OverviewModule Fourteen: |
Time Frame: 20 hours In this module students examine some of the issues that affect visual artists. Topics could include purchasing public art, status of the artist, censorship, racism, feminist issues, stereotyping, politics, funding, etc. |
| Foundational Objectives | Vocabulary and Concepts |
The students will:
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| Common Essential Learnings | Resources |
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| Instruction | Assessment |
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Student assessment in visual art is based on the foundational objectives. Teachers should take into account students' perceptual development, procedural and conceptual understanding, and personal expression. Assessment should be ongoing and include a wide range of assessment techniques focusing on the students' creative and responsive processes, as well as on any culminating product. In visual art, teachers must rely to a great extent on their observation and record-keeping abilities. Students should be encouraged to take an active role in their own assessment.
The teacher should:
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Sometimes controversies arise about a particular art work, especially if the work in question is a publicly owned work, such as a commemorative statue. When artists are commissioned, they often must try to satisfy the expectations of large numbers of people, while at the same time maintaining their autonomy as individual artists. This module provides students with an opportunity to explore such controversies and understand the relationship between artists and the public. If any particular arts controversies are in the news at the time of study, they could be incorporated into this module.
As in other modules, teachers should adapt the following suggested activities for the needs and interests of their students.
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| Traditional Images of Women
The students will:
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| Look at artists' depictions of women from a variety of cultures and times. Have each student research the depiction of women in a particular time period.
As the needs and conditions of a society change, so do the roles of the members of that society. Look at a particular group of women; for example, North American women from before World War II to the present. How have visual representations of women changed in this time period? How do the objects included in paintings and photographs imply information about women and their place in society? What are common themes? Are there differences in themes if the works are by male or female artists? What are stereotypes and how are stereotypes fostered? How does mass media reinforce or change ideas about male and female roles? |
Books, films, magazines, reproductions, etc. with images of women |
| In the nineteenth century, women were beginning to achieve status as artists and individuals. Compare nineteenth century examples of images done of women by female artists to those done of women by male artists. How is the presentation different and the same? Compare student ideas to critical writings that deal with the position of men and women in nineteenth century Western society.
Have students prepare a realistic portrait of a man or a woman who is important to them. Students may want to ask themselves some of the following questions while working:
Display the works and discuss the various points of view and visual clues in the works. |
Books, films, magazines, reproductions with images of women done by both men and women |
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| Contemporary Women's Art
The students will:
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| Gather a selection of contemporary womens' visual art works from a variety of cultures. How do the subject matter, presentation, issues, etc. change in relation to women's art works from earlier times? Why are there so few works of art made by women recorded in the history of art? What is sexism? Is sexism an issue in the history of art? What issues are important to women artists in the late twentieth century? Have students read and discuss articles written by feminist critics.
Many women artists have pushed the limits of the traditions of art and the materials used. View and respond to examples of works by such artists as J. Wieland, J. Hassan, J. Sterbak, G. Falk, E. Roth, B. Astman, G. Cadieux, J. Chicago, etc. How have they expanded the materials and concepts used in their works? Many feminist artists incorporate traditional women's art and craft in their work, such as weaving or quilt-making. Why do they do this? What do the traditional materials say in the context of contemporary work? Have students individually or in small groups interview female artists from the community who use a variety of methods and materials. Ask students to present their findings on the artists' philosophy, working styles, subject matter, etc. to the class. Invite a female artist who is concerned with women's issues to the classroom and ask her to show her work to the class. Inquire about the artist's creative processes. How does she get from the initial inspiration to the finished work? Have students incorporate a traditionally female art (knotting, appliqué, etc.) into a work that expresses their own ideas. Both male and female student should do this. Compare the results. |
Women's art works from the twentieth century
Ideas and Inspiration: Contemporary Canadian Art (slide set and CD-ROM) slides #1A, 10A, 18A, 20A, 24A, 25A, 29A, 30A, 33A, 38A, 44A, 48A, 49A, 3B, 7B, 9B, 12B, 15B, 16B, 18B, 21B, 23B, 26B, 27B Magazine and journal articles about the Gorilla Girls |
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| Minority Voices
The students will:
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| Examine the art of minority groups for examples of the developing voice of such groups during the twentieth century. Minority groups in Canada might include Aboriginal artists, Japanese Canadian artists, artists of colour, etc. What do the works have in common? How are they different? Do the artists always express ideas related to minority status in their work? What variations do the students see within groups? | |
| View works from the slide kit Fear of Others: Art Against Racism. What devices have the artists used to communicate their ideas? Have students use any media or technique to create a work dealing with "art against racism". Assist students by referring to the various devices used by the artists in Art Against Racism (humour, text, distortion, contrast, etc.). | Fear of Others: Art Against Racism by Arts in Action Society (kit) |
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Student Voices
The students will:
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| Students may be considered a sub-group within the larger society. They may want to express their voices about issues that are important to them. Have students brainstorm ideas for the development of works that speak strongly in the students' own voices. Issues may include jobs or the lack of jobs, power or the lack of power, euthanasia, ecology, nationalism, futurism, conformity, etc.
Have each student create a visual image, or write a paragraph or verse about an issue of personal importance. Collect these and put them in a three-hole binder. Add each year to the binder and reflect on the works and the changes that each year brings. Over time, this collection can provide a starting point for discussions and projects related to social issues, change and student voices. |
Students could look through the book Art and Design: A Resource Book for Students by C. Dunn for ideas related to childhood, war, wealth, solitude, death, peace, power, grief, holidays, physical appearance, old age, etc. |
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| Controversies in the Arts
The students will:
From time to time controversies arise about the purchase of a work by a publicly funded institution, the public display of a particular work, the public's response to a commemorative work, or issues regarding funding for the arts. These controversies provide opportunities for debate and discussion, and for teachers to provide students with information about the role of art galleries and other arts institutions such as the Saskatchewan Arts Board and the Canada Council. The following are examples of learning experiences the teacher can provide:
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