Transcript The Artistic Narrative Proposal 1

THE ARTISTIC NARRATIVE
FINAL UNIT PLAN
Kristen Warskow
STATEMENT OF ORIGIN

This lesson was greatly inspired by the
artist Nina Katchadourian's work I stumbled
upon in the book Visual Art After 1980.
Katchadourian uses a technique that reminds me
of storyboarding in her works, and this particular
way of planning and creating an artwork is a
very applicable technique to use when writing
and I feel students would benefit from creating
an artwork inspired by this artist. I know the
importance of story-telling in art and I hope this
lesson helps my students to organize a visual
story which can even help when planning or
drafting a paper.
QUESTIONS TO CONSIDER
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1. What are some ways artists plan stories, and
how do you think artist Nina Katchadourian uses
this planning in her artwork?
2. What story do you think the artist is telling in
this work? Why? Are there visual clues such as
placement or color?
3. Do you think there may be opportunities to
better communicate the message? How did the
artist successfully tell the story?
NINA KATCHADOURIAN
Genealogy of the Supermarket 1997
NINA KATCHADOURIAN (CONT’D)

Paranormal Postcards 2001
NARRATIVE MULTI-PANEL STORY
Standards
National Standard:
Content Standard
1. Understanding and applying media, techniques, and processes
Achievement Standard
a. select media, techniques, and processes; analyze what makes them effective or not effective in
communicating ideas; and reflect upon the effectiveness of their choices
NGSSS:
VA.68.C.1.3
Identify qualities of exemplary artworks that are evident and transferable to the judgment of personal
work.
VA.68.O.2.Pa.a:
Use selected structural elements of art and organizational principles of design to create and respond to
artworks.
Objectives
1. Students will participate and understand the importance of preplanning
drawings in creating artwork.
2. Students will communicate a visually story using at least 5 different
images. (Pictures, drawings, painting, or mixed media)
3. Students will understand how different media helps or hinders the
communication of a narrative.
PROCEDURES
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Students will begin by viewing the work of Nina Katchourdian and develop an
understanding for her use of narrative in visual art. Vocabulary words will be
introduced, which include; storyboard, medium, and mixed media.
Students will receive a brief presentation regarding media choice when
creating an artwork and how this choice can help or hinder a piece. (This will
involve class discussion and some trial and error in the creation process)
Students will begin pre-planning drawings for their own story. This can be an
existing story they enjoy or a story they create.
Students will utilize sketchbooks to create 3 unique planning drawings that
are narrative using a story board format.
Students will (with the help of the teacher) choose their strongest/ favorite
planning sketch to further develop.
Students will create at least 3 panels (at least 5"x7" each) to demonstrate their
story. These panels can contain drawings, paintings, pictures, collages, or
mixed media to best communicate the story.
Students will present their art to the class in a safe critique where the class
will discuss the media choice, whether it adds to the piece, the composition,
and the strength of story. (Describe, Analyze, Interpret, Judge)
Students will have a chance to redo parts of their assignment based on class
and teacher feedback that will be due by a set date.
**For modifications based on a specific disability refer to Chapters 6-10 (pages
83-176) in Reaching and Teaching Students with Special Needs Through Art.
SAMPLE STORYBOARD PLANNING
DRAWING
R
U
B
R
I
C
Critera
Sketchbook
Planning
Narrative
(story)
quality
Excellent
(5 points)
Planned 3 or
more ideas in
sketchbook
and all
consideration
questions
were
answered.
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.
Story was
only clear
after
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 cinematic narrative
quality of Duane Michals work I discovered in the
book Visual Art After 1980. Michals, whose narrative
shadow boxes and pictures have a unique and
thoughtful quality that utilize creative storytelling
would inspire students to think far beyond a specific
technique when creating their own works. Creating
an artwork like a shadowbox narrative requires
planning in order to be sure elements are arranged in
the best way to communicate a story. I will
incorporate sketchbook planning (which can use
existing image cut-outs) to allow students to increase
familiarity of the artistic process. The idea of using
sketchbooks in this way was inspired by the article
Sketchbooks by Roberta Rice and Sue McNeil.
QUESTIONS TO CONSIDER
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1. What are some important elements of story
telling, and how do you think artist Duane
Michals uses these elements in his artwork?
2. What story do you think the artist is telling in
this work? Why? Are there visual clues such as
placement or color?
3. Do you think there may be opportunities to
better communicate the message? How did the
artist successfully tell the story?
DUANE MICHALS
Necessary things for writing fairy tunes 1989
Necessary things for making magic 1989 (next slide)
CREATING A NARRATIVE SHADOW-BOX
Standards
National Standard:
Content Standard
3. Choosing and evaluating a range of subject matter, symbols, and ideas
Achievement Standard
a. integrate visual, spatial, and temporal concepts with content to communicate intended meaning in their artworks
NGSSS:

VA.68.S.2.3
Use visual-thinking and problem-solving skills in a sketchbook or journal to identify, practice, develop ideas, and
resolve challenges in the creative process.
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VA.68.C.2.3
Examine artworks to form ideas and criteria by which to judge/assess and inspire personal works and artistic growth.

VA.68.O.2.In.a:
Apply structural elements of art and organizational principles of design to create artworks with a new meaning.
Objectives
1. Students will learn to use existing objects and words to tell a visual story.
2. Students will understand how artist Duane Michals uses the narrative and how this might be incorporated into the
students own artwork.
PROCEDURES
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Students will be introduced to artist Duane Michals as well as the vocabulary words which include;
Shadow box, narrative, visual story, found art assemblage.
Students will learn different ways to construct a shadow box utilizing varying materials and
designs. (available materials include cardboard, foam core, and other heavy duty paper products)
Students can submit other options for teacher's consideration and approval.
We will discuss as a class possible uses for story telling based on the design of the shadow box and
whether or not material makes a difference in story-telling. (We will use some pre-made examples
and have the opportunity to touch and inspect these different shadow boxes)
After this discussion and introduction students will create planning drawings of 3 different
shadowbox and story ideas. (students can use existing stories they like, or their own original story)
Students (with the help of the teacher) will select the strongest idea they planned and begin
working on the physical creation stage.
Students can use existing objects, collage painting, drawing, etc. to communicate their story.
(As this selection process arises we will discuss how different media can help or hinder storytelling)
Students will share their final works with the class in a safe critique where we will discuss
compositions, narrative, and overall construction of the artwork. (Describe, Analyze, Interpret,
Judge)
Students will have the ability to make changes if they desire that can be resubmitted by a certain
date.
**For modifications based on a specific disability refer to Chapters 6-10 (pages 83-176) in Reaching
and Teaching Students with Special Needs Through Art.
SAMPLE PLANNING DRAWING
R
U
B
R
I
C
Critera
Sketchbook
Planning
Narrative
(story)
quality
Excellent
(5 points)
Planned 3 or
more ideas in
sketchbook
and all
consideration
questions
were
answered.
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.
Story was
only clear
after
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 findings in the book
Visual Art After 1980 and the single image stories by Kcho
and Duane Michals. I find the ability to communicate a
story through a single image is often very complex so I hope
this lesson will help students work toward developing a
successful single image or object that tells a story through
use of placement, exaggeration, or the addition of language.
I learned through Reaching and Teaching Students with
Special Needs Through Art that some students might be
totally turned off from a lesson if it required getting messy
and providing students with options offers them a chance
to engage in a way that is more applicable to them. With
this in mind, I have created a lesson that allows students to
choose to create a 3-D object (which could be messy) or
create a photograph narrative which both require a unique
ability in narrative creation.
QUESTIONS TO CONSIDER



1. What are some ways a single image or object
tells a story, and how do you think artists used
this in creating their artwork?
2. What story do you think the artist is telling in
this work? Why? Are there visual clues such as
placement or color?
3. Do you think there may be opportunities to
better communicate the message? How did the
artists successfully tell the story?
DUANE MICHALS

The room where the
world ended 1990
Road of
Nostalgia
1997
KCHO (ALEXIS LEYVA MACHADO)
R.E.C 2006
SINGLE IMAGE NARRATIVE
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Standards
National Standard
3. Choosing and evaluating a range of subject matter, symbols, and ideas
Achievement Standard
b. use subjects, themes, and symbols that demonstrate knowledge of contexts, values, and aesthetics that
communicate intended meaning in artworks.
NGSSS:
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
VA.68.S.1.1
Manipulate content, media, techniques, and processes to achieve communication with artistic intent.
VA.68.O.3.2
Discuss the communicative differences between specific two- and three-dimensional works of art.
VA.68.C.2.3
Examine artworks to form ideas and criteria by which to judge/assess and inspire personal works and
artistic growth.
Objectives
1. Students will learn how composition, placement, color, and exaggeration can help in the narrative
process by viewing artworks and discussing strengths and areas with opportunities for growth.
2. Students will use principles of art and design to create a narrative using a single image or created
object.
3. Students will discuss the similarities and differences of a single 2-D image or 3-D object when
attempting to tell a story through an artwork.
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PROCEDURES
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Students will first be introduced to the 3-D work of Kcho that tells a story with a
single object. Then students will re-visit Duane Michals' work where a single
image paired with language creates a unique narrative.
Students will work in pairs or small groups evaluating images and imagining a
story that might go along with the image based on visual cues.
Groups will take turns sharing the most appropriate story they believe should
accompany one of the images they reviewed.
As a class we will discuss what elements of the student created stories are
supported by the image and why using the Feldman model to back up our
findings.
Students will plan with 3 sketchbook drawings of narratives they would like to
work further on. These should use a single image (not a storyboard).
Students (with the help of the teacher) will select their strongest idea and begin
planning creation, composition, desired material, etc.
Students may create a 3-D object (using air-dry clay or assemblage) or set-up a
photograph to add language to in order to effectively communicate their story.
Once students have individually selected which format they will follow they will
receive necessary materials for their 3-D work or be assigned a time to set up
their photograph in class.
PROCEDURES (CONT’D)
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Students working in 3D will need to bring in any items
necessary for their project that we do not have in class.
Students creating photographs will have access to the class
digital SLR (which will be used on automatic setting for this
project) and a table top and lights to create their scene.
Students should bring in anything necessary for their scene
that is not in the classroom and be prepared to set up and
photograph on their assigned day and time.
Students can take time to select their digital image and add
text on the computer or by hand after the image is printed.
Students will take time to create their objects/scenes and then
share in a safe critique. (Describe, Analyze, Interpret, Judge)
Students will have the ability to re submit their pieces if they
wish to take any advice from the critique to improve their
artwork. (Will be due on selected date)
**For modifications based on a specific disability refer to
Chapters 6-10 (pages 83-176) in Reaching and Teaching
Students with Special Needs Through Art.
SAMPLE PLANNING DRAWING
R
U
B
R
I
C
Critera
Sketchbook
Planning
Narrative
(story)
quality
Excellent
(5 points)
Planned 3 or
more ideas in
sketchbook
and all
consideration
questions
were
answered.
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.
Story was
only clear
after
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
FELDMAN CRITIQUE
REFERENCES
Guay, D.M. & Gerber, B.L. (2006). Reaching and Teaching Students with Special Needs through
Art.
Katchadourian, N. (1997). Genealogy of the Supermarket. [Digital Image]. Retrieved February 3, 2014,
from: (library.artstor.org.ezproxy.net)
Katchadourian, N. (2001). Paranormal Postcards. [Digital Image]. Retrieved February 3, 2014, from:
(library.artstor.org.ezproxy.net)
Kcho (2006) R.E.C. [Digital Image]. Retrieved February 15, 2014, from: URL
(library.artstor.org.ezproxy.net)
Kcho (1997) Road of Nostalgia. [Digital Image]. Retrieved February 1, 2014 from:
(library.artstor.org.ezproxy.net)
McNeil, S. & Rice, R. (1990). Sketchbooks. Secondary Art Education: An Anthology of Issues.
(107-123)
Michals, D. (1989) Necessary things for making fairy tunes. [Digital image]. Retrieved February 1,
2014, from: (library.artstor.org.ezproxy.net)
Michals, D. (1989). Necessary things for making magic. [Digital Image]. Retrieved February 1, 2014,
from: (library.artstor.org.ezproxy.net)
Michals, D. (1990). The room where the word ended. [Digital Image]. Retrieved February 3, 2014, from:
(library.artstor.org.ezproxy.net)
Robertson, Jean, and Craig McDaniel. Themes of Contemporary Art: Visual Art after 1980. New York:
Oxford UP, 2010.