UNI T P LA NN IN G TO O L:

Unit Theme or Issue: Recontextualizing Perspectives Grade Level: High School State Fine Art Goals: 25.A.1d, 25.A.2d,
25.A.3d, 25.A.3e, 26.A.1e, 26.A.3e, 26.A.4e

Sessi Themes/Goals of Historical/ Artist Journal Discussion Process Materials Closure/

on Week Contemporary Artists Assessment

What is a camera? Constructing Camera Body N/A

Week Introduce Andreas Kaiser Reflection on What are some of Pinhole (Shoe box or
1 Pinhole Stephen Salmiker discussion: the contemporary Cameras cylinder)
Camera Project
Mary Ellen Mark what is a roles of a camera? 3”x3” aluminum
Sally Mann camera? How has that square
Hiroshi Sugimoto What function changed Exacto knife
different throughout history? Needles
ways can it What role have Electrical tape
function in pictures played in Black paint
ones life, your personal life? Black card stock
etc? How have cameras Photo paper
and the pictures
they produce
affected your
memory?
Week Technique for Anders Nygaard How did it Discuss figurative Practice shots Darkroom Mini critique of
2 feel elements of images will be taken in Developer experimental shots
taking and constructing including bird class (as well taken throughout
Andreas Gursky the pinhole eye/worms eye, as notes about Fixer the week. {pictures
developing camera? Do framing, wide conditions and Water displayed with post
Paul Strandt you feel you angle, close up, shutter speed) Tongs it that indicates
Images from have a better soft focus, and lighting conditions
idea of how a high/low contrast Towels and approximate
Pinhole camera and the Show a movie Safe light (orange shutter speed}
works? What psychological of the process LED Halloween
Cameras trouble or effects these of developing lights)
confusions elements can photographs in
do you still provide for the a dark room
have about viewer.
the process
and/or
mechanism How are these Develop
of a camera? elements used to Photographs in
communicate Darkroom with
different emotions as many
or thoughts? students as
possible at a
time.
Identify these
elements and (For students
techniques in select not in the
artists and media darkroom, we
works via will watch Art21
powerpoint. segments and
respond to it in
their artist
journals)

Week Growing What Revisit the effects Field trip to Pinhole Camera Self reflection of
3 memory of pictures and local park or Photo paper ones own work.
Technique and would you imagery on shooting on
like to memory. Is there a school grounds Darkroom
Moving towards Richard Avedon communicate memory you could to vary the Developer Final critique of
Wolfgang Tillmans with your reproduce with your photograph’s Fixer entire class body of
Content photograph(s camera, perhaps environment. work:
Thomas struth )? What one you don’t Water
figurative already have a Tongs
elements that picture of? (a Shooting and
we have reversal of the Developing Towels Includes formal
discussed memory process Pinhole Safe Light elements as well as
can you use discussed in class) Photographs content. Class will
to articulate What types of throughout Any props needed discuss what they
your photo week for memory think each memory
intentions? manipulations photographs is about and why
What could enhance your (through language
materials will content? of figurative
you need to elements)
recreate this
specific
memory? (example: over
exposure, curved
cameras, blurring,
cutting, weaving)
Week Reconstructing John Stezaker Did you see In what ways can Photo Weaving 2 Prints of different Critique of photo
4 Barbara Kruger anything an image change with magazines photographs weavings: What
and visually when remixed with and found Xacto Knifes was successful?
interesting another image? images What wasn’t
Recontextualizi happened by Discuss terms: Cutting Matts successful? Were
the remixing Pencil any different
-ng of two Remix techniques used?
separate Recontextualizing Ruler
Photographs images? Did Mash-up
certain
images Context
convey a
different
meaning
when
combined?
Did images
lose all
together
when
combined?
Do you lose
the sense of
the separate
images all
together?
Week Using Color to Eric Fischl How can Impact color has on Practice Inkjet printer Critique of water
5 Gerhald Richter selected a image and how it Watercoloring Print of photo colored
transform an color alter the can enhance a techniques and photographs: Did
meaning of message, do studies. Inkjet watercolor color help or hurt
Image an image? especially when Then print out paper your original
used specifically copy of Watercolors image? What
and selectively student’s Masking Tape worked? What
Discuss photograph. didn’t?
techniques: Grid transfer Masking Fluid Did color change
What are image onto Original Print the mood,
some other Inkjet message, or feeling
ways you can watercolor Pencil of your image?
think of to Resist paper. Paint Water
recontextuali Spatter onto transfer,
ze images selectively. Salt
besides the Under painting Print Brushes
techniques Wash photographs Paper towls
we have Wet on Wet ontop of
discussed the grid/transfer Watercolor paper
past 3 weeks. watercolor
paper.
Week Remixing Robert Given three Juxtaposition Practice Paper Critique of media
6 images through Raushenburg images Mixed Media additive and Glue remix projects:
the Jasper Johns shown on a subtractive Does the original
juxtaposition of slide, write or Appropriation techniques with Xacto Knife image function
media Dj Shadow sketch how Remix magazines and Scissors better? Why? What
you could Mash up found images. Permaent Markers message does the
juxtapose Employ and new image convey?
them in at Collage demonstrate Paint
least two Collage Brushes
different techniques, Self Reflection:
ways that What are the Magazines Which of 3
would differences Juxtaposition of Newspapers recontextualization
communicate between these images, and projects do you
entirely terms? Where have Layering Images from think was most
differently. you seen these internet/home successful and
terms used before? why? Which was
Where have you least successful
How could Students will and why?
heard them before? use one of their
you add or own images to
subtract to remix, using
one of your whatever they
own images want to bring
to create a in.
different
meaning?
What would
add or
subtract.
Sketch some
ideas for
aesthetics
and
meanings.
Wee Collections, Duchamp What could What does an Exercise 1: Masking tape Discussion
Assemblage, Tracey Emin you make out object represent? Ready Made Objects brought in surrounding found
k7 and Meaning of your What is an objects Objects/discuss by students and objects students
Betye Saar objects? purpose in society? ion of what is teacher alike brought in after
How do they art? history of found
inform each object art.
other? What How does its
connections meaning change in Exercise 2:
can you different contexts? Categorizing Critique of masking
make? What Objects/Discus taped assembled
objects could sion on sculptures. Focus
you add still schemas, etc on content, context
to make a How do we and its functionality
connection categorize objects? as a 3-Dimensional
more object.
apparent? Exercise 3:
History of Assemblage of
Assemblage and found objects
Found Object Art via masking
tape in groups.
(non-
permanent)

Students will
start to plan
and brainstorm
ideas for their
sculptures
based on
objects they’ve
brought so far
this semester.
Week Collections, John Chamberlain Start How does nostalgia Process will Epoxy Mid-critique
8 Assemblage, Daniel Spoerri categorizing or sentimental vary according Glue
and Meaning your own value effect the to each student
Spencer Bohren collected meaning of an and their Rubber Cement Each student will
objects after object? collection. Hot Glue be randomly
you’ve Duct Tape assigned another
brought more student’s work in
in. Can you How can you Conferences Masking Tape progress and give
draw any convey that power will be held Hammer/Nails constructive
connections within a 3- between feedback
or recognize dimensional work student and Needle/Thread
any themes of art? Can you? teacher to Drill/Screws
between discuss special
them that you assemblage
couldn’t techniques or
before? How materials that
can they may be
represent needed.
different Student and
things in teacher will
different problem
contexts? together.
(Example:
Design some Shadow box
possible could be
compositions constructed by
for your shop teacher
sculpture, with
keep both dimensions and
formal and permission)
contextual
meaning in
mind? Start
Sculptures
Week Collections, Joseph Cornell How will you Does the cultural Individual Epoxy Checkpoint Critique
9 Assemblage, Bob Turek attach or meanings of your process per Glue of Assemblage
and Meaning display your objects inform the student Sculptures: What
Michael Johannson objects? content of your Rubber Cement can still be done to
What assemblage Hot Glue help your
techniques sculpture, or are Continue Duct Tape sculpture?
can you use you primarily assembling
to ensure concerned with objects Masking Tape
unity or your objects as Hammer/Nails
chaos if formal elements?
needed? Needle/Thread
Drill/Screws
Unit Plan Instructions:

A Curriculum Unit is made up of multiple individual sessions that work together in order to form a meaningful, in-depth exploration of our experiences through art. Units of time
should be stated depending upon the setting/context. This unit results in a high quality, well crafted, fully developed art project that centers on a universal or culturally specific theme
that is relevant and meaningful to students. A theme is the center around which all learning activities should be fashioned. In the context of a unit, a theme should be informed by the
study of historical, multicultural, and contemporary exemplars; by examination of the power of imagery in everyday experience; and by consideration of social, aesthetic, and
perhaps spiritual interpretations of the nature and quality of human existence. Explorations of content, media, processes, and design strategies and orientations emanate from these
thematic reflections on human experience and aspirations. In accordance with national and state standards, exemplars selected for study MUST be gender and ethnically inclusive.

Each of the following areas or components inform your unit plan, and these areas of focus will be addressed in individual sessions according to your individual lesson plans. For this
part of your Unit Plan, please describe (in the spaces below) as fully as possible each of the following components and how you will include them in your unit and relate them to your
theme. Some of these components will become the focus of particular individual sessions that make up the 5-week unit. Individual sessions should focus on areas of importance
that you determine according to your general artistic aims. Focus within sessions on specific media, craftsmanship, design and composition, multicultural inquiry, social issues,
themes, or writing and dialoguing will enable students to gain competence and greater depth of understanding. In individual sessions, a brief reference to the theme and previously
taught content and historical/ multicultural exemplars is helpful.

Discuss your Theme/Issue(s): and how it relates to reflections on the nature and quality of human existence; reflections on the aesthetics of experience; or individual, social,
communal, or spiritual concerns or aspirations.

How will Historical/ Multicultural Exemplars be used to both relate to your theme and to teach specific content (such as media, processes, and design)?

What Media, techniques, and creative artistic processes will students engage, and how will you help them both develop competence and skill as well as engage creative, intuitive
processes of exploration?

What Design Principles or Conceptual Themes are most central to this unit and how will you make sure students learn these?

How will you use Artists’ Journals/ Sketchbooks to engage students in sustained inquiry, reflection, skill building, and creative exploration?

Artists’ Journals/Sketchbook time

Your unit must have students involved in developing their artists’ journal/sketchbook on a regular basis. After giving time for free exploration your should ask students to use their
sketchbooks to plan, explore, experiment, write, and sketch ideas in preparation for specific sessions and relating to your unit theme. These journal/sketchbook assignments should
guide students to think about the project themes, compositions, and ideas specific to the unit. Sometimes “sketchbook/journal time” may be completely open, for student-selected
exploration. Students should learn to use their artist’s journal/sketchbooks just like many artists often do. Be sure to include a writing component several times during the
journal/sketchbook time of an individual session.

Writing component
Teaching students to write is mandated for all teachers in Illinois schools, regardless of their subject area. We support a “writing across the curriculum” approach, and believe that
writing complements and supports our artistic/aesthetic goals for students. There are many exciting ways to engage students in writing processes: narrative, descriptive, persuasive,
creative writings engage students in critical and reflective thinking and help them organize their ideas. Several times during the unit, you should involve students in writing. The
journal should be used to have students write about their thoughts, goals, and feelings about aspects of their work, thoughts about the exemplars you are sharing with them, or
experiences that relate to the unit theme. Sometimes the writing component may be at the end of assignments as a self-critique, or a reflection on their work. Sometimes the writing
may take place during the middle of the project as a way to reflect and plan further. Sometimes they may write a story or narrative about the work. This narrative may accompany the
finished piece in an exhibit. Be creative in planning your writing activities!