PAGE Artists to Know KEITH HARING ‘One of my favourite artists and activists. Keith Haring first became an inspiration for me as he passionately loved to create art. Haring adopted a graft style of art with the notion to make art widely available for Viewers. He produced more than 50 public artworks between 1982 and 1989. in dozens of cities around the world, many of which were ceated for charities, hospitals, children’s day care centers and orphanages’ (The Keith Haring Foundation). What draws me most to his work Is his, passion for creating art. Its inspi resist a conventional canvas and start a complex 19 to see an artist conversation using simplified lines and symbols Although many other artists have had similar successes in using their art for activism, Haring was the first that | was introduced to that really stuck with hitos/wnwharing.com RUTH CUTHAND Ruth Cuthand is Canadian artist who challenges ‘mainstream ideas of colonism in Canada, She is a practicing artist who did a collection called ‘Trading Series’ which used the traditional indigenous practice of beeding images of viruses that the Europeans brought to Canada She most recently has been working on beading @ COVID-19 virus. Another work of hors that find very compelling IsARTISTS To KNOW CONTINUTED. BUBONIC PLAGUE PAGE 2 her instalation titled, ‘Don't Breathe, Don’t Drink” The installation represents the bacteria found in 94 First Nations that have boll water advisories. She finds @ way to spark conversations about injustice and reconciliation through the use of uncomfortable messages that are necessary to address. Her pieces are remarkably beautiful and gracefully juxtapose the: homtific truths she brings to attention. ttpsdfwwnusutheuthand EDWARD BURTYNSKY lwas introduced to the works of Edward Burtynsky through the group exhibition titled, Awakening wich featured artists [. to come together to Imagine a future of peace, reconciliation. equity, and sustainable development, a future empowered by a creativity that has the strength to inspite, disrupt, challenge, and open minds, and also contribute to our human, economic, and social development” (http//arts igontario.ca/awakening-eveil/intreduction/) Edward is @ Canadian contemporary photographer who frequently works with the themes of how humans have impacted nature. He specifically looks at areas that frequently go unthought of yet are heavily depended on such as recycling yards, mine tailings, quarries and refineries | appreciate ancl am draw to his subject matter and fine details he ‘exposes within his work https /Aww edwardburtynsiy.comWHAT IS ART? Artisthe way to make tangible a feeling, concept, or emotion, Physically, itis the production of an artifact ina visual, auditory, or performative form. Artis commonly sub categorized into disciplines. Some common categories include visual art, dance, drama, music, design, literature, performative art architecture and film. Although there are standard classifications, art does not need to conform to one category and frequently is produced as a blend, + challenging andinspirng + imagining and generating * planning and focusing ‘exploring and experimenting + producing preliminary work ‘revising and refining + presenting, performing and sharing ‘reflecting and evaluating hp goxoncafeng/curleulun/eementary ves recognition to specifi cultures/promotes cultural appreciation through cultural fights intollerances/racism brings accoptance and unity breaks socal economic borers ‘ommunicates feeling and mation forthe artist and Peminc) Et incorporates elements and principals of design texture form, space shape, olor, value and line movement. nity, harmony, variety balance, contrast, proportion and pattern + aesthetic pleas + therapeutic + cultural celebration of iviamveducation ‘+ promotes critical thinking + formar stanly evolving 4+ uses elements and principals to achieWHAT MAKES AND ARTIST Bryan Jungan ART 21:VANCOUVER Contemporary Canadian Artists; the creative process Themes and Ideas Explored + whale imagery throughout Vancouver * influenced by the artwork of the first nations on the coast + started working with shoes (Air Jordans) + made connections between the commodification of the shoes and the same thing that happened to native art * colour skemes and designs looked very similar to north-west coast masks * giving utilitarian furniture a voice + using everyday/recognizable objects The Creative Process * connected plastic chairs to create whale skeleton * enjoyed buying shoes then immediately cutting them up + when he first started he worked slower, taking each shoe apart piece by piece + now works very intuitively + its finished when it feels finished * likes the intensisty of time pressure hutps:/an21orgivatch/art.in-the-twentyfrst-cent PAGE 4 Brian Jungen, Warrior 2, 2017. Nike Air Jordans, hide glue, deerskin, 77 x 29 x 24 In. (196 x 74x 61 em) What Art Is and What Art Does ‘+ used to make artwork because he thought he could hide behind it but it turned impossible to talk about art without talking about identity as a Native Canadian + recently moved away from creating what people think native art should look like and towards 20th century modern sculpture + example of how art functions as a cultural celebration and act of education that promotes communication and critical thinking S/vancouver#ihttps!/2"21.org/watchfar-n-the-twenty fst ‘century/slvancower!Brainstorm ideas for activities that Senior Art students could do to fulfill the expectation in the Arts curriculum “Explain, on the basis of research, ways in which various art works are a response to and a reflection of the society in which they were created” (p. 195, The Arts). In this project, students would be instructed to use multi media to illustrate how their exterior portrayal of emotions juxtapose their interior feelings. | would allow this project to be a representation of themselves or of an issue they personally identify with. They would be instructed to Use the elements and principals of design to construct a unified artwork. They would be instructed that using the human form as a subject within their artwork would be optionalINDIGENOUS HOLISTIC LEARNING aoa PAGE 6 THE INDIGENOUS HOLISTIC LEARNING MODEL COMMUNITY WELL - BEING This is something that I consider when planning programs already at the Elementary level and would continue to consider in Senior Visual Arts courses as well.| strongly believe in the necessity of building relationships with all of your stucients and establishing roles of community, belonging, trust. and respect. Multiple factors go into a child's ability to reach sucesses within their learning. It involves the conditions of thelr home life, their sleep, if they had breakfast, if they read at home, if they are having |gsues with their friends, or if they are confronting realizations with their identity, language. sexuality, or culture. There are so many factors that come into play. | have only begin to scratch the surface of some. It is our job as educators to recognize that each student's well-being will effect their ability to learn. After we are able to recognize this, we can put in place steps specific to that student to ensure ‘we can differentiate or provide the supports they may need. SOURCES AND DOMAINS OF KNOWLEDGE ‘One thing that | feel that I do well in my classroom is learn about each of my students and try to ensure they feel represented within the classroom. Whether that be through stories read, artwork on the walls, books available, projects field trips, ete. However I recognize that | have lots of room for growth within ‘his attribute | hope to create greater varience in the sources of knowledge by having experts, community members, and elders join our learning community whether that be in or outside of a traditional classroom environment. LIFE LONG LEARNING Another area | hope to work an is my own learning, Once | adopt the holistic approach, | will be able to to better incorporate these attributes within my teaching. For me it begins with a lot of unlearning, being okay to be In question of my practice and my teaching, and with embracing indigenous and westernized knowledge traditions as | divulge into my spiritual emotional. physical, and mental core.UNIVERSAL DESIGN IN THE CLAS: pe A UDL Challenge within the I Visual Art Classroom i Ensure adequate space and a minium of distractions, so that students can concentrate on instructional elements. One aspect of the Universal Desgin for Learning that could be a challenge to the visual art classroom is access to adequate space and minimal distractions. Not every school is made equally and in some circumastances teachers have to mkae due with the space they are provided. Having a smaller space with large class sizes can limit the size of space needed to create specific pieces of art. This is where it becomes extremely important to orgnaize the space well and eliminate clutter. It can also be a complex task to minimize distractions. As art educators we want to expose our stuclents to a variety of works and styles by other artists as well as showcase our students’ work. It can be difficult to do this in a way that is calming to the eye. To. combat these challenges we can organize our spaces or try doing projects outdoors. We can also rotate what we have displayed : on our walls within the classroom to avoid overstimulation. We can see if there are opportunities to showcase student work outside of the classroom such as hallways display cases, community centres, libraries or other areas of the school or community. PAGE 7 AUDL Practice that Compliments the Visual Art Classroom Use a variety of teaching and learning materials that represent all modalities. |.e., that make use of all the senses, that employ different media, and so on.) Using a variety of teaching and learning materials that represent all modalities is an extremely achievable practice within a visual arts classroom. While there is definitely a time for students to have full control over their creative process and use of medium, it is necessary to provide students with the opportunities to explore a range of medium. Teachers are able to open. Up projects to capitalize on their students strengths while still creating perimeters to ensure sufficient exposure to varied practices, It is necessary to create long range plans to ensure that you have organized your units in a progressive way that allow for logical development. Once students have gained experience with a variety of mediums, educators can release responsibility onto the students to create more student-centred learning activities. A way we can further enhanced is to provide more opportunities to conference with our students to support their ideas and creative process with less rigid assignment guidelines and more independently produced success criteria.UTA TTT Teachers can evaluate what their students are ready fodend| talon Students can be seperated into groups to tackle peeenentet different parts of the learning experience. Some students can work on their initial understanding their level of TIERED learning while still of a task where as others can expand upon concepts already understood. For example a COMPLEXITY individually prallensiatine! group of student can examine key elements Se ae within a historic art work and another group can Revere TinTER ear use abstract thinking to make connections to other artworks or to analyze the social impact and function of the work discussed. of a small exit ticket toa full independent study project. Create student-centred leaning Gage how your students experiences that amplify the learn best after building student's strengths. Put value relationships with them into students working on Some students need more mastring a medium or style rigid structure with outlined while still exposing them to other expectations and set opportunities. Allow the major deadlines. Other students assignments to be created in a have stronger self regulation medium and of a subject of skills to set reasonable interest to them: deadlines of their own. TIERED a(R ASSIGNMENTS Ua Allow for students that need more applied or concrete resources to use textbooks or provide them with specific websites and examples. Allow for students who have the ability to think more abstractly with less examples of finished assignments. TIERED st) struction www teachhub.com/differentiated-instruction-strategies-usin tiered-assignments/#htTIERED ETS CHALLENGES ECE Rc se tiered-assignments/#httl//www.teachhub.com/differentiated-instruction-strategies-using-tiered-assignments Cole a TL poses is the risk that students feel discouraged if they are constantly being given alternate work to their peers. It is Gece Ue MU Toy Nee Reta gM] reel SC UT ere Tare SMeUTe Me) Cong Urn tCs eter Na ae CCT) Tee MSM CMM CeT-UIre-ti(eh} er ery Core gee CUT Clg crt a eC Ce or CT} CoC ecemnC CCM TnL} emer Ure Nt(o MCL mn Tt fTe Torso Without cule projects can easily fall apart. PURE ORL) EU Mg Mout) Eee ae MC a) what you believe they are CET aa ae) Pe RUS anes Came ont eM UY ec eset ames CIRM RUA VARIETY OF When peo} ple first set Out to make art they did'so pee eV did so by epresent things y tying to) appeared in the wor as they them. Eventu; eu ally, ar oe Et what art was "5 PPOs Tom there abstractarry httos://www.youtube;com/watch? his)47e3k PAGE 10 + imagery was leSSFecognisble + hyper realism was not the focus * artists were interested in depicting things non naturalistically «artists stylized, simplified and flattened worldly things ‘represented familiar things in unfamiliar ways * continues to pose the question "what is art?" * Pablo Picasso and George Braque + fragmenting a picture plane, showing multiple sides or perspectives at once «brings emphasis to the flatness of the canvas itself Coorg [inn + Wassily Kandinsky # to communicate with the spiritual world (what the spectator lives or feels depicted as colour, line and space combinations + Tounded by Piet Mondrian + translating trees and architecture into organized arrangements + processed everything into horizongal and vertical lines through binary oppositionsCAN, |ADIAN CONNECTIONS PAGE 11 Mara Barbe ren sagen ea 272 rum pals 12x 182 mearh rocker isa Winnipeg based artist sino has aninterest in Porta TE sual form. His goat's vreplica of colour volume and rhythm experienced, when Iisteningto music, T'S similar io the ideas of artists Te Kandisnsky Wyho also used music with 27) effort that art could act directly O° the soul torecreate 2 utps/actiacca/art-books/berts mn prooker/key-works/so inds-assembling h https’/Awmw.youtuibe.com/watch? 6h5|47¢3kTSS i ih EXPERIMENTING WITH ABSTRACTION Name: Due Date: Getting Started Activity Prompt: How can the use of colour and line depict emotions without the use of recognizable imagry or symbols? Action: Using your sketchbook, take 30 seconds to draw each of the following emotions: excitement disgust sorrow guilt anxiety calmness anger ete. Success Criteria | [have not included recognizable imagery or symbols (ex. smily face) __| The colours I have chosen represent the emotion being drawn __| The lines I have chosen represents the emotion being drawn ~ | There is obvious diversity between my drawings (they do not all look the same) rh x 7 Independant Practice Looking at your sketches from the getting started activity, chose to focus on an emotion that spoke to you to create an art piece in the medium of your choosing (graphite, paint, pastel, sculpture, print, digital etc.). You may refer to reference imagery such as photographs, places, music or create your work based on your rough sketch. Success Criteria | | Thave created an art piece that depicts the emotion I have chosen through the use of line and colour. | | Ihave included at least one technique commonly used by abstract artists, such as: ° action painting (splatter, drip or gestural) collage (reference cubism, dadaism, or abstract expressionism) flattening perspectives minimalism colour blocking Mondrian (binary style) |_| The piece demonstrates Balance PI and Unity | | The piece is NOT a photorealistic representationName: Date: (They ABSTRACT PROJECT RUBRIC avers faa ae) aay ieee} Getting Started Activity Rough work uses recognizable symbols, ro consideration for line and colour in relation to emotions Rough work uses some recognizable symbols, there is some consideration for ine ‘and colour in relation Rough work uses lines ‘and coloure wth considerable effectveness to represent erations Rough work uses lines land colours witha high degree of effectveness torepresent emotions: Application of ‘Abstract Art Style Representation of Emotion Principles of Design Presentation and Effort Comments: Piece does not appear tobe influenced by Abstract Art, There fz 1 similartyin techniques, colours, symbols or composition. Piece is more realistic than abstract and stylized. Piece does not appear tobe influenced by a particular emotion Piece demonstrates an inadequate use of the principals of design and shows limited t0 no planning Piece does not appear 10 be completed. Lite to na effort shawn during dass time. Piece demonstrates some influenced by Abstract Art. There is ‘same simiartyin techniques, colours, smbois or ‘composition. Piece has ‘some realistic ‘components. Piece demonstrates ‘same influenced bya particular emotion Piece demonstrates adequate use ofthe Principals of design Project was completed with miniral effort, ‘student needed frequent remindersto ‘stay on task: Piece shows Abstract influences with considerable effectiveness, with ‘amilar use of| techniques colours, ‘symbols and ‘composition. Colour and Line are used with considerable effectiveness to represent a particular Piece demonstrates effective use of the Principals of design Project was completed with considerable effort, student needed some reminders to ‘stay on task. Piece shows Abstract influences with a high degree of effectiveness, with similar use of techniques colours, ‘symbols and ‘composition. (Colour and Line are used witha high degree ofeffecveness to represent a particular Piece was very carefully planned and shows excellent awareness of Principals of Design Project was completed with a high degree of effort, student worked evidently hard during cdasetimeELEMENTS ACROSS CULTURE INTERNATIONAL SYMBOLISM PAGE 14, jegrees.com/paf/international-Color-Symbolism-Chart. pdfCriteria for Successful Collaboration Collaboration is an excellent way to bring multiple peoples prior knowledge and ideas together to expand learning, Itis necessary for teachers to be mindful of their purpose when creating projects of collaboration. Depending on their purpose, groupings can be determined. Teachers must be mindful of the size of groups they would like to use for a project and who is in each group. Groups can be designed at random, by allowing students to pick their partners or by creating specific, tiered groups. There is no correct way to form a group for collaboration but some may be more useful at different times. For example, teired groupings might be a great way for teachers to spread out strenghts of students in order to create fairness throughout the groups and differenticated learning opportunites for the students. In another effort to create groups, teachers may choose to put students with similar visions or ideas together to avoid or create conflict in the creative process. Teachers must consider how collaborative assignments are to be assessed, Will it be necessary to assess students as a team or individually. For Students and Teachers The task has clear objectives and the ability to be worked on by more than one member. Students have the opportunity to discuss with their group members and share where there strengths may be within the production of the project, Roles are divicled so that each student has a more clarity to their specific objectives within the project. Roles should be divided in @ way that each student feels that they are able to contribute to the project equally and one stuclent does not have significantly more work than another. Students must establish and honour ground rules of respect and trust throughout the project. icism, be flexible, and Students should be willing to listen to their peers, offer icieas, take cr compromise on ideas with respect, Students work through the early stages of the creative process together as they generate and plan their ideas. Students may work individually or collaboratively as they explore experiment, and produce their work. They should frequently communicate with their group members to ask for feedback,TEACHING WITH THEMES David Wilkie, Reading the Will, 1819. Etching on chine collé, 445 x 29.9 em (17 1/2 x 13/4 in) Feonadodal ineitescsu pe iWs8) eines wane. or] plaster (Santa Maria della Grazie. Milan): (photo: public domain) Theodore Céricault, Raft of the Medusa, 1812 canvas, 193 x 282 inches, PAGE 4 Narrative Julie Mehretu, Stadia Il, 2004, Ink and acrylic on canvas, 107 2/5 » 140 1/10 » 21/5 in272.73 « 355.92 «5.71 cm Siemon Allen, The Land of Black Gold, 2004, Printed paper with correction fluid, mounted on foam board panels. 8 feet x 16 feet 8 inches x 3/8 inches (245.8 x 508 x Icm).TEACHING WITH THEMES PAGE 4 Materials and Process 2 : 4 ¢ Jackson Pollock One: Number 31.1950. Olrand enamel paint on canvas, 8' 10° x17 5 5/2" (2695 x 550.8 cm) Willem de Kooning, Woman |, 1952. Oil and metalic paint on canvas, 6 3 7/8" x 58" (182.7 x1473 em) Georges Seurat, A Sunday on La Grande Jatte, 1884.01 on Yayoi Kusama, Accumulation of Stamps, 63, 1962, Pasted Canvas, 2075 « 5081 cm (81 3/4 «1211/4 in) labels and ink on paper. 23 3/6 x 29" (605 x 75.6 cm) ‘Andy Warhol, Campbell's Soup Cans. 1962. Synthetic polymer paint on thirty-two canvases, Each canvas 20x16" robert Mortis, Untitled (Brown Felt) 1975, Felt. overall (50.8 x 40.6 cm), Overall installation with 3° between each dimensions variable panel is 97° high x 163" wide.TEACHING WITH THEMES PAGE 4 Paul Gauguin, Tahitian Landscape. 1891. Oil on Canvas, 67.95 x 92.38cm, Carmen Argote, Starting in the present, 2019. Cochineal and avocado on linen over panel, 122 x 152 cm, Salvador Dali, The Persistence of Memory, 1931. Oil on canvas, 24,1 x 33cm, Claude Monet, Le train a Jeufosse, 1884, Oil on canvas 23 % x32 in (601x812em) 1M. W. Turner, Snow Storm - Steam-Boat off a Harbour's, Mouth, 1842. Oil on Canvas, 1233 « 1535 «145 mm.TEACHING WITH THEMES PAGE 4 Identity Loma Simpson. Wigs (Portfolio), 1994. Portfolio of twenty-one lithographs Frida Kahlo, Self-Portrait with, on felt. with seventeen lithographed felt text panels. overall: 61x 13' 6* Cropped Hair, 1940. Oil on canvas, (197.9 x 411 cm) 15 3/4 x 11" (40 x279 cm) ~ Cindy Sherman, Even Penny. Sel-Portrait, Variation _Untitled#359, 2000. Vincent Van Gogh, Self: ee een Chromogenic color print, Portrait, 1888, Oil on Canvas, aluminum. 95 x 108 x 7em. 30x 20in. 65 x S4em. Byron Kim, Synecdoche, 198). Oll and wax on loan plywood birch plywood and, plywood, each panel 25.4 x 2032 cm (10 x 8 in.) overall installed dimensions variableTEACHING WITH THEMES PAGE 4 Art and Society . Martha Rosler, Patio View. from the series House Beautiful Dorothea Lang, Migrand Mother, 1836. Gelatin silver print. Brining the War Home. 1967-1972. Photomontage, edition T/8 x 8 9/16" (283 x 21.8 cm), ten of ten, 61 x 50.8cm (24 x 20in.) Do women have to be naked to = get into the Met. Museum? A eS Less than 5% of the artists inthe Mod rt Sections are women, but ‘of the nudes are female. GueeraraGas.. Guerrilla Girls. Do women nave to be naked ot get into the Met Museum”, 1989. colour offset lithograph on illustration board, 279 in x 7.1em (11 x 28in)TEACHING WITH THEMES PAGE 4 Everyday Objects Marcel Duchamp, Bicycle Wheel, 1913. metal wheel mounted on painted wood stool, 51 x 25 x 16 1/2" (129.5 x 655x419 cm} Brian Jungen, Performance bonnet, 2019, nike air Jordans, 32 x 31 x 30 In. (81x 79.x76 cm) Wayne Thiebaud, Three Mashines, 1963. Oil on canvas, 30 x 36 Ai Weiwei Sunflower Seeds 2010, Porcelain. V2 in, (76.2x 92.7em) Overall display dimensions variable.GRADE 12, UNIVERSITY/COLLEGE PREPARATION A2.2 APPLY THE EL NTS AND PRINCIPLES OF DESIGN AS WELL AS A WIDE RANGE OF ART-MAKING CONVENTIONS WITH INCREASING SKILL AND CREATIVITY TO PRODUCE ART WORKS THAT COMMENT AND/OR COMMUNICATE A CLEAR POINT OF VIEW ON A VARIETY OF Issues B2. ART, SOCIETY, AND VALUES: DEMONSTRATE AN UNDERSTANDING OF HOW AR, work: ECT THE SOCIETY IN WHICH THEY WERE CREATED, AND OF HOW THEY CAN AFFECT BOTH SOCIAL AND PERSONAL VALUES.ART AND SOCIETY RUPI KAUR Rupi Kaur is a Canadian artist and poet who did a series titled "Period." | feel that tucients, especially our students with periods will be able to find this piece extremely current and relevant to their current lives. Kaur posted this image on Instagram. a platform that removed it twice. Her purpose of the seres of photographs was to normalize and bring awarenesses to the negative stigmas surrounding something that a large por of the popul: 1» go through every month. From that population, some people struggle with pain and other symptoms that affect aspects of their life. She mentions that some people are more comfortable sexualizing and objectifying women than they are to witness the natural Rupi Kaur and Prabh Kaur, Period, 2015, Photograph posted to Instagram, Dimensions are variable,See aoe aac Cc ne SLR eee a Cd oo ae ee aCe a Oe eRe CaS performance through camera light flashes that Cenc ay Peter RS ae ea acd then developed to document this process SPU eee ee archive out, moved the audience in, then attacked the sculpture in the darkness” says RO Cee On nea minute performance are illuminated only by Oca CROC CR Sry creating a series of ‘live* photographs. ‘It Fee Nee we eae trans and queer bodies beyond the historical eee Ca ee ad camera and witness to the beating, and the CCU aes acc] OEE ca eR east nag genderqueer and trans brothers and sisters are SC oe ae Rei OC a ace po eee Gee Gee ce eae Sed LE era ee eae ee Ete bodybillder-agsist) eet eae ere aaa eC ee eC Re eesART AND SOCIETY REBECCA BELMORE This peaceful photgraph created by Rebecca Bimore depicts a woman sleeping. The photgraph has been cut into one inch strips and hung. Themes behind this artwork indicate family, femininity, and peace that have been torn apart through Violence. It represents the unusually high percentage of Indigenous women who are reported missing or murdered Rebecca Belmore, State of Grace, 2002, Inkjet on paper, 122 x 152 cm.ESMAA MOHAMOUD Esmaa Mohamoud is a Canadian Sculpture Artist who creates based on the themes of diversity celebration and racial marginalization She ‘explores the ways in which Black bodies t once appear—and yet are rendered metaphorically invisible—within the spaces they navigate. She aims to re examine understandings of contemporary Blackness, questioning the definitions of Blackness as a colour and shade, andor as a societal or cultural construction, Mohamoud draws on the moder industry of professional sports. which she equates with a covert form of neo-slavery. She transforms athletic equipment and symbols to illustrate pervasive. discriminatory behaviours and attitudes based on race. class. gender. and sexuality. She examines collective and individual struggle, focussing on the homogenization of bodies within high-level athletics, and the enforced playout of ween Black competitive violence ben subjects. Through sculpture, photography Video, and installation, she investigates how high-level athletics operate as sites of corporate profit and discrimination.” Esmaa Mohamoud, Glorious Bones, 2018, Repurposed football eer londoncajexh ‘tp/museumlondon ca/exhibitions/esmaa RSS CaS ae RC UCL P -mohamoud-terplayin-the-face-of-certain- defeat)