GLEN RIDGE PUBLIC SCHOOLS
Curriculum Guide
Subject: Visual Arts
Grade Level: 12
Department/School: Visual
Arts/ High School
Duration: Full year
Number of Credits: 5
high school credits
3 college credits
Prerequisite: Gifted and Talented Art
Elective or
Required: Elective
Author: Nancy Coon
Date Submitted: Summer 2005
Studio Art AP
The Advanced Placement
Studio Art course is for the student who would like to be challenged with the
development of a portfolio for college admission and taking the advanced
placement exam in Studio Art. The focus
of this course is the development of a concentration project in either Drawing
or 2-D Studio Art. The concentration
must be a commitment in depth of twelve projects within the study of a
particular artistic concern. The
projects will be included with twelve other works accomplished in the Gifted
and Talented Art course for the Advanced Placement Studio Art portfolio.
The second intensive
focus in the course involves the
GLEN RIDGE PUBLIC SCHOOLS
VISUAL ARTS
An education in the arts is an essential part of the academic
curriculum for the achievement of human, social, and economic growth. An arts education enables personal,
intellectual, and social development for each individual and strives to enhance
the student’s sense of confidence and self-esteem. The visual arts are uniquely qualified to
cultivate a variety of multiple intelligences with powerful ways of
communicating ideas, thoughts and feelings.
A well-rounded program for intellectual growth must support the
development of spatial, kinesthetic, interpersonal and intrapersonal
intelligences. Creativity in solving art related problems provides students
with values that will prepare them for leadership positions in future endeavors
as well as an enriched quality of life.
Visual Arts
STANDARD 1.1
(AESTHETICS)
STANDARD 1.2
(CREATION
STANDARD 1.3
(ELEMENTS
STANDARD 1.4
(CRITIQUE)
STANDARD 1.5
(HISTORY/CULTURE)
AP STUDIO
The basic structure of the AP Studio Art course is
an emphasis in the development of one of two portfolios offered by the College
Board: the Drawing Portfolio or the 2-D Design Portfolio.
Each of the portfolios asks the student to achieve
the following:
Section
I: The quality section: to select
works that best exhibit a synthesis of form, technique and content.
Section
II: The concentration section: to
demonstrate a depth of investigation and the process of discovery.
Section
The requirements for each portfolio are as follows:
DRAWING PORTFOLIO
Section
I: 5 actual works that excel in
concept, composition and execution.
Section
II: 12 slides: a series of works
that organizes around a compelling visual concept in drawing.
Section
2-D DESIGN PORTFOLIO
Section
I: 5 actual works that excel in
concept, composition and execution.
Section
II: 12 slides (some may be of
details) of a series of works organized around a compelling visual concept in
2-D design.
Section
All three sections are required and carry equal
weight, but students are not necessarily expected to perform at the same level
in each section to receive a qualifying grade for advanced placement. The works presented for evaluation may have
been produced in art classes or on the student's own time and may cover a
period of time longer than a single school year.
CCCS: 1.1A1,
1.1A2, 1.1A3, 1.1B1, 1.1B2, 1.3D1, 1.3D2, 1.4A1, 1.4A2, 1.4A3, 1.4B1, 1.4B2,
1.5A2, 1.5B2
Objectives:
The student will:
1. Understand the study of aesthetics as a philosophical
process that deals with questions about the nature and the meaning of art.
a.
identify
intentions of those creating artworks.
b.
explore
implications of various purposes of art.
c.
justify
an analysis of purposes in particular works.
2. Weigh conflicting ideas about art to achieve
a personal coherent viewpoint.
a.
people
tend to depend more on what they know than on what they see for information
from their environment.
b.
people
tend to make compromises between knowledge and visual information.
c.
people
who use cognitive, visual, and tactile information have a better basis to be
creative.
d.
creative
potential must be nurtured through motor-cognitive activities.
3. Apply independent and artistic judgments as
well as personal opinion when responding to works of art.
4. Articulate or express satisfaction and pride
in his/her creativity and self-expression.
5. Develop an appreciation for and the value of
world-wide preservation of cultural heritage, the diversity of ideas and
artistic freedom.
6. Demonstrate an understanding of different
aesthetic philosophies through the evaluation and analysis of artistic styles,
trends, and movements in an art form which will increase an awareness of the
impact of the cultural influences on the perception of visual stimuli.
Activities:
The student will:
-
Become
aware of the three aesthetic qualities that are discussed most often by
aestheticians:
a. Imitationalism…literal
qualities: the realistic qualities that appear in the subject of the
work.
b. Formalism…design qualities: how well
the work is organized using the elements and principles of design.
c. Emotionalism…expressive
qualities: those qualities that convey ideas and moods.
-
Realize
different sources for inspiration that lead to problem solving activities in
the development of a creative solution. Possible
sources are:
a. nature
b. people
and real world events
c. myths
and legends
d. spiritual
and religious beliefs
e. media
techniques
f. artists
of the past.
g. ideas
commissioned by others.
Projects:
1. Compare
the reviews of a work of art by two different sources. Analyze the approach each took and write an
essay on your findings. Illustrate which
view points with which you agree or disagree and state why.
2. Critique
a work of art completed by a student and assess the work using the art critique
process and aesthetic theories of understanding a work of art.
3. Research
the work of two artists that used a similar theme in his/her work but created
the work in different time periods. Select artists that had similar content,
media, or techniques in which you plan to use for your concentration
project. Write an essay explaining your
findings and how it may affect your approach to your project.
Duration of
Project: 2 weeks of class work and
homework.
CCCS: 1.1A1,
1.1A2, 1.1A3, 1.1B1, 1.1B2, 1.2D1, 1.2D2, 1.2D3, 1.2D4, 1.3D1, 1.3D2, 1.4A1,
1.4A2, 1.4A3, 1.4B1, 1.4B2, 1.5A1, 1.5A2, 1.5B1, 1.5B2
Objectives:
The student will:
1. Refine perceptual, intellectual, physical and
technical skills utilizing the art elements and principles of design through
the used of varied media and techniques.
2. Effectively use a variety of tools,
equipment, media and processes which promote a content that expresses a
communication and understanding of an idea, mood, or feeling.
3. Demonstrate through the creative process an
understanding of the elements and principles of design and how they relate to
the impact of an expression of an idea, mood or feeling in two or
three-dimensional art forms.
4. Demonstrate an awareness of and an adherence
to known health and safety practices.
5. Indicate awareness to the appropriate use of
time to the completion of an assignment.
6. Apply the critique process throughout the
development of an art product.
7. Cultivate an appreciation of art-related
careers.
8. Complete art works for use in a college
application portfolio or for partial qualification for the AP Exam.
Projects:
Students must
complete 12 art works within the course that will qualify for the concentration
portion of the AP exam or a college admission portfolio.
The Concentration
section of the AP exam is a body of related works based on an individual's
interest in a particular idea expressed visually. It focuses on a process of investigation,
growth, and discover. Students are
encouraged to explore a personal, central interest as intensively as possible, and
work with any idea in any medium that addresses the issue. The concentration should grow out of, and
demonstrate, a plan of action in which the student has invested considerable
time, effort and thought. The visual evidence of the student's thinking,
selected method of working, and the development of the work over time will be
evaluated.
For this section, 12
slides must be submitted. The
concentration works should be unified by an underlying idea that has visual
coherence. The student in consultation
with the teacher makes the choices of techniques, medium, style, form, subject,
and content. A written commentary
explaining the development of the concentration must accompany the work in this
section.
Students are asked
to respond to the following:
1. Briefly
define the nature of the concentration project.
2. Briefly
describe the development of your concentration and the sources of your
ideas. You may refer to specific slides
as examples.
3. What
medium or media did you use?
The responses
provide critical information for evaluating the artwork. The writing should be legible and well
written. Responses to the first
statement should be formulated early in the year. Responses should be concise.
Examples of Concentrations:
A concentration
could consist of a group of independent works that share a single theme:
example…an in-depth study of a particular visual problem or a variety of ways
of handling what the student thinks is an interesting subject. The investigation of a medium in and of
itself, without a strong underlying visual idea, generally does not constitute
a successful concentration.
The list of possible
concentration topics is infinite. Below
are a range of possible ideas:
1. A
series of expressive landscapes based upon a personal experience of a
particular place.
2. Abstraction
developed from cells and other microscopic images.
3. A
series of self-portraits with a specific theme.
4. An
interpretive self-portraiture and figure studies that emphasize exaggeration
and distortion.
5. A
personal or family history communicated through the content and style of
still-life images.
6. A
project that explores interior or architectural space, emphasizing principles
of perspective, structure, ambiance created by light, etc.
7. A
figurative project combining animal and human subjects… drawings, studies, and
completed works.
8. An
interpretive study of literary characters in which mixed media, color and form
are explored.
9. The
use of multiple images to create compositions that reflect psychological or
narrative events.
10. A
series of explorations dealing with design problems such as reflections.
All concentrations
must be submitted in slide form. The
slides should be organized to best show the development of the
concentration. Some of the twelve slides
required may be of details. Because the
range of possible concentrations is so wide, the number of works the student
creates should be dictated by the nature of the project. The chosen topic should be explored to the
greatest possible extent and the selection of 12 works should represent the
best in the process of investigation.
Sections II and
MIDDLE COLLEGE PROGRAM
The University approves the course material and
supplements the advanced curriculum with professional lectures, studio
experiences, theater experiences, and field trips to professional art studios,
art exhibits, and museums. In addition, high school students may use the varied
resources of the University, including the campus libraries and computer
facilities. Participating students may
attain advanced standing and college credit through the Middle College Program.
Students enrolled in
the program must attend four field trips during the school year. Upon returning to the classroom, students are
challenged with a problem-solving activity related to the field trip
experience.
The following
examples have been an integral part of the program:
I. Art studio experiences at
FDU campus:
A. Figure drawing class with a live model.
Class work:
1. Quiz
on what was learned from the class.
2. Drawing
figures from classmate models.
3. Final
composition that emphasizes the figure as the focal point.
B. Portraiture.
Class work:
1. Quiz
or discussion of what was learned.
2. Interpretation
of a portrait into an expressionistic painting.
C. Computer graphics.
Class work:
1. Applying
computer techniques as the media for one of the studio exercises included in
the final portfolio.
2. Using
FDU class exercise as part of a collage for use in the final portfolio.
D. Caricatures.
Class work:
1. Discuss
examples of a collection of caricatures from newspapers and magazines.
2. Apply
techniques learned to a caricature of a famous person in society.
II. Interaction
with a fine or commercial artist or a visit to a professional art studio.
A. Architecture, Town Planning, Interior Design
1. A
visit to the
a. Arranged
by: Steve Plate, former mayor of
b. Lecture
and demonstrations by engineers and designers of the program at the Port
Authority headquarters at the
c. Trip
to the airport to visit the site where the drawings and models viewed were
actually being constructed.
Class work:
a. Create
architectural models for a futuristic city including modes of transportation.
b. Research
concerning future transportation and design possible solutions to the problems
that may exist.
2. A visit to the
a. Arranged
by Steve Plate, former mayor of
b. Lecture
by town architect about the renovation of the train station.
c. Walk
through the building with an open discussion of what the town planners
envisioned in the redesigning of the structure with questions for student input
in solving the town problem.
Class work:
a. Design
a solution to the train station renovation and submit solutions to the town officials.
b. Work
with GRAPA (Glen Ridge Patrons of the Arts) to submit an on-going exhibit of
student work to the finished train station.
3. Skidmore,
Owings, & Merrill and Center for Health and Healing
a. Arranged
by Linda Potter, interior designer and art parent, and Mr. Wimer,
b. Lecture
by Mr. Wimer on commercial architectural projects undertaken by Skidmore,
Owings & Merrill with a presentation of the conception of an idea to the
final product; the different levels of execution of a project and the personal
perspective of how a career in architecture may be pursued.
c. A
visit to the Center for Health and Healing to reveal the environmental concerns
included in the architectural plans for the care center.
Class work:
a. Discussion
and research of possible career choices relating to architecture, town planning
and interior design…the nature of the work, the educational preparation for a
position in the field, and the positive and negative aspects of the career.
b. Quiz
on the aspects of using recycled materials in new structures.
B. Fashion Design
1. Ecko Studios
a. Arranged
by Mike Lynch, lawyer and husband of former art teacher.
b. Tour
of Ecko studios and visit with artists at the site who are responsible for
various responsibilities within the design firm. Meet Marc Ecko, the owner of the
multi-million dollar firm, to discuss his business success at the age of 28
years old. Tour Macy's department store to see the final stage of designs to be
sold.
Class work:
a. Research
the careers in fashion such as: fashion
designers, fashion illustrators, art directors, fabric designers, graphic
designers.
b. Create
a silk-screen for a T-shirt.
2. Beautiful Things
a. Arranged
by Nancy Coon, friend of Nell and Austin Goodwin, jewelers and owners of store.
b. View
original works of art for sale…jewelry, ceramics, wood pieces, fabrics,
clothing, hand-blown glass items, etc.
Discuss careers in retail and that of a fine artist. Also visit the
studio of a former student whose jewelry works are on display.
Class work:
a. Create
a design for a collage that would incorporate a piece of jewelry as part of the
collage.
b. Create
a display for the collages at the art festival and sell the pieces as a
fundraiser for scholarship funds for an art student.
C. Three-dimensional Forms
1. Macy's Parade Studio
a. Arranged
by Jordan Dabby, Marketing Manager of Macy's Annual Events
b. Tour
Macy's Parade Studio in
Class work:
Write a reaction paper that reflects a direct response to the
introduction of art in the commercial world of the Macy's Parade Studio.
2. Sand Sculpture
a. Arranged by Nancy Coon
Read article about internationally well-known
sand sculptor, John Goudy.
b. Students
meet John Goudy at
Class work:
Create the same sculpture in Pariscraft and compare the effects of the
media as it is related to the final form.
D. Fine Art
1. Janet
Fish, painter
a. Arranged
by Nancy Coon through the
b. Visit
the gallery at the
Class work:
Using photo-realism as an approach to a still life, focus on the
reflections and shadows that the combination of objects may present.
2. Diana Soorikian
a. Arranged
by Diana Soorikian, FDU Professor in
b. Visit
the Viridian Gallery where her work is shown.
Professor Soorikian discusses the conceptual approach to the paintings,
qualities of oil versus acrylic media, and interpretations of the subject
matter.
Class work:
Select a particular subject and illustrate the theme in 3 different
compositions using different media.
3. Peter Max
a. Arranged by Mr. Weedfald, art parent
b. Visit Peter Max and tour his studio. A discussion about the importance of drawing is
emphasized constantly as Peter Max explains his art in both the commercial and
fine art worlds. Examples of
"cow" sculptures make an impact on the group.
Class
work:
Create
paintings using a cow theme.
A.
1. Arranged
by Nancy Coon to create an awareness of the quality of work created by high
school students.
2. A
visit to "Fresh Perspectives", an exhibit of high school art forms
selected by professional jury.
Class work:
From the sketches done from the works on display at the museum,
incorporate the sketched forms into a new composition and complete the design
using any media of choice.
B.
1. Arranged by Diana Soorikian, FDU professor
2. View
paintings in the opening of the new MOMA.
Class work:
Select the works of three artists that used watercolor in different
ways. In a comparative essay about the works,
describe how the media was used, the themes explored in the works and the major
contributions each of the artists made to the history of art.
C. Grounds for Sculpture
1. Arranged
by Nancy Coon
2. Walk
through the grounds and the galleries and view the many sculptures.
Class work:
Select a sculpture and sketch three sides or different angles of the
one you would like to interpret as part of a theme for a large acrylic
painting. Indicate the name of the
artist, the title of the work and the media used on your sketch. Note the tones within your drawing based upon
the light source that highlights the 3-dimensional quality of the piece.
Photograph the sculpture for future reference.
Ask teacher to photograph if necessary.
D. Annual Art Show at the Armory, NYC
1. Arranged by Nancy Coon
2. Attend
the Art Show sponsored by the Art Dealers Association of America that includes
the art work of nearly 75 galleries.
Class work:
Using a famous work of art, interpret the composition in one of the
following ways that emphasizes linear or tonal qualities, mixed media,
simplified shapes, or stylized forms such as cubism, impressionism,
expressionism, etc.
E.
1. Arranged by Nancy Coon
2. Visit
both museums and note the diversity of individual artistic expressions, the
various artistic forms, and the media and techniques employed in the creation
of the forms
Class work:
Write a reaction paper to the visits of both museums. Include specific art forms that were most
exciting, confusing or disturbing to you and express why. Note the uniqueness
of the museums themselves.
IV. Theater
Experiences
A. "Lion King"
1.
Arranged by Nancy Coon
2. After
viewing the works by Julie Taymor, a field trip is scheduled to see the
animated sculptural forms, costumes, etc.
Class work:
Write a reaction paper on how the various art forms (music, dance,
writing, and the visual arts) contributes to the total effect of the
production.
B. "Blue Man Group"
1. Arranged by Teresa Bruck, costume designer
2. Attend
the performance and meet with Teresa Bruck who explained the background of the
performers and the career of costume designing.
Class work:
Describe which section of the presentation was most effective and
why. Explain how one would pursue the
costume design field.
C. "Aida"
1. Arranged by Nancy Coon
2. Attend
the production and meet the cast for "Behind the Scenes" discussion.
Class work:
Write about the interaction of the arts that produced a particular
expression of the theme of "Aida".
Identify the elements in the visual arts that enhanced the mood in the
production. Include what backstage
effects aided the total effect of the performance.
D. "Vincent in Brixton"
1. Arranged by Nancy Coon
2. Attend
the production to understand the theatrical experience that interprets the life
of Vincent Van Gogh as a teenager.
Class work:
Describe the character study of Vincent in the play and compare your
reaction to research about the same time period in his life. State your findings with resources.
E. "
1. Arranged by Nancy Coon
2. Attend
the production and be aware of the effects that make it a stylized
production. Observe, analyze and
understand how the visual rhythms relate to the dance.
Class work:
Research the times when the original musical was produced and describe
the arts of the time including composers, writers, musicians, artists, etc.
F. "Hairspray"
1. Arranged by Nancy Coon
2. Attend
the production and be concerned with the elements that set the era of the
production.
Class work:
Describe the elements that identify the time in which the production
takes place. Discuss the changes that
took place within the interaction of the characters and how that was presented
through the production.
CCCS: 1.1A1,
1.1A2, 1.1A3, 1.1B2, 1.2D1, 1.2D2, 1.2D3, 1.2D4, 1.3D1, 1.3D2, 1.4A1, 1.4A2,
1.4A3, 1.4B1, 1.4B2, 1.5A1, 1.5A2, 1.5B1, 1.5B2
Objectives:
The student will:
1.
Demonstrate
a working knowledge of the elements of art criticism.
2.
Apply
criteria for observing, analyzing and understanding visual expression to decode
in order to share the meanings of art works through art criticism.
3. Establish a set of evaluative criteria to
assess personal artwork and the work of others.
4. Articulate and support criticism based upon
aesthetic criteria.
Activities:
-
Assess
the characteristics and merits of individual works through the identification
of the implications of various techniques utilized in the communication of
ideas, attitudes, views, and intentions in the artwork with the use of art
criticism operations.
-
Use
various techniques to assess the work in progress within the concentration
unit.
a. a rating scale with student/teacher
assessments.
b. a self-reflection form.
c. a portfolio reflection.
d. a peer critique rating scale
e. a written comment on concentration
projects.
-
An
assessment of the
CCCS: 1.1A1, 1.1A2, 1.1A3, 1.1B1, 1.1B2, 1.3D1,
1.3D2, 1.4A1, 1.4A2, 1.4A3, 1.4B1, 1.4B2, 1.5A1, 1.5A2, 1.5B1, 1.5B2
Objectives:
The student will:
1. Identify and describe various visual art
forms from different historical and contemporary periods and cultures.
2. Recognize various styles and trends in the
history of art through research.
3. Recognize representative artists and their
roles in society.
4.
Develop
an understanding of art history as a reference tool for personal expression.
5. Utilize a variety of sources, which can be
found in museums, galleries, cultural institutions, and the community to
identify the different art forms used in business, industry and the
professional fields.
6. Recognize the different techniques used to
produce a work of art through an investigation of the works of various artists.
7. Recognize the importance of preserving the
artistic heritage of various cultures as well as the art from American ethnic
backgrounds, which illustrate variations in style.
8. Develop an understanding of recurrent social
and cultural themes and the subject matter in different cultures.
9. Develop a comprehension of how the visual
arts interrelate with other forms of creativity through comparisons of
contemporary dance, music, drama, and literature with contemporary visual arts.
10. Develop an understanding of the relationship
among works of art, individuals, and the societies in which they were created.
11. Identify the general style and period of
major works of art and relate to the social, political and economic factors
that influenced the works.
Activity:
I. Do
a comparative study of two artists whose works were seen on a museum field
trip.
II. Research
diary of themes, media, or techniques explored that were related to the
concentration project.
Armstrong,
Carmen L. DESIGNING ASSESSMENT IN
Dantzic,
Cynthia Maria DESIGN DIMENSIONS, An
Introduction to the Visual Surface,
Davis, Maggie Teacher's Guide to AP course in STUDIO