How can teachers facilitate the construction of knowledge about new artifacts?
How do teachers determine and justify the relevance and significance of a theme ?
How does development impact learning?
Checking in
Responding to artworks: living strategies
Intro to Thematic Rationales
Work Time
Closing
I can engage in exploratory, analytical thinking when responding to artworks.
I can live strategies that would be beneficial in a classroom setting when guiding students through the analysis of the artworks of peers and professional artists.
I can explore the procedure of writing a Thematic Rationale for a unit of study.
I can generate a Thematic Rationale justifying the relevance and significance of my Big Idea.
At what point am I didactic?
At what point do I lead?
At what point do I follow?
At what point do I listen?
At what point do I tell?
At what point am I clear?
At what point do I remain ambiguous?
At what point do I praise?
At what point do I redirect?
At what point do I seek to evoke confusion?
What questions do I ask of myself?
What questions do I ask of my students?
Looking at the prototypes of your peers, pick at least ONE to respond to.
what do you SEE when you look at their prototype?
what does it make you THINK of?
what do you WONDER?
Pick a different peer partner to respond to this time!
T - Tell your partner one thing that you enjoy about their piece
A - Ask your partner a question about their piece/process
G - Give one suggestion for how they could make their piece even more amazing than it already is
Looking at this artwork, write down the following in your journal for this course:
D- Describe: What do you see? State the obvious!
A - Analyze: What artistic decision making, compositional strategies, principles of design etc. does this artist intentionally employ in this piece?
I- Interpret: What meaning do those choices add to the work?
J- Judge: In your opinion, based on the above evidence, does this artwork successfully communicate what the artist seems to intend to communicate?
A more extensive breakdown of the Feldman Model
BEINGSAFEISSCARY (2017)
Ten aluminum letters borrowed from the Fridericianum and six letters cast in brass after the existing ones
Based on graffiti existing on a wall at the National Technical University of Athens as of
April 6, 2017
57.5 × 1085 × 1 cm overall
Coproduced with Kunstgiesserei St. Gallen, Sitterwerk, Switzerland
Fridericianum, Kassel
What do you think about the above piece-- installed on a Neoclassical building?
Does it make a difference if this is scrawled on the wall in graffiti (left) or if it's installed on a Neoclassical building (seen above)?
Is being safe scary?
When is it hard to make a safe decision?
When have you chosen to be safe and now know it was the right decision?
When have you found that a risk was the best choice?
The slogan is Cennetoğlu’s tribute to Gurbetelli Ersöz, a Kurdish journalist who joined the Kurdistan Workers Party, a guerrilla army, and died in 1997 when a German-made, Turkish-operated tank blew off both of her legs.
The phrase is from graffiti [that Ersöz observed and wrote about in her diary] on a wall at the National Technical University of Athens (2017). It echoes the bravery in Ersöz’s diaries, which were published a year after her death in Germany and are now banned in Turkey. It is likely that Ersöz’s legs were blown off by a Leopard Tank, manufactured in Kassel and sold to the Turkish military.
Kassel, one of the epicentres of Nazi Germany, is home to the work of 160 artists spread out across the city for documenta 14 – an exhibition of contemporary art which has taken place every five years since 1955. The founder of documenta, Arnold Bode, was eager to showcase what the Nazis called Entartete Kunst or Degenerate Art in his hometown. As a result, documenta was designed to grind the Nazi interlude into dust. At documenta 14 in 2017, Ersöz’s words, “Being safe is scary” are meant to link Bode’s animosity towards Kassel’s Nazi past to Cennetoğlu’s tribute to the journalist.
...Sniffing at the edges of Kassel are not only the tank manufacturers, but also the neo-Nazis. ...Halit Yozgat, a Turkish-German, was the ninth person to be murdered by a neo-Nazi group [on April 6, 2006.] ... A German intelligence officer Andreas Temme, who despite being embedded in a fascist cell at the time Yozgat was killed, claims not to have noticed anything remiss with the group’s activities."
(let's take a break)
Make a copy of the above file, title it "NAME_Thematic and Developmental Rationale Sp21" and add it to your Strategies Folder (shared with me)
Start plugging in your thoughts now and as you go, replace the blue text with your thoughts!
Pull from your Art - Self - World Diagram, and pull from the 10 Artifacts that you found that support your Big Idea across disciplines, cultures and time periods!
If you have time, read the College Board resource (page numbers below) and add in developmental justification for engaging your learners in this Big Idea in this particular way.
Whatever you don't finish in class tonight will be the only homework assigned
Child Development and Arts Education: a review of Current Research and Best Practices
First, refresh your knowledge of development by age bands (elem, middle, high) by reading the College Board developmental report:
SKIM pages 4-9 (executive summary)
SKIM the far right Visual Art column on the chart on pages 9-12
READ all of pages 47-57 (although it's okay to skim the age groups that are not relevant to your thematic unit)
Finish your thematic / developmental rationale draft for your unit
This is your DRAFT and will be revised before you copy-paste it into your thematic unit plan.
Use the outline provided to create a short justification that answers the question, "Why this, why now?"
If you didn't finish doing so before, add your favorite Responding to Art strategy from tonight to your Strategies Archive
Summary of what must be turned in to Canvas:
Thematic Rationale draft (started in class, finished for homework) added to your folder and shared with me!
Favorite responding strategy from tonight's class added to your archive
Entryways Into Contemporary Art: Teaching Through Thematic Lenses (video) Marshall, Stewart & Thulson - NAEA presentation, Spring 2021