| Hunter College School of Education Curriculum & Teaching Prof. John Toth, Ph.D. / jtoth@hunter.cuny.edu |
MUSEUM VISIT THE WORK OF ART |
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| TIME | MIN | THE ARTS AS COMMUNICATION... for the post modern educator |
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| 1:30 | 15 | CONCEPT: MUSEUM VISIT
AIM: Understand the importance of using art museums as an education resource. Consider the role of the classroom teacher as being similar to the role of an art curator who understands and carefully selects content for learning across multiple disciplines. INQUIRY:
OBJECTIVE: Consider a work of art as a process and product, of the cultures, within the artists experience. Experiencing an artwork visually calls upon the viewer to decode a variety of languages (color, shape, form, text and context). From comments in our classroom conversations, it seemed that many students described their experience with art as having gone through a change, as individuals shared their own point-of-view about the art work. Context emerged through a community of responses. Students from Hunter College have ancestories from around the world and contribute profound meaning through the distinct cultural up bringing that they possess. Each person/student shares their own authority, teaching those who didnÕt know a specific meaning. Know how to make connections between two or three different content areas in the arts. |
ART STANDARDS: The Arts Standards for NY Visual Thinking Curriculum - Question strategies for engaging students with works of art. OBJECTIVE: The use of contextual information should come out of a desire that is, based first, on having had an experience with the work of art. Being in, the language and materials of the art form in a creative way forms the most basic experience of communication. Often, within this group experience with a work of art, individuals call to question something that was noticed that takes us deeper into growing understanding. This question, frequently calls attention to something that could be explored physically. Elements that make-up an artwork can transform the everyday world into a language of symbols with multiple meanings. Hands-on activities can be designed to reflect the desire to explore materials and artistic choices around the idea of this question. Goal: To discover and develop a deeper understanding of relationships and connections between cultures? Develop a deeper understanding of connections between cultures in your choice of teaching content? |
1:45 |
15 |
Artwork under study: MODERN GALLERIES: Alberto Giacometti, ÒThe Artists Wife: AnnetteÓ Wifredo Lam, ÒGoddess with Leaves Jackson Pollock, ÒAutumn RhythmÓ Marc Chagall, ÒThe LoversÓ Jacob Lawrence, “Pool Player" Umberto Giacometti, “Unique Forms of Continuity in Space” The American Wing: Rossiter and Mignot, Washington and Lafayette at Mount Vernon, 1859 ![]() |
DANCE / Cunningham / pedestrian gesture DANCE / Urban Bush Women, MUSIC / Claude Debussy, Claire De LuneARMS AND ARMOR GALLERY: French, Italian, German and other cultures. Draw multiple Cultures: LINES, SHAPES, SYMBOLS ARTS OF AFRICA: Seated Couple (Ancestral Figures), Dogon 19th C. Or choose a Gallery that relates to a country that interests you SAMPLE ACTIVITY:
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| 2:00 | 15 | MUSEUM VISIT
ACTIVITIES: SYMBOLS
Cultural symbols often exist over long periods of time. Representations of specific animals (turtles, snakes, bears, eagles) and plant forms (vines, flowers, stems, branches) may be used over thousands of years by one culture. Often symbols may be shared worldwide. Other representations and designs use visual symbolic languages using shapes and lines. Circles are associates with early North Americans. Celtic line patterns resemble elaborate woven knots.
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Borders
and countries are not true indicators of peoples sense of culture. As if
culture is somehow unique. Another way of thinking of this question,
what is culture, is to think about, who is your neighbor.
Literally, as we in NYC, live besides all neighbors of the world, we absorb
or reject. Some of us identify with the music, dance, arts, food, images and yes, being with, our neighbors. Maxine Greene suggests we need to think out side of the box, and at some point we also need to define, what the BOX really is. |
2:15
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30
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CREATIVE ACTIVITY: The Work
of Art / Sketches During the museum visit make sketches of symbols, shapes and patterns that you see in artworks. Also write the name of the artist and where the artist is from. Write words that describe details in each artwork. Describe the process of each artwork. (painting, carving, hammered metal, woven rings, etc.) Make a series of sketches for each artwork (front, back or side). (points of view)
Think of
ways to vocalize, dance or play a sound that the painting or sculpture
evokes. Also, take note of
teaching practice that you observe during the museum visit and write keywords
that describe the process that you see. |
At Home: If you come to the museum late please make up your lost class time at home by doing web research on an artist you liked at the museum. Use mixed media to further develop the sketches you made in the museum. Finish these sketches, a different media for each; How do art materials relate to the work of art under study. Decide if using collage is more appropriate to the artistic process under study than, lets say, paint. or
if you REALLY can't make it to the museum... RESEARCH:
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| 3:15 | CONTEXT: Maxine Greene. ÒDefining Aesthetic Education," GeeneAestheticEd.PDF Piaget, Learning Theory, and Mental Imagery: Toward a Curriculum of Visual Thinking Abigail Housen, Visual Thinking Strategies ART EDUCATION: Practice and Theory. Lincoln Center Institute |
VOCABULARY: museum, theater, galleries, curator, artworks, title card, museum behavior, sketching, artist, bequeath, Please complete this Survey: |
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| 3:30 |