constructive criticism as formative
assessment for continued growth in art-making skills.
Statement of Origin
After a visit to the Orlando Museum of Art, I had written a critique on David Rathman's
"Do Yourself a Favor and Never Learn to Cry". Rathman's work is emotionally charged
with open ended narratives that attract the viewer and students to experience the
work.
In the artist overview OMA stated, “In many of the works, Rathman considers the
emotions of defeat, or what could have been. His pensive characters rarely seem to
taste success, triumph, or the joy of victory—they remain inches or miles from an
intended objective. Rathman’s nameless antiheros are frozen in a contemplative
state, rife with the intertwining themes of melancholy, humor, failure, mortality,
nostalgia and acceptance. But as is often the case in literary, filmic and art history,
we have a desire to empathize and identify with the underdog. In this way, Rathman’s
work possesses the unique ability to build connections with the viewer—formally,
conceptually, and emotionally.” (Orlando Museum of Art 2014)
This recurring theme in Rathman’s work is broad and able to be interpreted in
different ways which leads his work as a prime example to use for students to work
off of.
Procedures

Present the works of David Rathman on the projector, two images provided by
teacher. Give one minute for each work. Introduce the name, date made, and
materials used in works.

Show video of David Rathman
https://www.youtube.com/watch?v=Hc_McFtx_ko

The teacher will lead a class criticism of “Home and Away” following the
Feldman model.

Have students break up into group of four to complete the criticism of the
second work “Do Yourself a Favor and Never Learn to Cry”. Students will be
doing an open discussion, they do not need to write out their criticism.

After the groups have finished, they will talk about their judgments made
about the work.

As an assignment, students will be using the themes and techniques used by
David Rathman to create their own works. Students can research and use
another work by David Rathman as their inspiration/influence.
Assessment

After students complete their work, they will switch their work with another
student and then critique each other’s work based off of the Feldman model.

Student graders will write on another sheet of paper any comments,
suggestions, compliments, or questions about the work they are critiquing.

After the student critique, the teacher will grade all student’s artwork based
on the objective given, content, and technical skill used and then will return
the grades to students. (See Rubric)
Rubric Standards
The student has demonstrated excellent use of materials
within the work.
The student followed concepts and themes required in
this work, using influences from the example artist.
The student is able to present a message in the work that
is clear and has meaningful content.
The student has followed all directions and parameters
given for this work.
Grade Scale
1-4
Notes
Media Criticism Lesson
Unilever Marketing Campaigns
But ever since those ads appeared, ad critics and consumers have been wondering
about how Unilever squares this advertising with advertising for Axe, whose overtly
sexual ads often feature scantily clad, conventionally beautiful women who are
seduced by men using Axe products. "How could the same company that launched
Dove's Campaign for Real Beauty, celebrating women's natural appearance over
media stereotypes, be behind the arguably degrading depictions of females in ads for
Axe?" asked marketing experts from Northwestern's Kellogg School of
Management in a 2012 case study.
Dove responds to these criticisms by noting that each Unilever brand's advertising
efforts "are tailored to reflect the unique interests and needs of its audience," as Dove
Skin Vice President Fernando Machado writes in an email to U.S. News.
However, while Dove and Axe do have profoundly different ad strategies, Machado
also says that Axe ads, like Dove's, aim at consumers' self esteem: "Young men, like
women, frequently suffer from poor self-esteem, lack of confidence and poor body
image. Our advertising is primarily designed to give them a boost of confidence." He
also emphasizes that Axe ads are intended as being "tongue-in-cheek."
-- US News Article
Dove Evolution Video
Dove Sketches Video
Objective
Through the use of contemporary advertising, students will
be exposed to a deeper look in the motivations behind
advertisements. Students will be able to critique and
question advertisements in order to understand the
motivation and expected responses that are a part of media
and advertising.
Students will draw their own conclusions on Unilever and the
advertising campaigns held by Dove and Axe.
Next Generation Sunshine
State Standards

VA.912.H.1.5 Investigate the use of technology and media
design to reflect creative trends in visual culture.

VA.912.H.1.10 Describe and analyze the characteristics of
a culture and its people to create personal art reflecting
daily life and/or the specified environment.

VA.912.H.1.1 Analyze the impact of social, ecological,
economic, religious, and/or political issues on the
function or meaning of the artwork.
Statement of Origin
I am an average person who is constantly bombarded with
advertisements everyday. So to choose an advertisement to
focus on I initially chose the Dove “Self-Esteem Campaign”
because that stood out to me and evoked a strong emotional
response. However, when a fellow student of mine
introduced that Dove and Axe were owned by the same
parent company, my objective for the media lesson had
changed to focus more on what the motivations of
advertising was.
Procedures

Start a group discussion on commercials and advertising, asking students to give examples on
any that have made an impression on them recently


Present the Dove video commercials and then present the Dove paper advisements.



Ask students to take out a sheet of paper and critique the advertisements based on the
following model: Receptiveness, Reaction, Description, Formal Analysis, Characterization,
Contextual Information, Interpretation, and Synthesis
Present the Axe video commercials and then present the Axe paper advisements.


Have any evoked an emotional response? Anger? Happiness? Guilt?
Ask students to critique the Axe advertisements using the same model.
Ask students if they see any similarities between the two advertisements in terms of their
critique model.

Present the Unilever logo and explain how both products are owned by the same parent
company. Ask if any students knew of this and/or their reaction on this information.

Read the excerpt from the US News interview with the Dove President.
Continue the group discussion leading students to create their own judgments on the
advertisements and the motivations behind them.
Assessment
Students will be given participation points for group discussion as well
as their ability to pay attention, stay on task, and be respectful when
fellow students are talking.
References
Axe Clean and Dirty Ads. (n.d.). Retrieved October 10, 2014, from http://dnews.us/wp-content/uploads/2014/07/ axe-clean-dirty-ads.jpg
"Celebrating Curves Poster" for Dove (by Ogilvy & Mather Advertising). (n.d.). Retrieved October 12, 2014, from
http://www.adforum.com/creative-work/ad/player/51903
CPALMS Visual Arts Standards. (n.d.). Retrieved November 15, 2014, from
http://www.cpalms.org/Public/Search/CriteriaSearch?search=Standards&subjectId=36&gradeId=14#0
Dove - Evolution Commercial (higher quality). (n.d.). Retrieved October 11, 2014, from https://www.youtube.com/watch?v=hibyAJOSW8U
Dove Real Beauty Sketches. (n.d.). Retrieved October 8, 2014, from https://www.youtube.com/watch?v=XpaOjMXyJGk
Home | CPALMS.org. (n.d.). Retrieved November 5, 2014, from http://www.cpalms.org/Public/search/Standard#0
Kurtzleben, D. (2013, April 13). Do Dove and Axe Sell the Same Message? Retrieved October 8, 2014, from
http://www.usnews.com/news/articles/2013/04/18/unilever-faces-criticism-for-real-beauty-ad-campaign
Linderman, M. (1997). Art in the elementary school. Brown Benchmark.
Orlando Museum of Art. (n.d.). Retrieved October 9, 2014, from http://www.omart.org/exhibitions/david-rathman-stand-accidents
Rubric gallery. (n.d.). Retrieved November 10, 2014, from http://www.rcampus.com/rubricshowc.cfm?sp=true&code=DXW82B
Smagula, H. (1983). Currents: Contemporary directions in the visual arts. Englewood Cliffs, N.J.: Prentice-Hall.
Taylor, B. (2005). Contemporary art: Art since 1970. Upper Saddle River, NJ: Pearson Prentice Hall.
VICTOR BURGIN FORMS OF TELLING. (n.d.). Retrieved October 9, 2014, from http://www.mgk-siegen.de/eng/press/press/pressreleases/victor-burgin-forms-of-telling.html
Works :Issac Cordal. (n.d.). Retrieved October 8, 2014, from http://cementeclipses.com/works/