Art and Physics: A Scientific Exploration of Visual Culture

Final Curriculum

Michaela Malone

Northern Illinois University

Kerry Freedman

Arte 345
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Introduction        

Art and Physics: A Scientific Exploration of Visual Culture  is an interdisciplinary high

school art curriculum designed to explore how physics concepts are applied to and influence art

making.  Physics is a broad term which refers to many specific scientific fields, such

as acoustics, optics, astrophysics, classic physics, and classic mechanics.  While these fields

seem entirely disconnected from the discipline of art, this curriculum shows how closely they are

related.   

Through the examination of the ways artists have historically applied theories of physics,

students can apply these theories to contemporary art. While studying examples of relevant

artists, students will then be able to apply the artistic practices of these artists and use the

scientific method to problem solving in their own work. The curriculum is designed to progress

from individual to community-based projects and help students understand how physics effects

both ends of this spectrum. Physics is vital to current conveniences such as air conditioning,

television, and medical advancements such as x-rays. As Parker (2007) discusses, physics holds

the potential to solve contemporary problems like global warming, resource depletion, and

atmospheric erosion (p. 2).  Problems like these can be solved through critical thinking found

within the discipline of physics, and a voice for advocacy can be found through visual arts.  For

instance, artists can assist physicists in redesigning or repurposing current solar technologies to

benefit public spaces through aesthetically pleasing sculptural elements.

Interdisciplinary curriculum that integrates such contrasting disciplines creates room for

students to explore the act of thinking in innovative ways.  When students learn the mechanics of

art making, they begin to form new pathways in critical thinking and creative problem solving

(Scheffer, et al., 2015). This critical thinking approach to solve problems that arise in the

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classroom with materials and content students create, is a direct relation to the importance of

interdisciplinary curriculum. Taylor, Carpenter, Balengee-Morris, & Sessions (2006) state

that “interdisciplinary refers to the explicit recognition and connection of content and instruction

from more than one subject” (p. 6) and allude to the idea of successful

interdisciplinary curriculum leading to students who become “life-long learners” (p . 30).  

Using a visual culture approach to teach an interdisciplinary curriculum, student

engagement increases due to the relationships they build outside of the classroom to the content

within it. Visual culture is a broad term for fine art an popular culture that influences the

preferences of an individual, including movies, games, books, art, comics and fashion.

Educational theorist John Dewey (1939) states that true learning occurs when a connective

experience has been produced.  The incorporation of students’ visual culture in the

interdisciplinary curriculum, students will be able to make meaningful connections. If students

cannot connect the classroom to their own lives, then when presented with situation in their

life, their capacity to act intelligently is severely hindered (Taylor et. al., p. 32). By relating the

curriculum to the images the students see outside of the classroom, the content becomes

applicable, which begins the process of critical thinking.  

The conceptual framework on the front cover of the curriculum, has the intention of

showing the relationship between art and physics. Albert Einstein, an influential physicist,

appears on the right. Einstein discovered the theory of relativity, and his findings will be

explored in the last two units of the curriculum. The paint swirl on the left is a painting named

Opalescence by artist Callen Schaub. Schaub incorporates physics concepts through his process

of pendulum painting and spinning canvases. The formula over the painting is T=mv2/r, where T

is time, m is mass, v 2 is velocity squared, and r is radius. The equation measures the swing time
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of pendulums. The form in the center is a contemporary ceramic artwork inspired by Jomon

pottery. Jomon pottery originated in Japan around c. 14,500 - c. 300 BCE and is the oldest form

of pottery. Ceramics relies on physics through the spinning of the wheel, the force used while

throwing, and heat energy in the kiln while firing. The formula to the left of the vessel is F=MA,

where F is force, M is mass, and A is acceleration. Students will explore this formula while

throwing ceramics on a potter’s wheel.

This curriculum contains three units: Unit One and Two have multiple lessons within

them, and Unit Three is a larger collaborative project. Unit One provides a foundation of skills,

while Unit Two allows for students to add in complexity to the skills previously learned. Unit

Three allows for rehearsal of all the skills acquired in both previous units. The curriculum is

based on a spiral model that takes simpler concepts and skills and revisits them later in the

course or year, leading to a more sophisticated understanding. The characteristics of this

curriculum will support creative processes that explores student’s visual culture. The curriculum

units and lessons make the aims and goals of the lesson transparent to the students. This

curriculum is a planned curriculum because it abides by state standards and has been

premeditatively organized.

Aims and Goals 

Art and Physics: A Scientific Exploration of Visual Culture encourages students to

creatively solve problems that arise through art making and find a creative voice in the process. 

Creative solution finding will be enacted to foster a sense of community where all serious

opinions are heard.  This curriculum has several aims and goals.  Each Aim corresponds to the

following goal.

The aims of this curriculum are as follows: 

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Aim #1 – To encourage the exploration of process and research

Aim #2 – To empower individuals through multimodal thinking

Aim #3 – To promote collaborative learning environments, which fosters community and

advocacy

The goals of this curriculum are as follows:   

Goal #1 – Develop an understanding of the mechanics of art media

Goal #2 – Express creativity through a knowledge of the influence of physics in art

making 

Goal #3 – Understand how physics affects the future and how art can advocate for change

Additionally, each aim and goal is reinforced by the Illinois Art Learning Standards. In

Aim 1, To encourage the exploration of process and research, students will investigate the

mechanics of various art supplies through trial and error, pre-lesson exercises in their scientific

journals, while discovering the impact of physics on materials, as seen in Goal One, develop an

understanding of the mechanics of art media. In accordance with state goal VA:Cn10.1.IIa,

students will “utilize inquiry methods of observation, research, and experimentation to explore

unfamiliar subjects through artmaking” (ISBE, 2016). While students main exploration of media

will be in preliminary art procedures, such as exploring media in their scientific journals,

students will be encouraged to push media to their full potential in their artwork as well.

In Aim 2, to empower individuals through multimodal thinking, students will be

encouraged to explore the impact of art on physics. Students will be given examples of ways

artists have utilized physics theories such as refraction of light, and energy to inform their

artwork. Students will then be encouraged to select a physics concept they want to represent in
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their own artwork. In creating art this way, students understanding of the influence of physics in

artmaking will be solidified. In Goal Two, express creativity through a knowledge of the

influence of physics in art making, students will use the knowledge from their material

exploration from Aim and Doal One, to create aesthetically pleasing kinetic sculptures

mockettes. In creating these sculptures, students will be expected to creatively use materials and

push the boundaries of the materials. In accordance with state goal VA:Cr1.2.II, students will

“choose from a range of materials and methods of traditional and contemporary artistic practices

to plan works of art and design” (ISBE, 2016). In looking at historical and contemporary

examples of how artist used physics to influence their work, a foundation for the application of

abstract ideas in artwork can be formed. Since a foundation of various material was established

in Unit One, students will not be limited in their selection of material in their projects.

Finally, in Aim Three, to promote collaborative learning environments that fosters

community and advocacy, students will use the prior knowledge from Units One and Two to

work in groups to create largescale kinetic sculptures to improve a community space through the

use of energy alternatives, such as solar. In Goal Three, deepen understanding of how physics

affects the future and how art can advocate for change, students will research energy solutions

that can be solved by physics as a foundation for their projects. Students will work

collaboratively on research solutions and use these solutions as inspiration in their group

assignment. In accordance with state standard VA:Cr2.2.Ia “explain how traditional and

nontraditional materials may impact human health and the environment and demonstrate safe

handling of materials, tools, and equipment,” students will be required to utilize nontraditional

materials, such as found objects that will be paired with more traditional media, to advocate for

environmental change. Students will be expected to incorporate their knowledge of materials

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from the previous two units to enhance their sculptures. This unit is also supported by state

standard VA:Cr2.3.IIIa “demonstrate in works of art or design how visual and material culture

defines, shapes, enhances, inhibits, and/or empowers people's lives” because this project aims to

empower students to understand that their artwork can advocate for change.

Importance of Theme 

Stemming from the Greek word for nature, physics is the study of matter and energy and

is foundational to all other sciences. Physics enables us to study the natural world. Physicist

Helen Czerski (2017) claims physics informs us of why the world acts as it does: why we stay on

the ground even though we are hurdling through space, why toast lands butter side down, why

lightning strikes, and why bubbles exist. Physics affects daily life, not just distant topics like

cosmology and quantum mechanics. Physics is all about patterns, and once a small percentage

of these patterns are understood, then all the physics of our daily lives are unlocked (Czerski,

Ted Talks, 2017). The broad spectrum of physics concepts in between the latter fields are still

heavily studied, they are just talked about less frequently.

Historically, physics theories have influenced works of art. Surgeon, author, and inventor,

Leonard Shlain (1991) writes about the relationship between art and physics. He discusses the

nature of physicists as analysts of nature, breaking down its components to their smallest

increments and comparing their intricacies. Artists on the other hand are composers who

transform “features on reality” (p. 1). Although inherently separate, each process has

considerable overlap. Vladimir Nabokov states, "there is no science without fancy and no art

without facts” (as cited in Shlain, 1991, p. 1). Examples of this overlap in fine art and physics

can be seen in the works of Claude Monet, Vincent Van Gogh, and M.C. Escher. Monet closely

studied the laws of physics, and although he was the father to the rather blurry movement of
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impressionism, the way in which he depicted light reflecting off water was more accurate than in

previous paintings (“Legacy of Claude Monet's Impressionism,” n.d.). Van Gogh depicted

nebula and galaxies prior to the science of modern-radio telescopes in his painting The Starry

Night (Rough, 1975, p. 375). M.C. Escher illustrated the rather confusing topic of paradoxical

events, specifically in his piece Drawing Hands, as well as bringing the world stunning optical

illusions and tessellations. These artists and many more have been influenced by physics

concepts. When viewing classical art with physics in mind, interpreting art is enriched and

expanded to go beyond finding meaning in solely the elements and principles of art.

Physics is as much a dominant factor in some artists’ works as art has been for explaining

complex contemporary physics concepts. In the museum installation Terrestrial Physics, (2010),

contemporary artist Jim Sanborn used original notes, drawings, and photographs from Carnegie

physicists to create works that unfold the process of splitting an atom of uranium

(jimsanborn.net). British artistic pair, Ruth Jarman and Joe Gerhardt, have been collaboratively

creating art together for twenty years. In 2018 Jarman and Gerhardt created an interactive

experience where the audience enters a large cylindrical space to view a visual and auditory

representation of data collected by a subatomic particle collider at CERN. Jarman explained the

installation by stating, “it’s an experience. Rather than translating the data, we want to transcend

the data, so that it becomes something else” (Jarman, 2018). While the work is not inherently

scientifically accurate the artists have created an experience, which is informed by particle

physics. The artists pulled inspiration from the data collected and created a visual and auditory

experience for their audience. These artists create visual interpretations of the world’s most

abstract concepts.
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Looking forward to the future of the world, physics is necessary for the development of

energy alternatives for sustainable living. According to the Institute of Physics journal titled The

Role of Physics in Renewable Energy RD&D (2005):

At its most fundamental, physics can be defined as “the science of the properties, other

than chemical, of matter and energy” [11], and ideas and techniques from physics drive

developments in many disciplines, including computing, engineering, materials, science,

mathematics, medicine and the life sciences, meteorology and statistics. [12] Physicists

can apply problem-solving techniques and skills such as mathematical modelling to a

variety of situations.

Unfortunately for the general public, current energy solutions are unsightly and create distraction

from the environment. As vital as physicist are to the development of energy solutions, artists

should be called upon for aesthetic solutions. Artists such as Dee Dee Morrison and Akihisi

Hirata are among few artists who utilize solar technology to create compelling sculptures where

design is not sacrificed for function.

Course Description

In general, the curriculum is an interdisciplinary high school art course that explores the

relationship between physics and art. The curriculum is designed with three units that build on

each other in a spiral form, that starts with simple concepts and skills and builds in complexity.

This curriculum is designed to be especially beneficial to the development of adolescents for

several reasons. Firstly, this curriculum is designed to foster alternative thinking that aids in

solidifying ideas. According to Kerry Freedman (2001), curriculum should be designed as a

process through which students learn. Connections should be made in and outside the classroom

that relate to their lives and be flexible enough to change if necessary (p. 108). Art & Physics: A
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Scientific Exploration to Visual Culture is designed to utilize interdisciplinary curriculum to

solidify ideas for students both inside and outside the classroom and school about the

interconnectedness about the world and learning.

Unit One will discuss how physics affects art media. Students will examine how artists

use imagination to create metaphor in their work through creating chalk pastel drawings

influenced by different acoustics, using their imaginations to create mark making that represents

various decibels and frequencies. Exploring how artists learn from reflecting on the relationship

between physics and media through media explorations and reflections will be completed in the

student’s scientific journals. Students will learn about how the advancement of physics in the

past has enhanced media in the present by researching and creating historical camera lenses and

comparing them to the advancements of cameras used currently. Additionally, students will

understand that the physics behind materials can lead artists to inquire about the potential of

media through the pendulum painting lesson. Finally, the influence of physics on media informs

artists of the potential of media to achieve meaning for audiences. Through an investigation of

traditional ceramic practices of narrative application, students will use these practices to inform

their own narrative applications in a ceramic project.

Unit Two will explore how art has influenced physics and how physics discoveries has

influenced artists. This unit will be based in historical exploration and research. Students have a

foundation of materials from Unit One and can now apply ways that artists use imagination to

understand physics that influences art making. This unit applies how physics in art historically is

achieved through independent reflection and research. Students will research an artist that

utilizes physics as inspiration for their artwork, while utilizing former physics discoveries to
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inform their art works in the present. Through investigating physics concepts applied to art,

students will convey meaning in their work. Finally, students will learn about the influence of

art on physics to teach audiences about the potential for art as a vehicle for representing physics.

Unit Three is a collaborative community advocacy project. The students will be placed

in small groups and create collaborative sculptures that utilize energy alternatives in aesthetically

pleasing ways that will be placed in a community garden. The prior knowledge of media from

unit one and two will be used to create sculptures. Imagination will be used to creatively

advocate for change within their communities using energy alternatives. Through thoughtful

reflection about their prior experiences with materials, artistic practices will be advanced.

Collaborative work is based on an acknowledgement of historical practices that can be applied to

current energy solutions to environmental issues through art making. Similarly to scientific

practices of note taking, data will be gathered about energy alternatives and artistic practices as a

vehicle for advocacy. Art can be used to call upon others who can instill larger change for energy

alternatives within a community.

Developmental Level

The benefits of a spiral curriculum approach are supported by the revised version of

Bloom’s Taxonomy. This educational theory was revisited in 2001, but it remains similar to the

original taxonomy, just shifting from nouns to action verbs. For meaningful learning to occur,

students must go through a hierarchical model: The Cognitive Process Dimension. Students must

achieve lower level skills, such as remembering, understanding, and applying, to achieve higher

levels of cognition, such as analyzing, evaluating, and creating. Students benefit from a spiral

curriculum where concepts and skills are revisited.

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According to developmental psychologist Vygotsky (Meece & Daniels, 2008), the zone

of proximal development occurs where skills that individuals can do with help, but they cannot

do on their own (pg.168). If skills are too difficult to achieve on their own, students become

overwhelmed with the task. If skills are too easy, then students will lose interest. The zone of

proximal development is where learning occurs. This curriculum is designed to connect concepts

in meaningful ways that promote a deeper understanding of how physics and art are involved and

can be used for advocacy for issues. Students benefit from a spiral curriculum due to the

scaffolded nature of its design. The spiral curriculum enables students to build upon concepts

while staying within the bounds of the zone of proximal development. (Meece & Daniels, pg.

128)

Cognitive theorist Piaget (Meece & Daniels, 2008) suggests that “students must have

opportunity to experiment, to question, and to create their own meaning through their own

physical and mental activities” (pg 161). Allowing students time to first explore media and then

apply it in varying levels of complexity, students can construct these meaningful connections.

Freedman (2001), also suggests that students learning is benefited through artmaking due to its

very nature of process and product. She states that “art-making enable students to experience

creative and critical connections between form, feeling, and knowing” (p. 147). Adolescent

students benefit from this curriculum because learning and enacting a positive approach to the

process of experimenting, while learning healthy methods to deal with problems, will provide

students with strategies to use in adulthood.

Finally, is Vygotsky’s theory on collaborative learning. Vygotsky (Meece & Daniels,

2008) alludes that knowledge occurs not at an individual level, but through social interactions.

Meece and Daniels on Vygotsky states that “collaborative learning and problem solving are the
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main vehicles of cognitive change” (pg. 169). This curriculum is designed to promote

collaborative learning. Communication of ideas is at the foundation of the curriculum: starting

with a foundation of open communication of discoveries of materials, to its end of a

collaborative project that impacts a community. By starting with impersonal sharing about

materials, students gain comfort with their peers in idea sharing. Moving towards sharing ideas

outside of themselves, collaborative learning can only occur when students feel safe to share

ideas.

Resources

Throughout every lesson in Art and Physics: A Scientific Exploration of Visual

Culture utilizes a multitude of resource that will aid the students in their creation of artworks,

working effectively with their peers, and researching artists and physics theories. Students will

utilize their sketchbook as a scientific journal. Students will be expected to keep notes across

their process of each of their works in their process sketchbooks. A mixture of technology and

traditional media will be used in creating their projects.

Traditional Art Media:

 Paint
 Brushes
 Canvases
 Cameras
 Chalk pastel
 Pencils
 Various paper
 Ceramic tools
 Clay
 Kiln
 Glue
 Scissors
 Xacto knives
 Makers
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 Pens
 Photoshop
 TinkerCAD
Additional resources proposed for this course:
 PowerPoints
 Video
 Worksheets
 Resource sheets
 Computers

References
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Anderson, A. (n.d.). Art draws out the beauty of physics. Retrieved from

https://www.symmetrymagazine.org/article/art-draws-out-the-beauty-of-physics.

Bates, J., & Hill, N. (2005). The Role of Physics in Renewable Energy RD&D. Institute of Physics

Report, 4. Retrieved from https://www.iop.org/publications/iop/archive/file_52050.pdf

Czerski, H. (2017, September). The fascinating physics of everyday life [Video file]. Retrieved from

https://www.ted.com/speakers/helen_czerski

Dafoe, T. (2018, June 15). How Artist Duo Semiconductor Turned Subatomic Data Into a 'Chiming

Time Sculpture' for Art Basel. Retrieved from https://news.artnet.com/art-world/semiconductor-

audemars-piguet-1300586.

Freedman, K. (2001). Teaching visual culture: curriculum, aesthetics and the social life of art. New

York, NY: Teachers College Press.

Goldstein, L. (1996). Reflexivity, Contradiction, Paradox and M. C. Escher. Leonardo, 29(4), 299-308.

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Guillén, B. (2018, July 11). The Mathematical Secrets of Escher. Retrieved from

https://www.bbvaopenmind.com/en/science/leading-figures/the-mathematical-secrets-of-escher/.
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cork.com/history-of-art/claude-monet-legacy-of-impressionism.htm.

MUSEUM INSTALLATIONS. (n.d.). Retrieved from http://jimsanborn.net/main.html#recent_work.

Meece, J. L., & Daniels, D. H. (2008). Child and adolescent development for educators. New York, NY:

McGraw-Hill.

Metcalf, S. (2004). Instructional Resources: Art and Physics. Art Education, 57(1), 25-32. Retrieved

from http://www.ulib.niu.edu:2519/stable/3194081

Revised Bloom's Taxonomy. (n.d.). Retrieved from http://www.celt.iastate.edu/teaching/effective-

teaching-practices/revised-blooms-taxonomy/.

Richmond, S. (1984). The Interaction of Art and Science. Leonardo, 17(2), 81-86. doi:10.2307/1574993

Rough, R. (1975). METAPHOR IN THE ART OF VINCENT VAN GOGH. The Centennial Review,

19(1), 362-379. Retrieved from http://www.ulib.niu.edu:2519/stable/23738050

Scheffer, M., Bascompte, J., Bjordam, T., Carpenter, S., Clarke, L., Folke, C., . . . Westley, F. (2015).

Dual thinking for scientists. Ecology and Society, 20(2). Retrieved from

http://www.ulib.niu.edu:2519/stable/26270211

Shlain, L. (2007). Art and physics: parallel visions in space, time, and light. New York: William

Morrow.

Van der Veen, J. (2012). Draw Your Physics Homework? Art as a Path to Understanding in Physics

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