Art 31004: Teaching Practicum Lesson Plan Format ...



Erin A. Bilbrey

Transformation

1. Title

The title of this lesson is: “Transformation.” It is connected to our group’s sub-theme of “Community Connections” because the artwork shows changes in the communities of the artists and the art world. The sub-theme is related to the theme of Saturday Art Program this semester, “Spaces and Places,” because it teaches students about how communities change.

2. Overview

In this 1.5-hour lesson, 7 to 9 years old students will learn about “Transformation” by examining and discussing the artworks of Pepon Osorio, Robert Rauschenberg, and Cai Guo-Qiang. Students will make use of clay to create a sculpture transforming an ordinary object into an extraordinary one and learn about domination and subordination, Students will also learn about basic coil construction, slip and score, use of clay tools, and additive sculpture techniques.

3. Learners

A) Artistically, students of 7 to 9 years old are ready to use clay because they have better control of small muscles in their hands, which allows them to manipulate clay more easily. They will also be able to make smaller details in the clay sculpture during their transformation of an ordinary object, letting them express their ideas more clearly. Also during this stage of art development, students want to portray their abstract ideas in a realistic way. This medium makes transforming an ordinary object into an extraordinary one an excellent way to portray those ideas. (Wachowiak & Clements, 2006).

B) The topic of “Transformation” will relate to children of 7 and 9 years old because according to Clements & Wachowiak (2006), children at this age are beginning to develop their own aesthetic values, therefore they will look at a normal object transformed as a piece of art. The topic will be of interest to them because they are interested in fantasy, so this will be a way to show them how normal objects can be turned into something fantastic and unique. Thus, the three artworks will be meaningful to their understanding of “Transformation” because it has three examples of normal, every day objects being changed and manipulated to create pieces of art. The background information about the artworks also shows how communities can change and evolve, increasing their knowledge of “Community Connections.”

4. Visual Resources

1. La Bicicleta (1985) Pepon Osorio, Bed (1955) Robert Rauschenberg, Innopportune: One (2004) Cai Guo-Qiang

2. Demo Poster

3. Class rule Poster

4. Vocabulary Poster

5. Objectives List

6. Model

5. Materials

Expendable: (24) Fist size balls of red clay

Paper Towels

Non-expendable: (24) Paintshirts

(12) Cups of slip

Various clay tools

(24 at least) Ordinary objects for students to brainstorm ideas from

Sponges

(24) Carpet squares

6. Objectives

(II) CREATIVE, EXPRESSION, AND COMMUNICATION (40 min)

A) Students will create a sculpture of an ordinary object transformed that is at least 3” high using clay and coil techniques while using one dominating addition and one subordinating addition.

B) Grade 3. II. 1: Demonstrate skill and expression in the use of art techniques and processes.

C) My most able student will create a sculpture using clay and the coil technique of an ordinary object transformed that is at least 3” and displays one dominant aspect and one subordinate aspect.

D) I will know when my student has created a clay sculpture of an ordinary object transformed that uses the coil construction technique, stands 3” high, and shows one dominant addition and one subordinate addition.

(IV) VALUING THE ARTS/AESTHETIC REFLECTION (20 min)

(A) Student will decide whether or not they believe any of the work shown in a teacher led discussion is art, and explain why they feel that way.

(B) Grade 3. IV. 1: Explain reasons for selecting an object they think is a work of art.

(C) My most able student will give at least two reasons he or she believes an object is a work of art.

(D) I will know when my student verbally tells me his or her two reasons he or she believes a work shown in class is or is not a work of art.

7. Advance Preparation Needed

Classroom setup:

Group tables for 5 students at one table

Write key topic and title of lesson on chalkboard

Have materials divided up and ready to hand out to students

Fill slip cups and keep them near the sink until studio time

Cover tables with paper

Visual setup and preparations:

Pin up visuals a little higher than eye level with students on the wall nearest to the chalkboard

Reread lesson plan

Discussion Corner:

Leave pile of carpet squares by the chalkboard

Set stools by chalkboard if there are not enough carpet squares

Demonstration corner setup:

Pull one table by itself at the front of the room

Post demo poster and vocabulary poster behind the table

Set out one ball of clay and one of each clay tool out for demo

Material supply corner setup:

Set out paint shirts

Have slip cups and clay tools ready for dispersal

8. Lesson Sequence: Motivation & Procedures (Script and Sequence)

A) Introduction and Class rules – 5 minutes (10:00 am – 10:05 am)

Good morning, everyone! Pile your sketchbooks in the middle of the table, grab a carpet square and sit around the visuals in our discussion corner! I am Miss Bilbrey. My helpers today are Miss Brewster and Mr. Schoff. Now, let’s review the class rules. Remember, last Saturday everyone did a great job following the rules. Unfortunately, during clean up many students got out of there seats and didn’t listen to any instructions on how to clean up. So lets remember, to pay attention, stay seated, and follow directions as we ask you to, okay? Rule #1 is follow directions. Listen to Miss Brewster, Mr. Schoff, and myself. Rule #2 is be cooperative and polite. Do not be rude to your classmates or teachers, and help out where you are needed. Rule #3 is listen; every person’s voice and ideas are important, and you can learn from everyone. Rule #4 is raise your hand before speaking. This way only one person speaks at a time and we can hear what everyone has to say. Rule #5 is Respect yourself and others. Rule #6 is keep your hands, feet, and objects to yourself. No one else needs to have your stuff in their space. Rule #7 is respect the room and materials. Other people use this room and the equipment and materials that we use, so we need to keep everything clean and not waste anything so everyone can continue to use everything.

B) Motivation – 5 minutes (10:05 am – 10:10 am)

So today our artwork focuses on changing normal objects into pieces of art. So here I have a regular old plastic bottle. Now, what sorts of things could we do to this bottle to turn it into a piece of art? (I will write student responses on the chalkboard) *Paint it, cut it up, add things to it, twist it in interesting ways, etc* Awesome! Very creative ideas! Well, if you look at the wall, we have some artists who transformed everyday objects into artworks.

C) Discussion of artworks – 20 minutes (10:10 am – 10:30 am)

• The first work that I want you to look at is this one. (I will point to La Bicicleta) Who can tell me what this is? *A bike that is decorated with a lot of stuff* Fantastic! That is correct. It is La Bicicleta (1985) by Pepon Osorio. Can you repeat that name? *Pepon Osorio* Very good. Where do you think all of the stuff on the bike came from? *His house, his town, the store* Interesting. Any of those answers could be correct. Osorio actually got all of these items from his household. This was just stuff that he collected over time. This bicycle was a way for him to show the rest of the world interesting things about his community. What do you think he was trying to show others about his community through this sculpture? *What their bikes looked like, how they lived, how they traveled* Good thoughts! Pepon Osorio was trying to show how people in his mainly Puerto Rican community commuted from their jobs. A lot of sales people had carts that they would decorate, and then attach the carts to their bikes and drive them to places where they could sell goods. He also wanted to show how the inside of the houses in his community looked. Osorio’s community was violent, and people would decorate their houses with fun knickknacks on the inside to make them happier. Where do you think this bike has been? *Everywhere!, someone’s house, a store, to the beach* Good answers! It looks like it has been a lot of places, right? So do you think you would you ride La Bicicleta? Why or why not? *Yes, it looks like it would be fun, everyone would like my bike, No, it has too much stuff on it* Good answers. This bike does have a lot of stuff on it, so it probably isn’t functional. But, if you could ride it without ruining any of the decorations on it, where would you take it? *School, my friends’ houses, everywhere* Excellent! I would probably ride this bike everywhere I could. Is La Bicicleta art? Why or why not? *Yes, because Osorio changed an ordinary object into something extraordinary by decorating it, he made it prettier, No, because it is just a bicycle with stuff attached to it.* Fantastic answers! It is interesting how we have different opinions about what is art.

• The next piece also is an ordinary object transformed. I bet you all have one of these in your room. This work is called Bed and it is by Robert Rauschenberg. Say his name with me, please! *Robert Rauschenberg* So look at the bed, and tell me, how is this bed the same and different from your own? *It has a quilt and a pillow, it’s not made, it is different because it’s on a wall, it has paint all over it* Good! So this bed has some similarities and some differences from your beds at home. So, what about Robert Rauschenberg’s Bed (1955) makes it art? *The paint, how he hung it on the wall, it is in a museum* Excellent reasons! Does anyone think that it is not art? Why? *It’s just a messy bed with paint on it* Very true, but Rauschenberg did something very revolutionary for his time with this piece of art. By putting it vertically on the wall, like a painting, he made it nonfunctional. You can’t really sleep standing up, right? If you did it wouldn’t be very comfortable. So hanging this bed on the wall made it different than just a bed, it became art. This piece changed the art community because it was something totally original that no one had seen before, and the standards were changed as to how art was defined.

• The last artwork we will look at is the most recent one, from four years ago. This work is called Inopportune: One and it was created by a man named Cai Guo-Qiang. Can you repeat his name for me? *Cai Guo-Qiang* Good. Now, cars are pretty ordinary, right? You all rode in cars to get here this morning. So how are these cars different from the cars you came in to get to Art School today? *They are airborne, they have lights coming out of them, they are a different color from my car* Great! Good job contrasting! Why do you think these cars are in the air? *They’re flying, they’re future cars that can fly, they’re exploding* Interesting ideas! What do you think the colored lights represent? *Fireworks, explosions, streetlights, future traffic signals* Wow! Those are all creative ideas! These cars actually are supposed to simulate an explosion. See how there is one car on the ground at the beginning with no lights attached? That is the beginning, when the car is in tact. Then the car flies through the air and the lights are part of the explosion. What was Cai Guo-Qiang trying to tell the rest of the world with this artwork? *Trying to show what explosions are like, to say that they’re cool* Good. He was trying to give an example of what explosions are like, because of events that happened throughout history in different communities. So, how are all three of these works similar? *They are all ordinary objects transformed, they all tell a story, they all changed* Excellent job! How are all of these works different? *They tell different stories about different communities, only Bed (1955) changed a community, the other works just changed their objects* Incredible job! Now, let’s move to the demo table so I can show you what your studio project will be today!

D) Demonstrations – 5 minutes (10:30 am – 10:35 am)

• Today we are going to use clay to make sculptures of transformed objects. I want you all to pick something ordinary and then change it somehow, just like the artists we learned about today changed something ordinary. I brought a bunch of things for you to look at to get ideas, if you have trouble.

• First, I want you all to play with your piece of clay a little bit. If it is too dry, put just a teeny bit of water on your fingers and play with it a little more. This will help it become softer and easier to work with. If the clay is too soft, just keep playing with it. Your hands like the water in the clay and they will suck some of it out. Then it will stiffen up and you will be able to work with it a little better.

• I want you to use the coil technique of building for this project. So first thing you do, is make a base piece upon which to put your coils. Flatten out a piece of clay, about as thick as one of your fingers, and then cut a shape into it that you want the shape of your object to be. It can be a circle, square, triangle, or it can be an abstract shape. To make a coil, take a piece of clay, and then roll it on the table to make it look like a snake. Make sure your snake looks like he has a healthy appetite. If it is too skinny or too fat, it will be hard to build upon. If it is as thick as two of your fingers put together, it should be fine. Now you can attach them. To attach them, you must first slip and score both pieces you want to attach. Scoring is just making marks in the clay to make it fit together and stick together better, like a puzzle. So take a clay tool and make marks in the two pieces you want to put together. Then, put slip on both of those pieces. Slip is water with a little bit of clay in it. So, what must you do before attaching two pieces of clay? *Slip and score* Very good! When you bend the coil, it might crack a bit and that’s okay. Just put the tip of your finger in the water and rub it on the cracks until they go away. If you don’t like the line that the two pieces leave when they are together, you can use this tool called a rib to smooth them out. Just gently smooth out the line by rubbing the rib up against the coils from bottom to top. Don’t push too hard, or you might distort your piece. Keep adding coils in this way to make your ordinary object. Your object has to be at least 3” tall or wide. That is probably as big as the palm of your hand, so make sure it is as big as that or bigger to be safe.

• Next, you can make it extraordinary by adding to it. Remember how we brainstormed ways to transform the plastic bottle? I wrote them on the board so you can feel free to refer to that list to get ideas on how to change your object. When you add to your object, I want you to use domination and subordination. So what do you think domination means? *It takes over* That’s right! A dominating object is more noticeable than another object. What about subordination? *It is less noticeable* Correct! So what are some ways we could show that in this piece? *Make one part bigger and another smaller, put one piece in front and one behind* Very good ideas! You are so creative! So I’m going to make one piece bigger and one smaller. Now what do we do before we put two pieces of clay together? *Slip and score* You are awesome! There are a number of ways to change your object. You can cut shapes out from a slab of clay and add them to the piece. So just like cutting out the base of the piece, you just flatten your clay to about one length of your finger, and then cut out a shape you would like using the tool with a needle on the end. This one will be my bigger piece. Once you cut out your shape, slip and score the pieces and attach them together. The other way to add to your piece is to continue to make coils and attach them in interesting ways. I’ll use the coils to make my smaller pieces. So just like you did before, I will roll a snake, and slip and score it to attach it to my piece. You can make designs on the surface using coils, or you can make them stick out in fun ways. Be creative! Don’t be afraid to try something new!

• Remember when you slip and score that you do not need to use a lot of slip, just dip the tip of your finger in and that will be enough. If your clay gets too hard, add a teeny bit of water to it, and if it is too soft just play with it for a minute until it hardens a little bit. Remember our rule to respect the room! Clay is very messy so we need to try very hard to keep this as neat as possible.

E) Collection of material supplies and Studio involvement – 40 minutes (10:35 am – 11:15 am)

Alright, everyone! Form a single file line. One of my helpers will give you a shirt to put on, and the other will give you a ball of clay to work with. Once you get your shirt and your clay, go back to your seat and start working. We will give you slip cups and tools to work with. If you want to look at some objects, raise your hand and I will give you some things to look at.

(As the class works on their projects, I will continually remind them of the objectives and ask questions such as, why did you choose to add this piece here?, How are you planning on transforming the object?, Etc. I will also answer any questions that arise. I will also give verbal warnings when 20 minutes, 10 minutes, and 5 minutes remain. At the very end of the lesson, I will state that I want students to carve their name or initials into the bottom of their piece, so that we can tell which piece is theirs after we fire them.)

F) Clean-up procedures – 5 minutes (11:15 am – 11:20 am)

Ok, I am going to dismiss you by table to clean up! When I call your table, place your sculpture on the demonstration table, put your paint shirt in this pile (I will point to where I want the paint shirts to go), and wash your hands. When you are done with that, stand quietly in the discussion corner and wait for your classmates until we start the critique. Tables that are sitting quietly will be dismissed first. (I will then call students to display their sculptures based on the readiness of each individual table)

G) Closure activities – 10 minutes (11:20 am – 11:30 am)

• Good job today! Gather around the table and let’s look at everyone’s artwork. Who can point to one that used domination and subordination effectively? Excellent! Explain how they did that. *They added larger and smaller pieces onto the sculpture, and the larger ones stand out more* Fantastic! Who transformed an ordinary object into something really extraordinary? How did he or she do that? *He (or she) added shapes and coils onto their piece to make it more interesting* Awesome! And how do we attach pieces like this together? *Slip and score* You got it! Does anyone have a story about their piece that they would like to share? (I will allow students to give the reasons they made the decisions that they did to transform their pieces.) Very interesting choices! You are all very creative! Tell me something that you learned today. *We learned about artists that transformed ordinary objects, about how to use clay, how we can transform ordinary objects, etc.* Awesome! I’m glad you learned a lot! Have a great week, everyone!

• If we have extra time at the end, I will have little speech bubbles cut out along with a piece of tape and pencil for each student. I will put the three artworks back up on the board and then ask the students to just look at one thing in one artwork, and write what the students believe the subjects in the painting are saying. They could make it funny, serious, or silly, basically whatever they wanted. I would give the students 2 or 3 minutes to come up with something, and then dismiss them by table to stick their bubble on the artwork. We would then read out what the students wrote, then take the bubbles down and look at the next table’s statements. This activity offers a more fun, less serious way to analyze subjects within an artwork, while the students still remain relatively anonymous.

9. Bibliography

Clements, R. D. & Wachowiak, F. (2006). Emphasis art: A qualitative art program for elementary and middle school. (8th Edition). Boston, MA: Pearson Education.

Indych, A. (2001). Nuyorican baroque: Pepón Osorio's chucherías. Art Journal, 60(1), 72-83.

Lopez, T. A. (1995). Imaging community: Video in the installation work of Pepon Osario. Art Journal, 54(4), 58-64.

Schoenholz Bee, H. & Heliczer, C. (Eds.). (2004). MoMA highlights. NewYork: The Museum of Modern Art.

Storr, R. (2001). Art 21: Art in the 21st century. NewYork: Harry N. Abrams, Inc.

Yun, M. Cai Guo-Qiang: I want to believe. Retrieved March 16, 2008 from

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