Transcript Artistic Identity

Artistic Identity
Kristen Warskow
Proposal 2
Media Criticism
The Feldman Critique
Model
Describe
Analyze
Questions you might ask
This stage is like taking
inventory. You want to
describe everything you see.
Stick to the facts.
What do I see?
Try to figure out what the
artist has done to achieve
certain effects and why they
may have done so.
What do you notice about the
choice of materials?
What is obvious in this
artwork?
How are the elements of art
and principles of design used
in this work?
What grabs your attention?
Why?
Is there a relationship with
anything listed in the
description phase?
What is the theme or subject
of the artwork? What gives
you that impression?
Interpret
Try to figure out what the
work is about using your own
perspective and evidence of
content within the artwork.
What is the work about?
Do you feel an emotion or
mood is expressed?
Why do you think the artist
created this?
What are your thoughts on the
artwork based on what you
have recorded?
Judge/ Evaluate
This is a culminating and
reflective opportunity where
you will combine findings
from the above categories.
What do you like or dislike?
Why?
What have you seen or learned
from this work you might like
to apply to your own artwork?
Statement of Origin

This lesson was inspired by the student film titled
"Identity" that I know students will easily relate to their own
adolescent lives. As a young girl searches to fit in by wearing
a mask, she eventually sheds the mask and roams the halls
with confidence simply as herself. I wanted to begin this unit
by engaging students in critically thinking about how they
perceive themselves, how they are perceived by others, and
how the media might play a part in this perception. I know
the exploration of this topic will open students to the idea
that identity lies beyond others perceptions and what the
media tells them. I decided to have students record their
critiques in their sketchbooks so there is a certain level of
privacy, and the work can still be graded easily. This was
inspired by Rice and McNeil's (1990) article Sketchbooks
which states that sketchbooks can be used to track a
student's cognitive process and keep track of their thoughts,
ideas, and inspirations.
Standards & Objectives
Standards
National Standards:
 3. Choosing and evaluating a range of subject matter, symbols, and ideas
NGSSS:
 VA.912.C.1.2 Use critical-thinking skills for various contexts to develop,
refine, and reflect on an artistic theme.
 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
Objectives
 Students will learn to critique a media style artwork in the form of a
student short film using the Feldman critique model.
 Students will create a word map or word bank with identity as the central
theme.
 Students will understand how art works are assessed by critics and have
the opportunity to be a gentle critic in the class.
Procedures

Students will watch the student short film titled "Identity."

Students will respond to and answer questions using the Feldman model.

Each student will receive a chart that breaks down the model and we will practice
critiquing the video as a class.

Students will be responsible for answering the questions in the Feldman model in their
sketchbooks.

Students will use inspiration from the film to create a word web or word bank related
to the word identity in their sketchbooks.

This word bank will be used throughout the unit and should contain at least 10-15
words that relate to the student's identity.

Students will also brainstorm how the media influences their perception of themselves,
be it through magazine ads, T.V. shows, commercials, YouTube, or social media.
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Students will then select one media source or advertisement they believe influences
adolescents in one way or another to critique on their own using the Feldman model.
This review will be recorded in the student's sketchbook and the students will have the
opportunity to share their media and critique with the class.

Students will also sketch 3 ideas on how they might communicate their findings into a
work of art.
Cindy Sherman
Shirin Neshat
Statement of Origin

This lesson was inspired by findings in the book
Art After 1980 the identity provoking portraits of
Cindy Sherman and Shirin Neshat. Cindy Sherman
tells the story of each character created utilizing
herself, makeup, clothing, a background, and a
camera. Shirin Neshat uses herself, language, and
her heritage to tell identity related related stories
through her images. I know this lesson will
provide both technical application of portrait
drawing and the use of contemporary artist
inspired creativity to create a self portrait that
expresses the student's individuality and selfidentity.
Standards & Objectives
Standards
National Standard:
 1. Understanding and applying media, techniques, and processes
NGSSS:
 VA.912.F.1.4 Use technological tools to create art with varying effects and
outcomes.
 VA.912.O.1.3 Research and use the techniques and processes of various
artists to create personal works.
Objectives
 Students will view the contemporary artworks of Cindy Sherman and
Shirin Neshat to gain inspiration for their own mixed media self portrait.
 Students will learn to tell a story about themselves or their personality
through a drawn mixed media self-portrait.
 Students will understand facial proportions and composition relative to
creating a successful identity related self-portrait.
Questions for Consideration

Students will begin by viewing the following questions and
writing them in their sketchbooks:

1. What are some important elements of narrative
portraiture, and how do you think the artists use these
elements in their artwork?

2. What do you think the artist is attempting to share? Why?
Are there visual clues such as placement, color, language?

3. Do you think there may be opportunities to better
communicate the message of the portrait? How did the
artist successfully tell a story with their portrait?
Procedures
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Students will view a powerpoint with the work of Cindy Sherman and Shirin Neshat as
well as basic drawing proportions. We will discuss as a class possible answers to the
above questions which students should include in their sketchbooks.
Students will practice self-portrait drawing while using a digital camera to capture a selfportrait. Basic camera skills will be reviewed as well as facial proportions.
Students will sketch two portraits; 1 self-portrait from a picture, and another from life
or with use of a mirror.
Students will plan for a creative self portrait that uses 1/2 of a photograph adhered to
drawing paper and completed with a creative yet realistic drawing that expresses
elements of the student's identity based on words from the word bank/web from the
media criticism.
After sketching, students will pair or group up to take self portraits using a digital
camera. We will select a photo to use as a basis for their mixed media self portrait.
The student will cut their photo in half, and adhere it to a sheet of drawing paper.
Then the student will complete the image using graphite, charcoal, or conte.
The sketched portion should include additional images that reveal the students identity.
Color, background, and photo can be added to in order to aid in the story.
Students will learn the importance of composition, perspective, color, and juxtaposition
while utilizing their knowledge of facial proportions to create a unique narrative relating
to their identity.
R
U
B
R
I
C
Critera
Sketchbook
Planning
Narrative
quality
(with artist
statement)
Excellent
(5 points)
Planned 3 or
more ideas in
sketchbook
and all
consideration
questions
were
answered.
Identity story
was clear and
well
executed.
Work is neat
and clean
with no
Neatness of
adhesive or
artwork
unintentional
marks
present.
Used
inspiration
Use of
from artists
inspiration
and creativity reviewed and
created a
based on the
contemporary unique
artwork based
artist(s) for
on
this lesson
contemporary
artist(s) work.
Participated
in group
discussions.
Worked
diligently and
Participation/ participated in
critique. Piece
Completion
is over 90%
complete.
Average
(3-4 points)
Planned 2-3
ideas in
sketchbook
and answers
to questions
were mostly
answered.
Needs
Student
Improvement evaluation/
(0-2 points)
comments
Lacked
sketchbook
planning and
questions
were
incomplete.
Identity story
was only
clear after
detailed
explanation.
Work has a
few marks
and adhesive
is showing n
some places.
Story was
unclear.
Used some of
what was
learned about
artist(s)
reviewed and
did not put
much
creativity into
a unique
piece.
Somewhat
participated in
group
discussion
and needed
reminders to
stay on task.
Piece is 70%89% complete
Used little to
no inspiration
from
reviewed
artist(s) and
lacked unique
creativity.
Marks or
adhesive
distract
entirely from
the piece.
Did not
participate in
group
discussion
and was not
on task. Piece
is less than
70% complete
Teacher
evaluation/
comments
Kerri James Marshall
Statement of Origin

This lesson was inspired by findings in the book
Art Before 1980 in the identity chapter which
contained the artwork of Kerry James Marshall.
Marshall's work tells a narrative story about his
upbringing and the culture and surroundings he
observed as a young african american in the
1960's and 70's. The scenes Marshall paints
impacted his life and shaped his own identity in
one way or another. I know students will be able
to express an aspect of their own identity by
reflecting on a place that has contributed to their
own uniqueness.
Standards & Objectives
Standards
National Standard:
 5. Reflecting upon and assessing the characteristics and merits of their
work and the work of others.
NGSSS:
 VA.912.O.3.1 Create works of art that include symbolism, personal
experiences, or philosophical view to communicate with an audience.
 VA.912.S.3.8 Develop color-mixing skills and techniques through
application of the principles of heat properties and color and light theory.
Objectives
 Students will understand the importance of color and cropping in regards
to a successful landscape.
 Students will develop an understanding for acrylic paint and visual
communication through critiquing artworks based on visual narrative
quality and media exploration.
 Students will create color and color blend charts using acrylic paint and
teacher guidance to better their understanding of the media.
Questions for Consideration

1. What are some important elements of a
narrative landscape, and how do you think the
artist use these elements in the artwork?

2. What do you think the artist is attempting to
share? Why? Are there visual clues such as
placement, color, language?

3. Do you think there may be opportunities to
better communicate the message of the artwork?
How did the artist successfully tell a story with
their work?
Procedures
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Watch identity video with Kerry James Marshall at http://www.pbs.org/art21/watchnow/segment-kerry-james-marshall-in-identity
View images by Kerry James Marshall, and discuss possible answers to the above questions that
students should record in their sketchbooks.
Students will think back to a time and place that is significant to them, something that makes
them who they are as an individual. (This could be a place they visited as a child, a family
members home where they spent time, or a capture of an event or ceremony that is
significant.)
As a class we will make color mixing charts using acrylic paints so students can familiarize
themselves with the material and how to mix different colors.
For homework, students will create 3 planning sketches of a place that made a significant
impact on the person they are today.
Students will bring in sketches and with the help of classmates and the teacher, they will move
forward with their strongest idea.
Students will sketch their idea on a 16x20 canvas board and plan color choices before painting.
Students will learn varying brush techniques before panting that they will practice on sheets of
paper that will be turned in with the final painting. The teacher will demo different brush
techniques as students practice simultaneously.
Students will have 2-3 classes to complete their paintings on canvas panels.
Students will participate in critique, hand in their rubrics with the student portion filled out
along with their artist statements (about why they chose this place and how they feel their
work communicates the significance). Teacher will grade during class critique.
R
U
B
R
I
C
Critera
Sketchbook
Planning
Narrative
quality
(with artist
statement)
Excellent
(5 points)
Planned 3 or
more ideas in
sketchbook
and all
consideration
questions
were
answered.
Identity story
was clear and
well
executed.
Work is neat
and clean
with no
Neatness of
adhesive or
artwork
unintentional
marks
present.
Used
inspiration
Use of
from artists
inspiration
and creativity reviewed and
created a
based on the
contemporary unique
artwork based
artist(s) for
on
this lesson
contemporary
artist(s) work.
Participated
in group
discussions.
Worked
diligently and
Participation/ participated in
critique. Piece
Completion
is over 90%
complete.
Average
(3-4 points)
Planned 2-3
ideas in
sketchbook
and answers
to questions
were mostly
answered.
Needs
Student
Improvement evaluation/
(0-2 points)
comments
Lacked
sketchbook
planning and
questions
were
incomplete.
Identity story
was only
clear after
detailed
explanation.
Work has a
few marks
and adhesive
is showing n
some places.
Story was
unclear.
Used some of
what was
learned about
artist(s)
reviewed and
did not put
much
creativity into
a unique
piece.
Somewhat
participated in
group
discussion
and needed
reminders to
stay on task.
Piece is 70%89% complete
Used little to
no inspiration
from
reviewed
artist(s) and
lacked unique
creativity.
Marks or
adhesive
distract
entirely from
the piece.
Did not
participate in
group
discussion
and was not
on task. Piece
is less than
70% complete
Teacher
evaluation/
comments
Statement of Origin


This lesson was inspired by the content and appeal of
the works of artist Julie Dodd. Dodd utilizes papers ranging
from notes, letter, postcards, and even bills to narrate stories
about her own life and travels. She uses suitcases to hold
these papers (folded into cubes) to represent how each of
these things have helped build the life she has today. Students
might also be aware of the impact material objects have in
our lives and how judgment might occur based on what they
wear or what they have. The process Dodd uses that takes a
material object of significance and makes it part a uniform
assemblage creates a new meaning; these are the building
blocks of life. This artist will inspire my future students to
symbolize valuable life experiences and objects into a unique
sculpture that expresses aspects of their own identity.
Standards & Objectives
Standards
National Standard:
 2. Using knowledge of structures and functions
NGSSS:
 VA.912.C.1.7 Analyze challenges and identify solutions for threedimensional structural problems.
 VA.912.S.3.10 Develop skill in sketching and mark-making to plan, execute,
and construct two-dimensional images or three-dimensional models.
Objectives
 Students will create a unique sculpture from existing objects that
incorporate a part of the student's identity.
 Students will draw inspiration from artist Julie Dodd by having the objects
they choose be contained in a case that adds to a story about the student's
identity.
 Students will plan using sketchbooks and critically critique artwork and
artist statements.
Questions for Consideration

1. What are some important elements of a
narrative sculpture, and how do you think the
artist use these elements in the artwork?

2. What do you think the artist is attempting to
share? Why? Are there visual clues such as
placement, color, language?

3. Do you think there may be opportunities to
better communicate the message of the artwork?
How did the artist successfully tell a story with
their work?
Procedures

As a class we will view the works of Julie Dodd and share answers to the above
questions.

Students will make a list in their sketchbooks of things that are important to them and
reflect their identity. Students will then brainstorm how they can visually express these
things.

Students will create 3 planning drawings of their assemblage sculpture including the
object or case that will contain their materials (much like a shadowbox).

Students will create their case from cardboard, foam core, contac paper, and/or any
additional materials the student provides.

Students (with the help of the teacher) will select their strongest planning drawing and
begin construction of the case or box that will hold a story of their identity.

Students will have 4 class periods to construct their cases and add/ create their material
objects to be included in their case.

Students will turn in a completed artist statement that explains the identity related story
their piece tells along with their rubric with the student portion completed.

Students will then participate in a critique using the Feldman model while remembering
to report both successes and opportunities.
Julie Dodd
R
U
B
R
I
C
Critera
Sketchbook
Planning
Narrative
quality
(with artist
statement)
Excellent
(5 points)
Planned 3 or
more ideas in
sketchbook
and all
consideration
questions
were
answered.
Identity story
was clear and
well
executed.
Work is neat
and clean
with no
Neatness of
adhesive or
artwork
unintentional
marks
present.
Used
inspiration
Use of
from artists
inspiration
and creativity reviewed and
created a
based on the
contemporary unique
artwork based
artist(s) for
on
this lesson
contemporary
artist(s) work.
Participated
in group
discussions.
Worked
diligently and
Participation/ participated in
critique. Piece
Completion
is over 90%
complete.
Average
(3-4 points)
Planned 2-3
ideas in
sketchbook
and answers
to questions
were mostly
answered.
Needs
Student
Improvement evaluation/
(0-2 points)
comments
Lacked
sketchbook
planning and
questions
were
incomplete.
Identity story
was only
clear after
detailed
explanation.
Work has a
few marks
and adhesive
is showing n
some places.
Story was
unclear.
Used some of
what was
learned about
artist(s)
reviewed and
did not put
much
creativity into
a unique
piece.
Somewhat
participated in
group
discussion
and needed
reminders to
stay on task.
Piece is 70%89% complete
Used little to
no inspiration
from
reviewed
artist(s) and
lacked unique
creativity.
Marks or
adhesive
distract
entirely from
the piece.
Did not
participate in
group
discussion
and was not
on task. Piece
is less than
70% complete
Teacher
evaluation/
comments
Christine Federighi
"My patterns are images and symbols that have reference to
places, situations or experiences in my life. I organize the
shapes in a floating composition that wrap each figure form.
They are somewhat enigmatic and visually poetic. The images
might refer to mountain landscapes of the Western United
States, where I spend my summers or the tropical foliage and
leaf forms of my Florida residence. Other symbols such as
the spiral (infinity form), furrowed water forms, house shapes
and stair sections have been introduced and used to
continue the personal narrative and journal. They also
become part of the moving composition that wraps each
figure. It is a man and
 http://www.sherriegallerie.com/artistprofile.php?artist=20
nature or man and experience reference.”

Lesley Dill
Statement of Origin

This lesson was inspired by further research into
the world of sculpture and ceramics. Christine
Federighi was introduced to me via my ceramics
professor, Haadi Abbas. Due to Federighi's use of
forms and incorporation of her own identity into
her torso studies I concluded her work would be
excellent for students to find inspiration from. I
have always admired Lesley Dill's works in textiles
and paper, and through further research on her
website I found she also works in bronze and
wire. Her sculptures have a unique quality that
incorporate language and I know students will
find additional inspiration from her works.
Questions for Consideration

1. What are some important elements of a 3-D
ceramics work, and how do you think the artist
use these elements in the artwork?

2. What do you think the artist is attempting to
share? Why? Are there visual clues such as
placement, color, language?

3. Do you think there may be opportunities to
better communicate the message of the artwork?
How did the artist successfully tell a story with
their work?
Standards & Objectives
Standards
National Art Standard:
 5. Using knowledge of structures and functions
NGSSS:
 VA.912.S.3.3 Review, discuss, and demonstrate the proper applications and
safety procedures for hazardous chemicals and equipment during the artmaking process.
 VA.912.S.3.9 Manipulate and embellish malleable or rigid materials to
construct representational or abstract forms.
Objectives
 Students will take inspiration from artists to create a 3-D clay torso or
bodice that contains clues about the student's identity.
 Students will understand how to successfully create a 3-D object out of
clay that is glazed and fired.
 Students will learn the stages of clay and the proper handling procedures
associated with ceramics works.
Procedures
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The class will review the works of Leslie Dill and Christine Federighi and as a
class we will share individual answers to the questions above as a class.
Students will pre-test with a group activity where they will match cards with
ceramics words and their definitions. Words will consist of; bisqueware,
greenware, glaze, slab, coil, plastic, leather-hard, bone-dry, slip, slip and score.
Each group will note in their sketchbooks the number of correct matches they
made.
Students will participate in a clay safety demonstration and sign a contract
stating they understand proper clay and tool handling and they will participate
safely in this activity.
Parents will also receive notification via a note home they must sign that states
their student is going to be working with clay and tools that could be dangerous
and they have talked with their students about carefully following the rules set
forth by the instructor.
Students will watch a demonstration of creating a hollow torso out of clay,
along with a demonstration on a bas-relief style torso.
Students will sketch 3 ideas in their sketchbook along with designs for their
torso that can be carved or added to express a narrative of their identity.
Students should refer to their initial word bank or create a new one to aid in
ideas for symbols in this project.
Procedures (cont’d)
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Students will participate in a slip painting demonstration to learn about
adding designs and color to their pieces.
With the help of the teacher, students will select their strongest idea and
begin work on their torso's (as long as the teacher has received the parent
and student signed contracts).
Once students have created their torso's they will participate in class
critique before the bisque firing and will have the opportunity to make
changes.
Once pieces are complete and bone dry the teacher will fire them in the
kiln.
Students can choose to have their pieces clear glazed by the teacher, or
they can keep their pieces as is.
After all pieces are completely fired, students will participate in a final
critique with an artist statement and the student portion of their rubric
filled out.
After critique students will receive a written matching worksheet with the
same terms they pre-tested with in groups. They will complete this
worksheet and add it to their sketchbooks on the same page with their
group's initial score for the teacher to assess during sketchbook grading.
R
U
B
R
I
C
Critera
Sketchbook
Planning
Narrative
quality
(with artist
statement)
Excellent
(5 points)
Planned 3 or
more ideas in
sketchbook
and all
consideration
questions
were
answered.
Identity story
was clear and
well
executed.
Work is neat
and clean
with no
Neatness of
adhesive or
artwork
unintentional
marks
present.
Used
inspiration
Use of
from artists
inspiration
and creativity reviewed and
created a
based on the
contemporary unique
artwork based
artist(s) for
on
this lesson
contemporary
artist(s) work.
Participated
in group
discussions.
Worked
diligently and
Participation/ participated in
critique. Piece
Completion
is over 90%
complete.
Average
(3-4 points)
Planned 2-3
ideas in
sketchbook
and answers
to questions
were mostly
answered.
Needs
Student
Improvement evaluation/
(0-2 points)
comments
Lacked
sketchbook
planning and
questions
were
incomplete.
Identity story
was only
clear after
detailed
explanation.
Work has a
few marks
and adhesive
is showing n
some places.
Story was
unclear.
Used some of
what was
learned about
artist(s)
reviewed and
did not put
much
creativity into
a unique
piece.
Somewhat
participated in
group
discussion
and needed
reminders to
stay on task.
Piece is 70%89% complete
Used little to
no inspiration
from
reviewed
artist(s) and
lacked unique
creativity.
Marks or
adhesive
distract
entirely from
the piece.
Did not
participate in
group
discussion
and was not
on task. Piece
is less than
70% complete
Teacher
evaluation/
comments
References
Dill, L. (2006). Wonderstruck. [Digital Image]. Retrieved April 7, 2014, from: (lesleydill.net/bronze)
Dill, L. (2010). I Envy Light. [Digital Image]. Retrieved March 7, 2014, from: (library.artstor.org.ezproxy.net)
Dodd, J. (2011). Building Blocks of Life. [Digital Image]. Retrieved March 6, 2014, from: (library.artstor.org.ezproxy.net)
Dodd, J. (2011). Building Blocks of Life 2. [Digital Image]. Retrieved March 6, 2014, from: (library.artstor.org.ezproxy.net)
Federighi, C. (1994). The House. [Digital Image]. Retrieved April 7, 2014, from: (library.artstor.org.ezproxy.net)
Federighi, C. (1995). Listen to the Breath. [Digital Image]. Retrieved April 7, 2014, from: (library.artstor.org.ezproxy.net)
Marshall, K. J. (1999). Our Town. [Digital Image]. Retrieved February 3, 2014, from: (library.artstor.org.ezproxy.net)
Marshall, K. J. (1999). Better Homes Better Gardens. [Digital Image]. Retrieved February 3, 2014, from: (library.artstor.org.ezproxy.net)
Neshat, S. (1997). Unveiled. [Digital Image]. Retrieved February 11, 2014, from from: URL (library.artstor.org.ezproxy.net)
Neshat, S. (2001). Untitled. [Digital Image]. Retrieved February 11, 2014, from from: URL (library.artstor.org.ezproxy.net)
Sherman, C (2001). Untitled. [Digital Image]. Retrieved February 11, 2014, from from: URL (library.artstor.org.ezproxy.net)
Sherman, C (2001). Untitled. [Digital Image]. Retrieved February 11, 2014, from from: URL (library.artstor.org.ezproxy.net)
Sherman, C (2001). Untitled. [Digital Image]. Retrieved February 11, 2014, from from: URL (library.artstor.org.ezproxy.net)