Identity Curriculum

Identity
A year-long curriculum plan for an introductory level high school Visual Arts Foundations class
NYC Portrait, Bansky
Unit 1: Personal Identity Unit 2: Collective Identity Unit 3: False Identity
Rebecca Peabody April 2011
TABLE OF CONTENTS
Teaching Philosophy3 Course Goals4 Curriculum Map..5 Curriculum Content.6 Unit 1: Personal Identity.8 Unit 1 Rubrics..15 Unit 1 Map18 Unit 2: Collective Identity19 Unit 2 Rubrics..26 Unit 2 Map29 Unit 3: Hidden Identity30 Unit 2 Rubrics.37 Unit 2 Map...40 Standards-Based Scope and Sequence Chart...41 Program Assessment42 Appendix.43 Glossary of Art Terms.43 National Visual Arts Standards46 Massachusetts Visual Arts Frameworks..48 Bibliography & Sources..50
Rebecca Peabody April 2011 Year Long Curriculum Plan
TEACHING PHILOSOPHYArt is more than a still life drawn in perfect photo-realism or a perfectly proportioned human figure painted in a natural landscape. It is everything visual in our image-saturated society. Students in art programs should be shown the never ending possibilities of the visual arts world. Humans have made art for thousands of years and will continue to for thousands more. Art is a mode for people to express themselves and to tell the stories of their communities and of their imaginations. In art class, students should learn the history and the future of art and experience the vast array of materials and methods the art world has to offer. They should learn to understand and appreciate different forms of art and visual culture, just as they should learn to create different forms using different thinking strategies. The role of the art teacher is to guide, to encourage, to assist, to share knowledge, and to help the students to discover and reflect on the visual world around them.
Art education provides creative thinking and problem-solving opportunities. Whether designing equipment to remedy an environmental crisis such as the BP Oil Spill, or developing art in the newest technology, students learn creatively to connect visual knowledge to other subjects and explore their own avenues of imagination, flexibility, innovation and understanding. The art room should be a place where teachers, students and families voices can be heard through creative expression. The art curriculum should encourage students to incorporate aspect of their personal lives, their communities, and their culture into their art making and foster a dynamic and multicultural classroom. It is important to also include students modern visual culture in combination with museum defined visual culture in curriculum plans. Providing students with knowledge from all reaches of the spectrum will meet the national and state mandated standards while maintaining the interest and enthusiasm of the students by engaging them in new and exciting ways.
COURSE GOALSo To foster student identity. o To promote self-awareness. o To encourage communal development. o To present opportunities for positive social and individual growth. o To nurture artistic growth and exploration. o To encourage the development of a personal voice.
Mural in Los Angeles, California
CURRICULUM MAPI See Me
You See Me Passport Masks UNIT 1
Personal Identity
IDENTITY
Class Collection: A Still Life
UNIT 2:
Collective Identity
UNIT 3:
False Identity
Chalk Talk!
Social Identities
School Mural
Anonymous Artists
Alter Egos
Identity
Year-long curriculum plan for High School- Foundations of Art I
One of Ms. Peabodys students from Newton, MA in her Art room
CURRICULUM RATIONALE
High school and the foundations of identity coincide during young adulthood. Students enter a new environment while developing personal and collective identities. They try on different personas and test out different social circles. Identities are swapped, sculpted, swept aside and adopted. Social groups from and morph while cultural identities and communal identities thrive and develop. Art making can be a wonderful opportunity for young students to explore themselves and their communities while developing a feel and appreciation for the art world. For centuries artists have drawn, sculpted, painted, pasted, molded, and doodled themselves and their worlds in order to understand and to record their identities. This course is designed to introduce the world of art and the world of identity as one and to explore them both at the same time with dynamic and relative curriculum. The term opens with a unit exploring personal identity hand in hand with drawing, mixed media, and ceramics. Once the student has explored himself/herself, the next unit on collective identity begins and explores our class, our social groups, and our school identity through paint and photography. The course finishes with an exploration of anonymity through the more modern art form of graffiti and street art.
CURRICULUM ENDURING UNDERSTANDINGSo Art making can be a means for exploring identity and self awareness. o Social and cultural identities can be reawakened through the art world. o The use of Identity in art can create powerful imagery. o Artists explore 2D and 3D methods and use found and manufactured materials to create dynamic works of art.
CURRICULUM ESSENTIAL QUESTIONSo How can one develop identity and self awareness? o How can we foster our social and cultural identities? o How do artists create powerful imagery? o What materials and methods do artists implement?
Gustave Courbet, Self Portrait, 1844, oil on canvas Rebecca Peabody April 2011 Year Long Curriculum Plan
UNIT 1: Personal Identity
Frida Khalo, Self Portrait with Thorn Necklace and Hummingbird, 1940, oil on canvas.
Lesson 1: I See Me Lesson 2: You See Me Lesson 3: Passport Masks

Personal Identity
High School- Foundations of Art I
Banksy, NYC Portrait, 2011
STAGE I DESIRED RESULTS

UNIT RATIONALE
High School is a time of searching for identity for many students. Personal identities are molded, morphed, swapped, and cemented during these crucial years in the lives of young adults. Art making can be a valuable tool in the development and exploration of identities for high school students. Students will be asked to explore different avenues of themselves over three lessons involving drawing, mixed media and ceramics. The unit is designed to kick start a yearlong curriculum exploring the larger idea of identity itself.
ENDURING UNDERSTANDINGS
The creation of self-portraits can create a connection to yourself and your artwork. Artists represent themselves from both their own internal views and the way they feel the world sees (or should see) them.
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Using different materials, methods and perspectives can help portray the same subject in a new and interesting way.
ESSENTIAL QUESTIONS
What is the purpose of a self-portrait? In what ways do artists represent themselves? How can you portray the same subject in a new way?
STANDARDS ADDRESSED
STANDARD 1: Methods, Materials, and Becky Peabody, Self Portrait in Techniques progress, 2005, graphite STANDARD 2: Elements and Principles of Design STANDARD 3: Observation, Abstraction, Invention, and Expression STANDARD 5: Critical Response STANDARD 6: Purposes and Meanings in the Arts STANDARD 8: Concepts of Style, Stylistic Influence, and Stylistic Change STANDARD 10: Interdisciplinary Connections
UNIT OBJECTIVES
Lesson 1: Students will foster identity, gain self awareness and develop realistic portrait drawing technique. Lesson 2: Students will explore alternative methods to realism while exploring alternative views of themselves as well. Lesson 3: Students will be able to manipulate clay as a means of expression and exploration. Overarching: Students will learn several types of art methods and materials while developing several different senses of self. They will become aware of themselves as an individual and aware of themselves as an artist.
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Judith Leyster, Self-Portrait, c. 1630 & David Alfaro Siqueiros, Self Portrait (El Coronelazo), 1945
STAGE 2 ASSESSMENT EVIDENCE

EVIDENCE
Lesson 1: Oil or Chalk Pastel realistic self portrait of how the student views himself/herself. Lesson 2: Mixed media self portrait of how the student thinks that others view him/her. Lesson 3: Small, pocket-sized, ceramic ID mask.
CONTINUUM OF ASSESSMENTS Teachers Rubric (after each lesson) Self Assessment Rubric (after each lesson) Class Critique (end of unit) Behavior & effort (attendance, engagement in class discussion, effective use of class time)
Sample rubrics at end of Unit plan.
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STAGE 3 LEARNING PLAN

SCOPE AND SEQUENCE OF LESSONS Lesson 1: I See Me o In this lesson, students will be introduced to traditional self portrait styles and techniques by first viewing examples from art history. After viewing famous artists self portraits the students will learn the standard proportions of the face. Using photographs as a reference, students will first sketch in pencil and then use either chalk or oil pastels to add color to a realistic portrait of how they see themselves. o Art Materials Paper, 11 x 17 Pencils & erasers Photographs of students Chalk pastels Oil pastels Reference books and images of traditional self portraits o Resources and Exemplars A combination of recognizable works (such as Van Gogh) and more modern works. Student examples should be shown as well.
William Merritt Chase, Self Portrait, 1884, pastel on paper; Vincent Van Gogh, Self Portrait, 1889, oil on canvas; and Greg Little, Self-portrait, Pastel, 2009, pastel on paper. Rebecca Peabody April 2011 Year Long Curriculum Plan
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Lesson 2: You See Me o In this lesson, students will be introduced to non-traditional self portrait styles and techniques by first viewing examples of other artists work. Students will then be introduced to mixed media techniques of collage and assemblage and their final product will be a representation of how they think others view them, either abstractly or semi-representational. o Art Materials Paper Pencils & erasers Cardboard Magazines, newspapers Textured fabrics Recycled objects Paint Glue Wire Scraps from old art projects Reference books and images of non-traditional self portraits Broken ceramic chips o Resources and Exemplars A combination of recognizable works (such as Calder) and more modern works. Student examples should be shown as well.
(student) Becky Peabody, Self Portrait, 2004, watercolor; Alexander Calder, Self Portrait, 1968, steal wire; and Laura K Aiken, Self Portrait, 2009, mixed media. Rebecca Peabody April 2011 Year Long Curriculum Plan
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Lesson 3: Passport Masks o In this lesson, students will be introduced to masks as both an art form and a functional object in cultural communities. Students will then learn basic clay techniques and materials and create pocket-sized identification masks. o Art Materials Ceramics clay Clay tools Glazes Kiln Slip Reference books and images of masks from around the world o Resources and Exemplars A combination of actual African masks, photos of masks from other cultures and more modern art works. Student examples should be shown as well.
Dan Tribe, African Passport Mask, wood and an Alaskan Yupik mask, wood.
(student) Becky Peabody, Ugly Little Faces, 2010, ceramic Rebecca Peabody April 2011 Year Long Curriculum Plan
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RUBRICS-
Rubric for I SEE ME (Unit 1: lesson 1)

Excellent 5 Effort
Productive & effective use of class time. Portrait shows excellent attention to detail, careful line work, is neat and recognizable. The entire portrait is unique to the students vision of himself/herself.
Good 2
Usually effective use of class time.
Needs Improvement 1
Poor use of class time. Easily distracted.
Comments:
Total Points:
Technique
Portrait shows some evidence of detail, line work, is neat and semirecognizable. The portrait has some unique elements of the students vision of himself/herself. Parts of the composition are dynamic and appealing. Occasionally participated in class discussions.
Portrait has little or no detail, is messy and not recognizable as the student.
Creativity
The portrait shows no creative thought or unique qualities.
Composition
Dynamic and interesting composition throughout. Strong voice & opinion during class discussions.
No sense of dynamic/interesting composition.
Class participation
Little or no participation in class discussions.
Final Grade:
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Rubric for YOU SEE ME (Unit 1: lesson 2)

Excellent 5 Effort
Productive & effective use of class time. Portrait shows mastery of the medium used.
Good 2
Needs Improvement 1
Comments:
Total Points:
Technique
Portrait shows some evidence of skill in medium used. The portrait has some unique elements of the students vision of how others might see him/her. Parts of the composition are dynamic and appealing. Occasionally participated in class discussions.
Portrait has little or no evidence of understanding of medium used.
Creativity
The entire portrait is unique to the students vision of how others might see him/her.
The portrait shows no creative thought or unique qualities.
Composition
Class participation
Final Grade:
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Rubric for Passport Masks (Unit 1: lesson 3)

Excellent 5 Effort
Productive & effective use of class time. Mask shows excellent attention to detail, careful scoring/slipping, and is neat. The entire mask is unique to the students vision.
Good 2
Needs Improvement 1
Comments:
Total Points:
Technique
Mask shows some evidence of detail, knowledge of scoring/slipping, and fairly neat. The mask has some unique elements of the students vision. Parts of the mask are dynamic and appealing.
Mask has little or no detail, is messy, has air bubbles, or is improperly scored/slipped.
Creativity
The mask shows no creative thought or unique qualities.
Composition
Dynamic and interesting composition all over mask. Strong voice & opinion during class discussions
Class participation
Occasionally participated in class discussions
Final Grade:
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UNIT 1 MAPProportions of Face

View Artists Self Portraits
Oil or chalk pastel: How do YOU see yourself?
Lesson 1: I See Me
Unit 1: Personal Identities

Alexander Calder, Self Portrait, 1968 Dan Tribe (Africa), Passport Mask
NonTraditional Self Portraits
Lesson 2: You See Me
Lesson 3: Passport Masks
Ceramics: pocket-size masks as identification cards
Explorations in Mixed Media Technique
Mixed Media: How do OTHERS see you?
Masks: who, when, why?
Clay techniques and process
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UNIT 2: Collective Identity
Nikki S. Lee, The Hispanics Project, 1998, The Hiphop Project, 2001, The Seniors Project, 1999 & The Schoolgirls Project, 2000.
Lesson 1: Class Collection: a Still Life Lesson 2: Social Identities Lesson 3: School Mural
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Collective Identity
Harmen Steenwjik, Vanitas, 1640

UNIT RATIONALE
Young adults spend their high school years developing personal as well as collective identities. During this crucial period of life, many students will float in and out of several very different social and community groups. They may be skaters, nerds, artists, outdoorsy, basketball players, members of a school club, musicians, etc. Being members of these groups is being part of a collective identity. Students will be asked to explore their own individual collective identities as a small class group, as social circles, and as a member of our school community. While exploring these communal identities, students will also explore their artistic range with still life techniques, photography and finally closing the unit with a school mural. This unit is designed to follow and build upon an introductory unit on personal identities and prelude a final unit on hidden identities to complete a year-long curriculum around one big idea.
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Exploring your identity and culture will build confidence. An artists culture can influence their work and process Murals are works of art that are part of the community; they reflect the culture and ideals of what that community believes in.
ESSENTIAL QUESTIONS
How can artists build confidence? What influences an artists work? What purpose do murals serve?
STANDARDS ADDRESSED
STANDARD 1: Methods, Materials, and Techniques STANDARD 3: Observation, Abstraction, Invention, and Expression STANDARD 4: Drafting, Revising, and Exhibiting STANDARD 7: Roles of Artists in Communities STANDARD 8: Concepts of Style, Stylistic Influence, and Stylistic Change
Manny Velazquez, San Fernando Valley Mural Rebecca Peabody April 2011 Year Long Curriculum Plan
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UNIT OBJECTIVES
Lesson 1: Students will foster classroom identity while discovering observational drawing as an outlet for collective identity. Lesson 2: Students will nurture their sense of social belonging while exploring photography as an art form. Lesson 3: Students will explore the culture of the school and develop an understanding of public works of art (murals). Overarching: Students will explore historic (still life) and modern (photography/murals) methods of art making while exploring the idea of being part of a collective identity. The will create a sense of belonging in and understanding in their classroom, social groups, and school.

EVIDENCE o Lesson 1: 11 x 17 Watercolor illustration of a class composed still life. o Lesson 2: Photographic Triptych (8 x 10 each) of the student in three of his/her social and/or cultural groups. o Lesson 3: Mural inside of the school representing the schools collective identity.
Diego Rivera, Detroit Industry South Wall, 1932, Detroit Institute of the Arts
CONTINUUM OF ASSESSMENTSTeachers Rubric (after each lesson) Self Assessment Rubric (after each lesson) Class Critique (end of unit) Behavior & effort (attendance, engagement in class discussion, effective use of class time) Sample rubrics at end of Unit plan.
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SCOPE AND SEQUENCE OF LESSONS Lesson 1: Class Collection: A Still Life In this lesson, students will be introduced to traditional still life techniques by first viewing examples from art history. Students will also learn about using objects as symbols for larger ideas. After class discussion on symbolism students will be instructed to bring in an object that they feel represents them. The students will then work together to combine their objects with other classmates to create small group still lives that they will then illustrate with watercolor techniques. Art Materials o 11 x 17 watercolor paper o Watercolor paints o Watercolor brushes o Cups for water o Paper towels o Still life objects (students bring in) o Pencils & erasers o Sharpie markers o Reference images of still lives Resources and Exemplars Paul Czanne and student examples.
Paul Czanne, Still Life with Blue Pot, 1900; Three Skulls, 1902, both watercolor over graphite Rebecca Peabody April 2011 Year Long Curriculum Plan
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Lesson 2: Social Identities In this lesson, students will study the photographic projects of artist Nikki S. Lee who immerses herself in different social groups each year and documents it with snapshot-style photography. Students will then decide upon three of their own social or cultural groups that they belong to and document themselves in that setting. A triptych will be put together with 3 matted photos of the student in 3 different social roles. Art Materials o Cameras o Access to photo printer (or services) o Props for use in photographs o mat board Resources and Exemplars Nikki S. Lees Projects and student examples.
Nikki S. Lee, The Skateboarders Project, 2000, The Punk Project, 1997, and The Swingers Project, 1998, all fujiflex prints.
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Lesson 3: School Mural In this lesson, students will study the mural as art by observing and discussing local community murals (or photos of). Students will learn about public art projects and how to gain permission for such works. They will learn to work as a group while they brainstorm, plan out, and execute a large collaborative mural somewhere inside of the school after gaining permission from the principal. The mural will represent what the students decide is the collective identity of the school community. Art Materials o Wall in school o Acrylic paint o Acrylic paint brushes o Cups for water o Pencils & erasers o Sketch paper Resources and Exemplars Diego Rivera, local community murals, or nearest citys murals.
Diego Rivera, National Palace Mural, Mexico City, 1929 and a mural in Jamaica Plain, Boston, Massachusetts depicting the annual lantern parade by local artists.
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RUBRICS-
Rubric for CLASS COLLECTION: A STILL LIFE (Unit 2: lesson 1)

Excellent 5 Effort
Productive & effective use of class time. Still Life shows excellent attention to detail, skilled brushwork, and is neat. The entire still life shows evidence of creative thinking. Dynamic and interesting composition throughout. Strong voice & opinion during class discussions.
Good 2
Needs Improvement 1
Comments:
Total Points:
Technique
Still life shows some evidence of detail, good brushwork, and is fairly neat The still life has some evidence of creative thinking. Parts of the composition are dynamic and appealing. Occasionally participated in class discussions.
Still life has little or no detail and is messy.
Creativity
The still life shows no creative thought or unique qualities. No sense of dynamic/interesting composition.
Composition
Class participation
Final Grade:
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Rubric for SOCIAL IDENTITIES (Unit 2: lesson 2)

Excellent 5 Effort
Productive & effective use of class time. Photographs show exceptional knowledge of photography technique. The entire photo triptych is unique to the students vision of his/her social groups.
Good 2
Needs Improvement 1
Comments:
Total Points:
Technique
Photographs show some evidence of photography knowledge.
Photographs show little or no evidence of understanding of photography technique.
Creativity
The photo triptych has some unique elements of the students vision of his/her social groups. Parts of the composition are dynamic and appealing. Occasionally participated in class discussions.
The photo triptych shows no creative thought or unique qualities.
Composition
Class participation
Final Grade:
28
Rubric for SCHOOL MURAL (Unit 2: lesson 3)

Excellent 5 Effort
Productive & effective use of class time. Students segment of mural shows excellent skill of drafting and painting. Students segment of mural and drafts shows creative thinking. Dynamic and interesting composition throughout. Strong voice & opinion during class discussions and collaborations.
Good 2
Needs Improvement 1
Comments:
Total Points:
Technique
Students segment of mural shows some skill of drafting and painting. Students segment of mural and drafts shows some creative thinking. Parts of the composition are dynamic and appealing. Occasionally participated in class discussions and collaborations
Students segment of mural has little or no evidence of drafting or painting skill
Creativity
Students segment of mural and drafts shows no creative thought.
Composition
Class participation
Little or no participation in class discussions and collaborations.
Final Grade:
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UNIT 2 MAPStudents bring in an object for collaborative still life
Discuss: Symbolism & Icons View: Still Lives
Watercolor: Still Life Illustration of Class Collection
Lesson 1: Class Collection: A Still Life
Unit 2: Collective Identities

Lesson 2: Social Identities Lesson 3: School Mural
Get permission for and execute mural in school
Nikki S. Lees social group projects
Brainstorm: What kinds of social groups do you belong to?
Triptych: 3 photos: you in 3 of your groups
View local and popular Community murals
Brainstorm: What represents our school community?
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UNIT 3: Hidden Identity
Trespassing, Bansky, Great Britain
Lesson 1: Anonymous Artists Lesson 2: Alter Egos Lesson 3: Chalk Talk!

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Hidden Identity
Aaron Waxman, Anti-War Protest, San Francisco, 2003

UNIT RATIONALE
Street art is becoming an ever present part of todays society. Students across the nation are exposed to different forms of this anonymous and frequently questioned form of art and its important for them to understand more about it. By studying the components of street art and the legal issues behind it students can learn to appreciate it and use it to their advantage. After inventing their own personal signatures and symbols students will finish off the unit and the year with a well thought out protest piece in chalk outside of the school on a current event or issue. This unit is designed to come after students have fully explored the aspects of identity both individually and collectively and being introduced to several art making techniques and methods. It wraps up the understandings of identity with a fresh modern twist.
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Art is made for social and political change Anonymous art began with the first recorded artists in the Paleolithic era. Some artists express themselves through alter egos and false identities.
ESSENTIAL QUESTIONS
Why do artists create works of art? Who were the first anonymous artists? How do anonymous artists still express their identities?
Becky Peabody, Untitled, 2006, Linoleum block print.
STANDARDS ADDRESSED
STANDARD 1: Methods, Materials, and Techniques STANDARD 3: Observation, Abstraction, Invention, and Expression STANDARD 4: Drafting, Revising, and Exhibiting STANDARD 5: Critical Response
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STANDARD 6: Purposes and Meanings in the Arts STANDARD 7: Roles of Artists in Communities STANDARD 10: Interdisciplinary Connections
UNIT OBJECTIVES
Lesson 1: Students will foster art appreciation without artist recognition. Lesson 2: Students will develop an understanding of icons. Lesson 3: Students will understand that art can be used as a form of protest and expression and will engage in a critical thinking activity on current issues.
Banksys rat is his signature icon, stenciled in major cities worldwide.
Overarching: Students will develop an appreciation of anonymous public street art while studying alternative methods of art making such as stenciling and temporary outdoor installations.

EVIDENCE o Lesson 1: A unique linear signature using an invented street/code name with art markers on drawing paper. o Lesson 2: Stencil of own unique icon printed on multiple different papers & surfaces. o Lesson 3: Chalk protest drawing on sidewalk outside of school on current event/issue.
CONTINUUM OF ASSESSMENTS Teachers Rubric (after each lesson) Self Assessment Rubric (after each lesson) Class Critique (end of unit)
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Behavior & effort (attendance, engagement in class discussion, effective use of class time)
Sample rubrics at end of Unit plan.

SCOPE AND SEQUENCE OF LESSONS Lesson 1: Anonymous Artists In this lesson, students will study anonymity in art history and discuss the benefits and drawbacks of unsigned art. They will then expand on this knowledge by creating their own unique linear signature (a tag) using an invented street/code name. This tag will then be used to sign their artwork for the rest of the term. Art Materials o Pencils & erasers o Drawing paper o Sharpie Markers Resources and Exemplars Images of tags from city scenes; walls, signs, poles, trash cans, etc and student examples.
6th grade students from Newton, MA practicing tagging.
Tagging
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Lesson 2: Alter Egos In this lesson, students will explore the idea of an icon/character as a form of signature. They will study street artists like Banksy, Space Invader, and ObeyGiant who use characters to hide their identities. Students will then brainstorm characters or symbols to represent their identities and create a stencil of their chosen design. This stencil will then be printed on several different surfaces and papers. Art Materials o Sketch paper o Pencils & erasers o Transparency film (to cut stencil in) o Exacto knives o Acrylic paint o Acrylic brushes o Papers and surfaces for printing on Resources and Exemplars Shephard Fairey, Banksy, Space Invader and other street artists who have recognizable characters/stencils. Student examples as well.
Shepard Faireys ObeyGiant stencil, Space Invaders Space Invader trademark, and Banksys Rat character.
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Lesson 3: Chalk Talk! In this lesson, students will study graffiti/street art as a form of protest (Berlin Wall, Palestinian Separation wall) and then brainstorm a list of current events and issues as a class. After discussing the legal issues of street art, students will draft ideas and then gain permission to execute the protest piece outside of the school (sidewalk, parking lot) in chalk. Art Materials o Pencils & erasers o Sketch paper o Sidewalk chalk Resources and Exemplars Berlin wall, Palestinian Separation wall, images from recent demonstrations. Student examples.
Berlin Wall in Germany and the Isreali/Palestinian Separation wall (2010)
Lascaux Caves, France, Paleolithic era Rebecca Peabody April 2011 Year Long Curriculum Plan
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RUBRICS-
Rubric for ANONYMOUS ARTISTS (Unit 3: lesson 1)

Excellent 5 Effort
Productive & effective use of class time. Tag shows exceptional skill of line work and gesture. The tag is very creative and unique with the students own invented style. Dynamic and interesting composition throughout. Strong voice & opinion during class discussions.
Good 2
Needs Improvement 1
Comments:
Total Points:
Technique
Tag shows some skill of line work and gesture.
Tag shows no skill of line or gesture and is messy.
Creativity
The tag is fairly creative and unique, with an adapted style of another artist. Parts of the composition are dynamic and appealing. Occasionally participated in class discussions.
The tag is not unique or creative and is an exact copy of another artists tag.
Composition
Class participation
Final Grade:
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Rubric for ALTER EGOS (Unit 3: lesson 2)

Excellent 5 Effort
Productive & effective use of class time. Stencil is well planned out and cut with clean lines. Prints are clear and neat.
Good 2
Needs Improvement 1
Comments:
Total Points:
Technique
Stencil shows some evidence of planning and fairly clean cuts. Prints fairly clear and neat. The stencil has some unique elements of the students vision. Some prints on interesting surfaces/papers. Parts of the composition are dynamic and appealing. Occasionally participated in class discussions.
Stencil shows no evidence of planning. Cuts are jagged and do not match up. Prints are messy, unclean edges.
Creativity
The entire stencil is unique to the students vision. Prints are on interesting papers/surfaces.
The stencil shows no evidence of creative thinking. Printed on plain papers.
Composition
Class participation
Final Grade:
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Rubric for CHALK TALK! (Unit 3: lesson 3)

Excellent 5 Effort
Productive & effective use of class time. Student excelled in the drafting and permission gaining process as well as the execution of the chalk piece outdoors. The entire protest piece shows creative thinking.
Good 2
Needs Improvement 1
Comments:
Total Points:
Technique
Student completed a draft and gained permission for their piece. They did well in the execution of the chalk piece outdoors. The protest piece shows some evidence of creative thought. Parts of the composition are dynamic and appealing. Occasionally participated in class discussions.
Student did not draft or did not draft well their idea. Permission was not granted or was not asked for professionally. The outdoor piece shows little or no skill.
Creativity
The protest piece shows little or no evidence of creative thinking.
Composition
Class participation
Final Grade:
40
UNIT 3 MAPArt for arts sake, not for fame (Bansky)
Anonymity in Art History

(Street artists, Cave painters)
Art markers: Students create a street name and signature
Lesson 1: Anonymous Artists
Unit 3: Hidden Identities

Graffiti artist Space Invader leaves his icon in Amsterdam Student work: Brandon, Hope, 2011
Banskys rat, ObeyGiant, Space invader
Lesson 2: Alter Egos
Lesson 3: Chalk Talk!
Chalk: Temporary Sidewalk posters
Character development sketch
Stencil: Create an Alter Ego stencil
Brainstorm: Current events/ issues to give voice
Discuss: Legal issues with Street Art
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SCOPE AND SEQUENCE CHART-
Unit 1 Personal Identity
Unit 2 Collective Identity
Unit 3 Hidden Identity
Massachusetts Frameworks Lesson 1: Class Collection: A Still Life
Lesson 1: Anonymous Artists
Lesson 2: Social Identities
Lesson 3: Passport Masks
Lesson 3: School Mural
Lesson 2: You See Me
Standard 1 Standard 2 Standard 3 Standard 4 Standard 5 Standard 6 Standard 7 Standard 8 Standard 9 Standard 10
X X X X X X X
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X X
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X X X X X X
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GRADE LEVEL: Introductory high school visual arts foundations (9 &10) OVERARCHING BIG IDEA: Identity
Lesson 3: Chalk Talk!
Lesson 2: Alter Egos
Lesson 1: I See Me
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PROGRAM ASSESSMENTAssessment for this course will be based on a combination of a teacher provided grade and a student provided grade. The teacher provided grade will be calculated from a formal rubric (after each lesson), the students participation in class critiques (3, one after each unit), and an overall behavior and effort grade. The behavior and effort grade will be assessed at the end of the term based off of attendance, overall behavior, and the use of class time. The students segment of the grade will be from the same rubric the teacher uses after each lesson. The student will grade themselves on each of the criteria and explain why they think they deserve the grade theyve given themselves. Student will also complete a written reflection at the end of the term assessing their development and growth as an artist. At the conclusion of the course all of these marks will be combined with even weight for a final grade.
Sample Student Assessment prompt:

Looking back through your portfolio of completed work from this course, how do you feel about your growth as an artist? Do you feel youve improved? Why or why not?
Give yourself a potential grade for this course and explain why you gave yourself the grade you did.
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APPENDIXGLOSSARY OF ART TERMS Abstract- art that looks as if it contains little or no recognizable or realistic forms from the physical world. Focus is on formal elements such as colors, lines, or shapes. Artists often "abstract" objects by changing, simplifying, or exaggerating what they see. Assemblage- a three dimensional composition made of various materials such as found objects, paper, wood, and textiles. Balance- a feeling of equality in weight, attention, or attraction of the various elements within a composition as a means of accomplishing unity. Bisque fire- first firing of clay, before the clay has been applied. Bone dry- when the clay is dried out enough for the initial bisque firing. Burning- A large, more elaborate type of piece. The piece could be said to be "burning" out of the wall or train-side. Because they take so much time and effort, burners in downtown areas are more likely to be legal pieces, painted with the consent of the property owner. The early writers of New York also did burners illegally on trains, and adventurous modern writers sometimes still do large scale illegal pieces in heavilytrafficked areas Candid- an informal and un-posed photo Collaboration- Two or more artists working together in a joint effort to produce artworks. Also known as working in an art collective. Collage- introduced by the Cubists, the technique of creating a work of art by adhering flat articles such as paper, fabrics, string or other materials to a flat surface such as a canvas whereby a three-dimensional result is achieved. Complimentary Colors- two colors directly opposite one another on the color wheel. When placed next to one another, complementary colors are intensified and often appear to vibrate. When mixed, brown or gray is created. Red and green, blue and orange, and yellow and violet have the greatest degree of contrast. Red-violet and yellow-green, redorange and blue-green, and yellow-orange and blue-violet are also complementary colors. Contrast- the difference between elements or the opposition to various elements. Depth of field- in photography, the area in front of and behind the focused point that is sharp. A shallow depth of field is used in portraits to provide a soft backdrop, whilst a greater depth of field is useful for landscapes to ensure everything from the foreground to
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the background is in focus. Shorter (wide angle) lenses and smaller apertures increase depth of field. Focal point- a specific area, element or principle that dominates a work of art; the area in a work which the eye is most compellingly drawn. The viewer's eye is usually drawn there first. Glaze fire- the second firing of a work of clay after the glaze has been applied. Graffiti- the name for images or lettering scratched, scrawled, painted or marked in any manner on property. Graffiti is any type of public markings that may appear in the forms of simple written words to elaborate wall paintings. Graffiti has existed since ancient times, with examples dating back to Ancient Greece and the Roman Empire. Modern graffiti is commonly in marker or spray paint. Grid enlarging- the process of using a grid to enlarge an image; for copying very precisely, another image, on the same or a different scale, usually larger; used in scaling an image by drawing (see illustration). Kiln- refers to an oven in which pottery or ceramic ware is fired Mixed media- the art technique where an artist employs different types of physical materials such as ink and pastel or painting and collage etc. and combines them in a single work. Modeling- A sculpture technique in which a three-dimensional form is manipulated in a soft material such as clay. Mural- a large wall painting, often executed in fresco. Non-representational- Artworks having no recognizable subject matter (not recognizable as such things as houses, trees, people, etc.) Also known as nonobjective art. Observational drawing- Drawing what you see. Opaque- Something that cannot be seen through; the opposite of transparent, although something through which some light passes would be described as translucent. Protest- an expression of objection, by words or by actions, to particular events, policies or situations. Protests can take many different forms, from individual statements to mass demonstrations. Public art- Artworks that are designed specifically for, or placed in areas physically accessible to the general public. The meanings and functions of these works varies widely, based on the societal and aesthetic values of the communities, institutions, and individuals which commission them. Rule of thirds- a composition rule that divides the scene into three rows and three columns. The rule states that the painting is much more interesting if the focal point is not
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in the center of the canvas but rather in one of the outlying regions, preferably at one of the intersection points. Scoring & Slipping- To make scratches or creases in pieces of clay to be joined together. Scoring and applying slip to such roughened surfaces creates a bond that holds the pieces together. If slip acts as an adhesive and scoring makes two pieces of clay like the opposite sides of a zipper, their combined action a zipped zipper with hardened adhesive inside should be permanent. Slip- An opaque, creamy liquid made by mixing finely ground clay with water. Stencil- Stiff paper (or other sheet material) with a design cut into it as a template for shapes meant to be copied. Also a method of applying a design by brushing ink or paint through a cut-out surface. Still life- a painting or other two-dimensional work of art representing inanimate objects such as bottles, fruit, and flowers. Also, the arrangement of these objects from which a drawing, painting, or other art work is made. Street Art- any art developed in public spaces, that is, "in the streets," though the term usually refers to unsanctioned art, as opposed to government sponsored initiatives. The term can include traditional graffiti artwork, stencil graffiti, sticker art, wheatpasting and street poster art, video projection, art intervention, guerrilla art, flash mobbing and street installations. Typically, the term street art or the more specific post-graffiti is used to distinguish contemporary public-space artwork from territorial graffiti, vandalism, and corporate art. Symbol- a form image or subject representing a meaning other than the one with which it is usually associated. Symmetrical- The parts of an image or object organized so that one side duplicates, or mirrors, the other. Also known as formal balance. Tagging- A stylized signature, normally done in one color. The simplest and most prevalent type of graffiti, a tag is often done in a color that contrasts sharply with its background. Tag can also be used as a verb meaning "to sign". Writers often tag on or beside their pieces, following the practice of traditional artists who sign their artwork. Temporary art- art that only lasts as long the medium lasts. It is art that is short-lived; i.e. not permanent. Tint- a hue with white added. Pink is a tint of red. Transparent- Allowing light to pass through so that objects can be clearly seen on the other side; the opposite of opaque. In watercolor technique, adding more water. Vanitas- Latin for vanity, refers to a type of still life consisting of a collection of objects that symbolize death the brevity of human life and the transience of earthly pleasures and achievements (e.g., a human skull, a mirror, and broken pottery).
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Vernacular photography- refers to the creation of photographs by amateur or unknown photographers who take everyday life and common things as subjects. Also known as amateur photography. Watercolor wash- a broad thin layer of diluted pigment. Wax resist- a watercolor technique where wax is first applied (ex. with white crayon) and then when the watercolor is applied it does not adhere to the waxed surface. Wedging- A technique in which clay is thoroughly kneaded and cut before use in modeling or pottery, to make it plastic and remove air pockets.
NATIONAL VISUAL ARTS STANDARDSContent Standard #1: Understanding and applying media, techniques, and processes. Achievement Standard, Proficient: Students apply media, techniques, and processes with sufficient skill, confidence, and sensitivity that their intentions are carried out in their artworks. Students conceive and create works of visual art that demonstrate an understanding of how the communication of their ideas relates to the media, techniques, and processes they use. Achievement Standard, Advanced: Students communicate ideas regularly at a high level of effectiveness in at least one visual arts medium. Students initiate, define, and solve challenging visual arts problems independently using intellectual skills such as analysis, synthesis, and evaluation. Content Standard #2: Using knowledge of structures and functions. Achievement Standard, Proficient: Students demonstrate the ability to form and defend judgments about the characteristics and structures to accomplish commercial, personal, communal, or other purposes of art. Students evaluate the effectiveness of artworks in terms of organizational structures and functions. Students create artworks that use organizational principles and functions to solve specific visual arts problems. Achievement Standard, Advanced: Students demonstrate the ability to compare two or more perspectives about the use of organizational principles and functions in artwork and to defend personal evaluations of these perspectives. Students create multiple solutions to specific visual arts problems that demonstrate competence in producing effective relationships between structural choices and artistic functions.
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Content Standard #3: Choosing and evaluating a range of subject matter, symbols, and ideas. Achievement Standard, Proficient: Students reflect on how artworks differ visually, spatially, temporally, and functionally, and describe how these are related to history and culture. Students apply subjects, symbols, and ideas in their artworks and use the skills gained to solve problems in daily life. Achievement Standard, Advanced: Students describe the origins of specific images and ideas and explain why they are of value in their artwork and in the work of others. Students evaluate and defend the validity of sources for content and the manner in which subject matter, symbols, and images are used in the students' works and in significant works by others. Content Standard #4: Understanding the visual arts in relation to history and cultures. Achievement Standard, Proficient: Students differentiate among a variety of historical and cultural contexts in terms of characteristics and purposes of works of art. Students describe the function and explore the meaning of specific art objects within varied cultures, times, and places. Students analyze relationships of works of art to one another in terms of history, aesthetics, and culture, justifying conclusions made in the analysis and using such conclusions to inform their own art making. Achievement Standard, Advanced: Students analyze and interpret artworks for relationships among form, context, purposes, and critical models, showing understanding of the work of critics, historians, aestheticians, and artists. Students analyze common characteristics of visual arts evident across time and among cultural/ethnic groups to formulate analyses, evaluations, and interpretations of meaning. Content Standard #5: Reflecting upon and assessing the characteristics and merits of their work and the work of others. Achievement Standard, Proficient: Students identify intentions of those creating artworks, explore the implications of various purposes, and justify their analyses of purposes in particular works. Students describe meanings of artworks by analyzing how specific works are created and how they relate to historical and cultural contexts Students reflect analytically on various interpretations as a means for understanding and evaluating works of visual art. Achievement Standard, Advanced: Students correlate responses to works of visual art with various techniques for communicating meanings, ideas, attitudes, views, and intentions.
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Content Standard #6: Making connections between visual arts and other disciplines. Achievement Standard, Proficient: Students compare the materials, technologies, media, and processes of the visual arts with those of other arts disciplines as they are used in creation and types of analysis. Students compare characteristics of visual arts within a particular historical period or style with ideas, issues, or themes in the humanities or sciences. Achievement Standard, Advanced: Students synthesize the creative and analytical principles and techniques of the visual arts and selected other arts disciplines, the humanities, or the sciences.
MASSACHUSETTS VISUAL ARTS FRAMEWORKSPreK12 STANDARD 1: Methods, Materials, and Techniques Students will demonstrate knowledge of the methods, materials, and techniques unique to the visual arts. PreK12 STANDARD 2: Elements and Principles of Design Students will demonstrate knowledge of the elements and principles of design. PreK12 STANDARD 3: Observation, Abstraction, Invention, and Expression Students will demonstrate their powers of observation, abstraction, invention, and expression in a variety of media, materials, and techniques. PreK12 STANDARD 4: Drafting, Revising, and Exhibiting Students will demonstrate knowledge of the processes of creating and exhibiting artwork: drafts, critique, self-assessment, refinement, and exhibit preparation. PreK12 STANDARD 5: Critical Response Students will describe and analyze their own work and the work of others using appropriate visual arts vocabulary. When appropriate, students will connect their analysis to interpretation and evaluation. PreK12 STANDARD 6: Purposes and Meanings in the Arts Students will describe the purposes for which works of dance, music, theatre, visual arts, and architecture were and are created, and, when appropriate, interpret their meanings. PreK12 STANDARD 7: Roles of Artists in Communities Students will describe the roles of artists, patrons, cultural organizations, and arts institutions in societies of the past and present. PreK12 STANDARD 8: Concepts of Style, Stylistic Influence, and Stylistic Change
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Students will demonstrate their understanding of styles, stylistic influence, and stylistic change by identifying when and where art works were created, and by analyzing characteristic features of art works from various historical periods, cultures, and genres. PreK12 STANDARD 9: Inventions, Technologies, and the Arts Students will describe and analyze how performing and visual artists use and have used materials, inventions, and technologies in their work. PreK12 STANDARD 10: Interdisciplinary Connections Students will apply their knowledge of the arts to the study of English language arts, foreign languages, health, history and social science, mathematics, and science and technology/engineering.
Becky Peabody, Create, 2011, markers
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BIBLIOGRAPHY & SOURCES

Book Resources Abbate, F. (1972). African Art: and Oceanic Art. London: Octopus. Armstrong, C. M., & Czanne, P. (2004). Czanne in the studio: still life in watercolors. Los Angeles: J.P. Getty Museum. Banksy . (2006). London, England: Century. Bou, L. (2005). Street art: the spray files. New York: Collins Design. Golden, J., Rice, R., Kinney, M. Y., Graham, D., & Ramsdale, J. (2002). Philadelphia murals and the stories they tell . Philadelphia: Temple University Press. Gray, M. L. (2001). A guide to Chicago's murals . Chicago: University of Chicago Press. Hollands, L. E. (2009). Painting still life in watercolour . Ramsbury, Wiltshire: Crowood Press. Howze, R. (2008). Stencil nation: graffiti, community, and art. San Francisco: Manic D Press. Lee, N. S., Ferguson, R., Vicario, G., & Martin, L. A. (2001). Projects . Ostfildern-Ruit, Germany: Hatje Cantz ;. Manco, T., & Neelon, C. (2005). Graffiti Brasil . London: Thames & Hudson. Martinez, S. (2009). Graff: The Art and Technique of Graffiti. New York: Fall River Press. Meyer, L. (1992). Black Africa: masks, sculpture, jewelry. Paris: Terrail. Prato, C. C. (2008). Mixed-media self-portraits: inspiration & techniques. Loveland, CO: Interweave Press. Shove, G., & Potter, P. (2008). Untitled: street art in the counter culture. Darlington: Pro-Actif Communications. Woolwich, M. (1996). The art of pastel portraiture . New York: Watson-Guptill Publications.

Identity Curriculum

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Identity Curriculum

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Identity

NYC Portrait, Bansky

Unit 1: Personal Identity Unit 2: Collective Identity Unit 3: False Identity

Rebecca Peabody April 2011

Rebecca Peabody April 2011 Year Long Curriculum Plan

Mural in Los Angeles, California

Rebecca Peabody April 2011 Year Long Curriculum Plan

CURRICULUM MAPI See Me

You See Me Passport Masks UNIT 1

Rebecca Peabody April 2011 Year Long Curriculum Plan

One of Ms. Peabodys students from Newton, MA in her Art room

Rebecca Peabody April 2011 Year Long Curriculum Plan

UNIT 1: Personal Identity

Lesson 1: I See Me Lesson 2: You See Me Lesson 3: Passport Masks

Banksy, NYC Portrait, 2011

STAGE I DESIRED RESULTS

Rebecca Peabody April 2011 Year Long Curriculum Plan

Rebecca Peabody April 2011 Year Long Curriculum Plan

STAGE 2 ASSESSMENT EVIDENCE

Sample rubrics at end of Unit plan.

Rebecca Peabody April 2011 Year Long Curriculum Plan

STAGE 3 LEARNING PLAN

Rubric for I SEE ME (Unit 1: lesson 1)

The portrait shows no creative thought or unique qualities.

No sense of dynamic/interesting composition.

Little or no participation in class discussions.

Rebecca Peabody April 2011 Year Long Curriculum Plan

Rubric for YOU SEE ME (Unit 1: lesson 2)

Portrait has little or no evidence of understanding of medium used.

The portrait shows no creative thought or unique qualities.

No sense of dynamic/interesting composition.

Little or no participation in class discussions.

Rebecca Peabody April 2011 Year Long Curriculum Plan

Rubric for Passport Masks (Unit 1: lesson 3)

The mask shows no creative thought or unique qualities.

No sense of dynamic/interesting composition.

Occasionally participated in class discussions

Little or no participation in class discussions.

Rebecca Peabody April 2011 Year Long Curriculum Plan

UNIT 1 MAPProportions of Face

Unit 1: Personal Identities

NonTraditional Self Portraits

Lesson 2: You See Me

Lesson 3: Passport Masks

Ceramics: pocket-size masks as identification cards

Explorations in Mixed Media Technique

Mixed Media: How do OTHERS see you?

Masks: who, when, why?

Clay techniques and process

Rebecca Peabody April 2011 Year Long Curriculum Plan

UNIT 2: Collective Identity

Harmen Steenwjik, Vanitas, 1640

STAGE I DESIRED RESULTS

Rebecca Peabody April 2011 Year Long Curriculum Plan

STAGE 2 ASSESSMENT EVIDENCE

STAGE 3 LEARNING PLAN

Rebecca Peabody April 2011 Year Long Curriculum Plan

Rebecca Peabody April 2011 Year Long Curriculum Plan

Rubric for CLASS COLLECTION: A STILL LIFE (Unit 2: lesson 1)

Still life has little or no detail and is messy.

Little or no participation in class discussions.

Rebecca Peabody April 2011 Year Long Curriculum Plan

Rubric for SOCIAL IDENTITIES (Unit 2: lesson 2)