# data[].attributes.headline
A curation activity for students. To understand the arrangement and connection between artworks

# data[].attributes.subject
A curation activity for students. To understand the arrangement and connection between artworks

# data[].attributes.attachment_link.description
Discover recipes, home ideas, style inspiration and other ideas to try.

# data[].attributes.headline
Year 10 - Things to consider when Curating......

# data[].attributes.subject
Year 10 - Things to consider when Curating......

# data[].attributes.body
-Gather understanding about artists intention and purpose behind their artwork and the way they have displayed work to strengthen those connections. Then you will begin to use it in your own art making.
-Be able to explain how your works are connected. How have you created a sense of cohesion? Through an overall theme, style, recurring symbolism, colours, a narrative running through all your pieces telling a story?
-Be forever aware of the impact the designing of your space has on your artist/viewer relationship. What do you want your viewer to feel?
How can you place your artworks in relation to one another to create stronger connections, do you want your viewer to open notes, touch things, smell things, hear things etc?
-How will the lighting look in your space, how will that change the mood and feeling?
What are the methods of display? Will you use the ceiling, floor, plinthes or support structures to give your work greater meaning and curatorial depth?
-Recognize coherence and connection in what you make as you are making it or developing works.
-Become aware of the artist/viewer relationship
-Ultimately, how does experiencing your work in your exhibition space impact on the viewers experience? Does this in fact add further depth to your work?

# data[].attributes.headline
Establishing COHESION in the exhibition artworks

# data[].attributes.subject
Establishing COHESION in the exhibition artworks

# data[].attributes.headline
Curation and artwork display inspiration 

# data[].attributes.subject
Curation and artwork display inspiration 

# data[].attributes.attachment_link.description
Discover recipes, home ideas, style inspiration and other ideas to try.

# data[].attributes.headline
Bill Henson-photographer with a dramatic and dark exhibition space

# data[].attributes.subject
Bill Henson-photographer with a dramatic and dark exhibition space

# data[].attributes.attachment_link.title
NGV Festival of Photography - Bill Henson

# data[].attributes.attachment_link.description
The solo survey exhibition, Bill Henson, will showcase recent works by the Australian photographer. The exhibition brings together twenty-three photographs selected by the artist, traversing the key themes in the artist's oeuvre, including sublime landscapes, portraiture, as well as classical sculpture captured in museum settings.

# data[].attributes.body
Curriculum:
Explore and Express Ideas

1. Explore the visual arts practices and styles as inspiration to develop a personal style, explore, express ideas, concepts and themes in art works(VCAVAE040)

2. Explore how artists manipulate materials, techniques, technologies and processes to develop and express their intentions in art works (VCAVAE041)

Visual Arts Practices

1. Select and manipulate materials, techniques, and technologies and processes in a range of art forms to express ideas, concepts and themes (VCAVAV042)

2. Conceptualise, plan and design art works that express ideas, concepts and artistic intentions (VCAVAV043)

Present and Perform

1. Create, present, analyse and evaluate displays of artwork considering how ideas can be conveyed to an audience (VCAVAP044)

Ideas and lesson sequence:

- Class discussions on contemporary art issues and questions about art should happen. Students will be grouped together at art exhibition excursions to discuss the work.
- Students will be tasked with keeping a visual diary for extra curricular sketching and development of ideas.

# data[].attributes.body
Ideas and lesson sequence:
- Students start to learn to really see and use their eyes and touch for life drawing.
-Still life assemblages will be put up in each class and studetns will be necuorage to keep their eyes mainly on the still life subject.
-This will promote learning of composition and ways to draw the eye to certain components of the drawing.
- Timed excercises with students taking different positions in the room to practice different compositions.

-Poetry readings, lyrics and music will be present in each class.
-Students will be encouraged to create zines and narrative drawing diaries.
- Students should experiment with different paper and mediums to draw upon.

Levels 7 and 8 Achievement Standard

By the end of Level 8, students identify, analyse and evaluate how other artists use materials, techniques, technologies, processes and visual conventions to express ideas and convey meaning.

Students plan and make their art works in response to exploration of techniques, technologies and processes used in the work of other artists. They demonstrate the use of materials, techniques, processes, visual conventions and technologies to express ideas and convey meaning in their artworks.

Students identify and describe artworks and exhibitions from different cultures, times and places and how ideas are interpreted by audiences.

# data[].attributes.body
Ideas and lesson sequence:

-Lots of excursions to exhibitions leading to the students developing and curating their own drawing exhibition.
- students could curate their own exhibition digitally to prove their understanding. I

Levels 9 and 10 Achievement Standard

By the end of Level 10, students analyse and evaluate how artists communicate ideas and convey meaning in artworks.

Students identify the influences of other artists and analyse connections between techniques, processes and visual conventions in artworks to develop their own art practice. They select, and manipulate materials, techniques, processes, visual conventions and technologies to express ideas and viewpoints in their artworks.

Students analyse and evaluate artworks and exhibitions from different cultures, times and places, and discuss how ideas and beliefs are interpreted by audiences.

# data[].attributes.body
Curriculum:
Explore and Express Ideas

1. Explore visual arts practices as inspiration to explore and develop themes, concepts or ideas in artworks(VCAVAE033)

2. Explore how artists use materials, techniques, technologies and processes to realise their intentions in art works (VCAVAE034)

Visual Arts Practices

1. Experiment with materials, techniques, technologies and processes in a range of art forms to express ideas, concepts and themes in artworks (VCAVAV035)

2. Develop skills in planning and designing art works and documenting artistic practice (VCAVAV036)

Ideas and lesson sequences:
- Students start out with a unit of "mapping themselves". This has themes of their cultural and internal identity and ecosystem of themselves. This could look like a mind map and develop into a series of drawings where students practice different shading techniques.
-Take inspiration from Indigenous artworks and artists Christian Thompson, Julie Dowling, Friedensreich Hundertwasser, Tracey Emin.
- Students will be introduced to art movements and cultural and historical contexts of specific artworks, like Picasso's "Guernica".
- Students should be exposed to diverse artists but have plenty of time to experiment and PLAY with different mediums and explore their own drawing style.

# data[].attributes.body
drawing inspiration

# data[].attributes.attachment_link.readable_text
Concerning Copyrights...

Monster Brains is copyright Aeron Alfrey 2006 - 2017. All artworks posted at Monster Brains are the property of their respective copyright owners. Any works posted against the wishes of the copyright owner will be removed from Monster Brains by request. I can be contacted at evilenergy@yahoo.com

# data[].attributes.attachment_link.description
Monster Brains is copyright Aeron Alfrey 2006 - 2017. All artworks posted at Monster Brains are the property of their respective copyright owners. Any works posted against the wishes of the copyright owner will be removed from Monster Brains by request. I can be contacted at evilenergy@yahoo.com

# data[].attributes.attachment_link.title
Annette Messager: life enlarged | Stories & ideas | MCA Australia

# data[].attributes.attachment_link.description
MCA curator Rachel Kent discusses the work of Annette Messager.

# data[].attributes.headline
8 interesting watercolour techniques for beginners

# data[].attributes.subject
8 interesting watercolour techniques for beginners

# data[].attributes.headline
Famous Artists that use their work as therapy

# data[].attributes.subject
Famous Artists that use their work as therapy

# data[].attributes.body
*Use the rue of thirds *have an odd number of objects/figures in the composition ie 3,5,7
*Vary the space between things in the painting
*Objects/figures should either be placed well apart or overlapping. If things are "kissing/touching" it often appears like an amateur composition.
*Is there variety? Opposite colours? curved line to offset straight lines? Vary the size of objects/figures.
*Make sure you consider the tone of the painting. Its either going to be 2/3 moderately dark with 1/3 light and a little bit more light elsewhere or the opposite. (2/3 light and 1/3 dark).

# data[].attributes.body
Narrative// An amazing Illustrator that is perfect inspiration for creating story telling/narrative in his and your compositions

# data[].attributes.attachment_link.readable_text
So PineNut is the name given on his Behance gallery for a Japanese artist and illustrator based in Tokyo.

Beyond that I have little background information. The images on his Behance gallery are often dark, both in emotional tone and subject; and, unfortunately, in the sense that some of the photographs of the work appear to be underexposed. I have not taken the liberty of enhancing any of them.

Several of the projects show works in progress and the impressions being pulled on a series of stone lithographs, in which the artist has lavished lots of textural details. There are also color pieces and sculptural ceramics.

His Behance gallery does not offer a link to another website or blog. I came across this Weibo site, and have no idea if it is officially related or not (use at your own risk).

Categories: Gallery and Museum Art, Illustration, Prints and Printmaking

# data[].attributes.attachment_link.title
Lines and Colors :: a blog about drawing, painting, illustration, comics, concept art and other visual arts

# data[].attributes.attachment_link.description
So PineNut is the name given on his Behance gallery for a Japanese artist and illustrator based in Tokyo. Beyond that I have little background information. The images on his Behance gallery are often dark, both in emotional tone and subject; and, unfortunately, in the sense that some of the photographs of the work appear to be underexposed.

# data[].attributes.attachment_link.readable_text
The media is often criticized for showing violent and disturbing imagery. Movies, TV, video games, tabletop RPGs, comic books, and various other things have all gone through periods where they're blamed for exposing children to dark and unsettling things. But as these fine art examples prove, violent and disturbing imagery is nothing new.
(Obviously, this article contains some disturbing content.)
1. Peter Paul Rubens - Massacre of the Innocents

Painted in 1611, Massacre of the Innocents is Rubens' interpretation of Herod's order to kill every young male in Bethlehem, as recounted in the Gospel of Matthew. Featuring nude men ripping babies out of the arms of their mothers and then murdering the children in front of them, the painting is certainly not for the squeamish.

2. Théodore Géricault - Anatomical Pieces

This is but one of a series of works featuring disembodied body parts (including a painting of a pair of severed heads, equally as unsettling as this one) painted by French artist Théodore Géricault. The most disturbing part is that all the paintings were based on real model remains Géricault acquired from the Paris Morgue.

3. Andy Warhol - Big Electric Chair

Andy Warhol is most famous for his pop art pictures of soup cans and Marilyn Monroe, but he also dabbled in some darker works, including his chilling piece, Big Electric Chair. The painting is based on a photograph of the former execution chamber at Sing Sing prison in New York. For more daring readers, Warhol also released artworks featuring police photos of suicides and car fatalities. Feel free to look those up on your own.

4. Pieter Bruegel the Elder - The Triumph of Death

An army of skeletons attacks peasants and royalty alike in Bruegel's The Triumph of Death. Every inch of the painting presents some new horror committed by the army of death, and many easily missed details can be seen by looking at a full-sized representation of the piece. Although it's commonly mistaken as being a depiction of the Black Plague, it was actually painted over 200 years later.

5. Odilon Redon - Smiling Spider

If you're arachnophobic or just generally not a fan of small, many-legged critters, you might want to avoid some of Odilon Redon's works. This is just one of a couple of paintings displaying the emotions of a weirdly human-faced spider. Even if you're okay with spiders or downright love the little guys, this thing is still creepily unsettling.

6. William Adolphe Bouguereau - Dante and Virgil in Hell

Although it shares traits common with contemporary vampire stories, this painting by Bouguereau is 50 years older than even Stoker's Dracula, and is essentially an exact interpretation of an event described in Canto XXX of Dante's Inferno. While touring the eighth circle of Hell, Dante and Virgil look on as Capocchio, a heretical alchemist, is bitten on the neck during a fight with Gianni Schicchi, a con artist who stole a dead man's inheritance.

7. Hieronymous Bosch - The Garden of Earthly Delights

This is but a detailed view of just one part of Bosch's famous Garden of Earthly Delights. The original is a triptych--a single work split among three panels--and the section here is merely from the bottom-right of the right-hand panel. Like Bruegel's Triumph of Death, the numerous details in this work really benefit from a high-resolution image. (Warning for readers with slower connections: That file is nearly 100mb in size.)

8. Francisco Goya - Saturn Devouring His Son

In Greek mythology, the titan Cronus (Saturn in Roman texts), fearing that he would be overthrown by his children as he had usurped his own father, began swallowing each of them whole. (They're later purged, still alive, by Zeus.) However, in Goya's take on the tale, painted as a mural on the wall of his own house, a deranged-looking Cronus violently consumes them piece by piece instead.

9. Henry Fuseli - The Nightmare

Fuseli's most famous painting, The Nightmare, may not seem creepy in the traditional sense. The incubus, by today's standards, looks a little like a cartoonish gremlin, for example. But the dream-like, surreal quality of the piece has kept its legacy alive. Even during the artist's lifetime, the work was so popular that he created an even creepier alternate version.

10. Giovanni Boldini - Spanish Dancer at the Moulin Rouge

While Boldini is primarily known for his portraiture, he also did paint some original works. It may be hard to see what's creepy about this particular work at first. It helps to know that the title is sometimes pluralized and called Spanish Dancers at the Moulin Rouge. If that's not doing it for you, look at the hand over the dancer's shoulder at the left side of the painting and follow it right.

11. Caravaggio - Judith Beheading Holofernes

In the deuterocanonical Biblical story of Judith and Holofernes, Judith charms Holofernes with her beauty, gets him drunk, and then decapitates him, just like an episode of Game of Thrones. While the story has inspired hundreds of artists throughout history, Caravaggio's is easily one of the most gruesome interpretations.

12. Salvator Rosa - The Temptation of Saint Anthony

According to a biography of St. Anthony by Athanasius of Alexandria, Anthony was attacked and killed by demons in a cave on his trip across the Egyptian desert, only to later be revived. When he re-entered the cave, the demons turned into monstrous creatures who attempted to kill him once more. While this is a very popular subject for artists throughout history, Rosa's take, especially on the forms of the demons, is very surreal and nightmarish.

13. Francis Bacon - Painting (1946)

Described as either one of the greatest painters of the 20th century or a complete madman, depending on who you ask, Francis Bacon's work was nothing if not creepy. Painting, containing various images reminiscent of a butcher shop, was created completely by accident, according to the artist himself. Originally intended to be a chimpanzee standing in tall grass and a bird landing nearby, Bacon said that he then unintentionally painted what you see above.

# data[].attributes.attachment_link.title
13 Disturbing Pieces of Art from History

# data[].attributes.attachment_link.description
The media is often criticized for showing violent and disturbing imagery. Movies, TV, video games, tabletop RPGs, comic books, and various other things have all gone through periods where they're blamed for exposing children to dark and unsettling things. But as these fine art examples prove, violent and disturbing imagery is nothing new.

# data[].attributes.body
Art as therapy and Facing her Fears

# data[].attributes.attachment_link.title
Louise Bourgeois – 'I Transform Hate Into Love' | TateShots

# data[].attributes.body
*Does Art have to have meaning?
*Artistic beauty is subjective?
*Accessibility influences popularity.
*By exploring the background of an artist, we can better understand the intention of their work.
*Can there be creativity without emotion.
*Should art be judged on its ability to please or shock?
*Is any art original?
*When we look at an artwork without any familiarity with the period in time or context in which it was produced, how can we relate to it?
*Does art have to have morals?
*what is the relationship between art and ethics?
*Is artistic talent learnt or genetic?
*Is the idea more important than the outcome?
*Can the arts shape peoples opinion?
*Are our identities based on our memories?
*Does art have to have meaning?
*What role does emotion play in the documentation of history? (Picasso-Guernica/Weeping woman)

# data[].attributes.attachment_link.readable_text
Last Updated on April 2, 2023

High school Art students are often required to produce still life drawings or paintings within the confines of a busy classroom. Most Art Departments have cupboards crammed full of visually interesting objects that can be used to create still life arrangements. This article lists still life ideas for teachers or students who are stuck or in need of inspiration. The collection includes tried and true favourites that have been used by Art teachers for generations, as well as more unusual and contemporary still life topics.

What is a still life? Here is a definition provided by Wikipedia:

A work of art depicting mostly inanimate subject matter, typically commonplace objects which may be either natural or man-made

While senior Art students are usually free to come up with their own topic or theme (read our article how to come up with great subject matter for your Art project) many middle school or junior high school students are required to work with objects and scenes that meet the following criteria:

Viewable first-hand

Visually interesting, with a range of different textures, reflections, surfaces and forms

Small enough to set up and arrange in the classroom (light, easily moveable)

Able to arranged in different ways, creating original compositions so that multiple exciting works can be created

Durable enough to be handled safely by enthusiastic teenagers (without sharp or dangerous parts, for example)

Able to stored from lesson to lesson without eroding, decaying or breaking (this is not necessary if the still life can be drawn within a single lesson or photographed for completion at a later date)

Appropriate for younger students to view (i.e. not offensive)

This articles includes great work by students as well as famous still life artists. It is a work in progress, with many more ideas to be added over time!

50+ Still Life Drawing Ideas

Crumpled paper bags, such as this work by 18 year old artist Raegan Koepsel:

Styrofoam cups, as inspired by this activity by the DC Sketchers:

For more about drawing ellipses, please read 11 tips for improving your observational drawing.

Machinery and mechanical parts, such as old sewing machines, disassembled clocks, cogs/wheels and typewriters, inspired by this drawing from Parkway North High School, United States, taught by Art teacher and artist Grant Kniffen:

Driftwood, rope and fishing accessories, as inspired by these Roy Lichtenstein still life compositions (images © Estate of Roy Lichtenstein):

Fish, crustaceans and other seafood, such as these high school still life paintings from an IGCSE Art Exam by Nikau Hindin, ACG Parnell College:

Science equipment, inspired by this pencil still life from a student of Grant Kniffen at Parkway North High School, United States:

Wooden mannequins, as in these black and white still life drawings by Grade 10 and Grade 11 students from Conway High School, United States, taught by Carla Owen. Jeff (left), Dylan (centre) and Nathan (right):

For more line drawing examples, please read our comprehensive Line Drawing Guide for Art Students.

Armchairs, chairs or stools, as in this example by Daniel E. Munoz-Vidal:

Empty boxes, inspired by a drawing exercise completed by a student of Nicole Havekost:

Jewellery and treasure boxes, as in these still life paintings by IGCSE Art and Design student, Nikau Hindin, ACG Parnell College:

Preserved animals and other specimens in jars, such as these modern still life artworks by Cindy Wright:

Fruit and vegetables, inspired by Paul Cezanne 's still life with apples:

Vintage cameras, as in these collection of observational drawings by Year 9 student Dougal Burden from Takapuna Grammar School:

A glass of water, such as this example by Hanna Asfour:

A jug and cup of tea, with inspiration from cubist still life paintings by Juan Gris:

To see other background ideas, please read Painting on grounds: creative use of media for Painting students.

Hands, as inspired by this observational drawing by Cath Riley:

Marbles, spheres and balls, inspired by Pedro Campos paintings:

Potted plants, succulents and cacti, inspired by Laura Garcia Serventi's illustrations on Etsy:

Metal taps, silverware and other highly reflective objects, as is illustrated in this video of how to draw a spoon by VamosART.

Many resources that demonstrate 'how to draw step-by-step' encourage students to draw by formula, rather than learning to see and record what is in front of them. This time lapse video is very helpful, however, as it provides good insight into how tone can be built up using light and dark pencils on mid-tone paper.

Origami or folded paper, inspired by this observational drawings by Sean Dooley, a graduate of Savannah College of Art and Design:

Please view our list of substitute Art lessons for more one-off drawing lessons.

Bones and skeletons, as in this example by Year 11 student Manisha Mistry, from ACG Strathallan College (please view her full IGCSE Art and Design Coursework project):

Complex interiors and window panes, as in this Henri Matisse still life:

Old shoes and sandals, as in these examples by Vincent van Gogh:

There are also great ideas for tools in this great Highcrest Art Department Pinterest board.

Weaving, as in this example by Year 11 IGCSE Art student Manisha Mistry, from ACG Strathallan College:

Musical instruments, as in this detail from a Pieter Claesz vanitas still life:

You may also be interested in viewing this 100% AS Coursework project based upon an abstraction of instrument still life by Year 12 AS Art and Design student Nikau Hindin, ACG Parnell College.

Old books, such as this example of a Dutch still life with books completed in 1628 (artist unknown):

String, sticks and stones, inspired by a teaching exercise designed by Andrew Strachan (now teaching at ACG Senior College).

In this activity, students are presented with a collection of sticks, string and stones, and asked to create a sculpture by tying together the sticks and hanging a stone from this using the string. Observational drawings are then created of this, with the tension of the thin, taut string contrasting the textured wood and stone.

Still life with flowers, inspired by these Vincent van Gogh sunflowers:

Lamps, lanterns and light bulbs, as in this charcoal drawing by Akrawczyk:

Contemporary food and packages, as in this still life painting by Tom Wesselmann (Art © Estate of Tom Wesselmann / Licensed by VAGA, New York, NY):

A cluttered desk, inspired by this Jean-Baptiste-Siméon Chardin still life:

A busy pinboard, as in this still life painting by Jean-François de Le Motte:

Eggs, as in this AP Studio Art summer assignment set by teacher Billy Hicks:

Rubbish / litter / discarded remains, as in this drawing by Brittany Lee, Year 10 Art student at ACG Parnell College:

This drawing lesson also featured in our list of ideas for substitute Art teachers.

Shirts, dresses and drapery, as in these examples by the students of Kristy Patterson, Guymon High School:

You may also wish to view this high school art project by Nikau Hindin, which contains images derived from decaying fruit and vegetables hanging on string.

Cutlery and kitchen utensils, as in this warm-up drawing exercise by the students of artist and teacher Julie Douglas:

This work was earlier featured in How to Create an excellent Observational Drawing: 11 Tips for High School Art Students.

Did you enjoy this list? Please share it with other Art teachers and students that you know!

# data[].attributes.attachment_link.title
50+ Still life drawing ideas for Art students

# data[].attributes.attachment_link.description
A list of still life ideas for teachers and students, including tried and true favourites, as well as more unusual still life drawing topics.

# data[].attributes.body
a load of sketch book ideas

# data[].attributes.headline
Art periods-great resource for new units and inspiration

# data[].attributes.subject
Art periods-great resource for new units and inspiration

# data[].attributes.headline
MYP - Analysis and ways of looking at art

# data[].attributes.subject
MYP - Analysis and ways of looking at art

# data[].attributes.body
Develop your Knowledge & Understanding of art

# data[].attributes.body
Great art history videos to share with students, here is one. Amor Sciendi has many on Youtube. Your students will enjoy these.

# data[].attributes.attachment_link.title
The Arnolfini Marriage: Sacred to Secular

# data[].attributes.body
Video from Activity 1 of Module 4

# data[].attributes.headline
How to write a curatorial rational and exhibition text

# data[].attributes.subject
How to write a curatorial rational and exhibition text

# data[].attributes.body
Handouts for your students

# data[].attributes.headline
Simple example of analysing and responding to an artwork

# data[].attributes.subject
Simple example of analysing and responding to an artwork

# data[].attributes.attachment_link.description
How to Formally Critique Art - Download as a PDF or view online for free

# data[].attributes.attachment_link.description
Craftsy is your online resource for all creative makers, where you can find everything you need - from basic instruction to advanced techniques.

# data[].attributes.headline
words to describe elements and principles

# data[].attributes.subject
words to describe elements and principles

# data[].attributes.attachment_link.title
Art Critique Words | Art analysis, Art critique, Art classroom

# data[].attributes.attachment_link.description
May 28, 2015 - Art Critique Words - Download as a PDF or view online for free

# data[].attributes.body
Recognising Art history styles thru prompts

# data[].attributes.headline
Great lessons using signs and symbols in society

# data[].attributes.subject
Great lessons using signs and symbols in society

# data[].attributes.body
Good for Grade 10 perhaps?

# data[].attributes.attachment_link.readable_text
Download the PDF here:
Listen Up Ive Got Something to Say.pdf
View the Issuu version here (if problems viewing, it is also available below):

We live in a society that is saturated with images and symbols. Every day we are bombarded with messages in the media. We are individuals, citizens, consumers as well as target groups. In this unit, the teacher will challenge students to create and examine the creative process and the role of the artist in society. Students will explore a societal issue through graphite, charcoal, pen and ink, watercolour and possibly mixed media. The three essential questions in this unit are linked to the strands in The Ontario Curriculum, Grades 9 and 10, The Arts, 1999. These questions will help students find and develop creative ideas, reflect on where original ideas come from and explore how ideas are developed and improved. This profile provides a variety of strategies for students to investigate creative theory. Through guided discovery and activities, teachers direct students to explore communication through art. Students use drawing and painting techniques, review the elements and principles of design and participate in activities that foster the creative process. This unit invites students to look at cross-curricular topics through social studies, literacy, history and mass-media. The process of the project rejects pre-planned solutions in favour of giving art students the experience of letting content emerge through expressionist strategies-opening themselves to what is given, downplaying unimportant text and imagery, emphasizing significant words and pictures, and juxtaposing additional materials to the emerging work (Olivia Gude, "Newspaper Ground" activity 2001).

Theory: How do artists use imagery to influence their audience?

Creation: How can artworks create reactions from the viewer?

Analysis: How do I communicate to others through my work?

Students are given several tasks to explore various techniques and the creation process. With the summative task, students will incorporate and elaborate these techniques to produce a work of art with a societal issue portrayed. The task given to students is:

The guidance department needs your help! Grade 10 Art has been approached to produce eye-catching work to promote awareness on various issues within student's lives. You will need to select and research your topic to generate ideas. Your work must be a response to the theme or issue you have chosen. You must create a work of art to be put on display throughout the school and possibly throughout various organizational offices within the city. Your piece must not be larger than your sketchbook (10 inches x 12 inches). You may position your work landscape or portrait. Your work must be in black and white but may have 1 additional colour if necessary (text only). Your work may be done using graphite, charcoal, ink, watercolour or mixed-media. You may include values in your colour choices if you see fit. All works should include text and have a written artist statement that is coherently eplaining your creative process and the interrelationship between your art, your theme and the community.

There are no prerequisites for Grade 10 (Open) Art. Teachers may need to do some diagnostic assessment in order to determine what prior knowledge students have acquired and modify the unit accordingly. Teachers may wish to refer to The Ontario Curriculum, Grades 1-8, The Arts, 1998 if they wish but the activities should allow ample discovery, growth and experimentation.

Activity 1: What's Your Symbol? (Identifying and creating symbols) (1 x 70mins)

Task(s): Show various popular everyday symbols for students to identify (appendix 1).

Discuss and brainstorm in small groups of 4 (provide appendix 2) answering:

When do we use symbols? Where do we use symbols? Why do we use symbols?

Teacher leads a mind-map activity with groups taking turns sharing their answers (see appendix 3 for example).

Have students create 1-3 symbols that represent aspects of their lives (family, hobbies, cultural identity, interests etc.). Symbols may be drawn and cut out using black paper. Remind students that symbols should not contain text. Students can then arrange and glue them on white or coloured card/construction paper. Students may look through newspapers/magazines to generate ideas if needed. When complete, exchange with a partner to see if they can interpret the meaning.

As a closure, discuss symbols, symbolisms and review the mind-map. Present summative task to students.

Accommodations: Instructions are in print form and read aloud. Buddy scriber in groups.

Planning Notes: Have popular symbol photocopies ready and enlarged. Have Appendix 2 enlarged to A3 size and photocopied. 1 sheet per group. Teachers could also project the images using an LCD projector. Have various newspapers and magazines available in class.

Activity 2: iThink (Identifying issues and creating symbols) Essential questions 1 & 2 (2 x 70 mins.)

Task(s):The following words are each written on small cards:

abuse, alienation, animal rights, authority, bullying, celebrity, consumer, conspiracy, cultural identity, democracy, domestic violence, gender, global warming, heroes, human rights, inequality, injustice, isolation, loyalty, mass media, marriage, myself, obesity, patriotism, peace, peer pressure, politics, prejudice, propaganda, racism, scandal, security, sell, social class, stereotype, surveillance, terrorism, war, wealth, social welfare

Students are organized into groups of 3 or 4. Display all cards on a table for students to see. Read aloud all cards. Have groups select 2-3 they are interested in and return to their tables. Within their groups, students are to discuss their words and create symbols or visual representations for each using small pieces of paper and black marker. When complete, gather all symbols and words and see if the class can match them. Tape them to a large sheet of paper to display in class.

Look at Carl Beam's "Columbus Chronicles." Paul Insect's "Dunce Boy," Basquiat's "The Nile," Keith Harring's untitled work featuring a nuclear bomb and Banksy's "Applause 3" (see appendix 4).

Students choose 2 pieces of work and complete the Venn diagram task (see appendix 5).

Model an example with students. How do artists use imagery to influence their audience? How can artworks create reactions from the viewer? What do the works symbolize? Are there any similarities or differences? What do they mean? How do they make you react? Are your views influenced by the piece? What techniques were used to accomplish this? Where are the works displayed? Is it art?

Accommodations: Group students accordingly.

Planning Notes: Prepare words on cards. Print art productions. Photocopy appendix 5. Art pieces could also be digitally projected.

Activity 3: Art is the Issue (Artistic techniques using pen and ink) (6 x 70 mins.)

Part A: Have students look through magazines or newspapers and select 1 large image that interests them. Using tracing paper, have students trace the image using black marker (or ink) to create a silhouette and transfer to black construction paper. Look at the work of Kara Walker (appendix 6). Have them trace it again colouring in the negative space. Can the same image be interpreted differently?

Part B: Have students find 2 opposing images from magazines/newspapers that interest them. Students may trace or freely draw a line drawing of the image. Instruct students to place only 1 image on each piece of tracing paper. When complete, have students outline them with thin brushes and ink. Place one tracing paper over the other. Do the overlapped works change in meaning when combined? Highlight juxtaposition, substitution and overlapping. Show additional works by Banksy (appendix 7a) to strengthen the idea of juxtaposition. What effect does this create? Also show the work "Temptation" by Faile (see appendix 7b). Remind the students of Carl Beam's work and the 2 images he used.

Part C: Students draw a simple still life using twigs and ink (i.e. a piece of fruit). Have students draw another piece of food using pen and ink. Which do the students prefer? Why? What are the differences? Do they provoke any feelings or communicate different emotions (Essential question 3)?

Part D: Give students photocopy of Charlie Chaplin (appendix 8). Using charcoal, students colour their page black. With kneaded erasers, students erase the black to create the image of Chaplin.

Part E: Have students create a value chart of 3 tones (with 1 white/blank) using ink or watercolour. Model for students how to dilute the ink and/or apply watercolour. Show the work of Antony Micallef (appendix 9). Have students create an expressive portrait using a brush. What effects can be used? (stipple, splatter, wet on wet, dry on dry etc.)

Accommodations: Demonstrate relevant activities to students and have examples available.

Planning Notes: Print or digitally present the artworks. Have various newspapers and magazines available in class. Gather and prepare small pieces of black construction paper, tracing paper, thin brushes, ink, ink pens, twigs, and objects for still life (i.e. fruit). Print appendix 8 for students.

Activity 4: I Got the Power (Research) Essential question 3 (4 x 70 mins.)

Part A: Remind students of the issues that were raised in activity 2 by referring to the displayed symbol list. Are there any issues that students have concern about that are not represented? Add to list if necessary. Some issues may need to be elaborated upon and/or clarified. However, the issues are open-ended for personal interpretation. Students select an issue of relevance to them and write a statement explaining why this problem is of importance. In groups, students present their issue and statement and brainstorm ideas about the topic with their group. Each student may take notes from their groups to gather more ideas.

Part B: Students begin researching their topic through the library, the internet and begin gathering images (library, internet, newspapers, magazines etc.). Give students the planning sheet (appendix 10). Students should create juxtapositions that typically might not be related to the issue or idea. Where could your art have the most impact? How do I communicate to others through my work? Keep a log of your research in your sketchbook.

Planning Notes: Photocopy appendix 11. Reserve IT lab. Coordinate visit to school library.

Activity 5: Text Me (Writing verbal commentary to accompany) (2 x 70 mins.)

Task(s): Students should write a written commentary to accompany their piece. Students should also consider how to incorporate text into their work. They may include random words/sentences/facts or decide if they wish to write a slogan. The text may be a quote or the artists' own words. This activity may switch back and forth with activity 4.

Accommodations: ESL students may require language support for the written statement.

Activity 6: Ink Me (Summative assessment creation) 4 x 70 mins.

Task(s): Students should begin planning their composition. Remind students of juxtaposition and overlapping. They should create draft sketches and explain their work in small groups for feedback (What works? What doesn't? How can it be made more effective?). Some students may wish to project their found images to enlarge them. If so, projections should be alternated with discussions to maximize use. How do I communicate to others through my work (reinforce essential question 3)?

Planning Notes: Projectors may be required.

Activity 7: Guerilla Gallery (Presenting final product) Student mural project? (1 x 70 mins.)

Task(s): Display works and written statements around school and have a gallery walk. Invite other students, staff and parents to attend. Have each student write a description of the process and final product.

Extensions with real world connections: have students contact organizations within the community that may be interested in displaying their work such as local organizations or local papers. Collect donations for a suitable charity.

Encourage student self-evaluation of final design solutions. Teacher/self/peer evaluations of product with a rubric and teacher anecdotal comments/records. Providing comments at each stage of the project is important. Students should be given the rubric before beginning the summative task. Students to write a self-reflection of the process and final product.

Banksy: http://www.banksy.co.uk (BBC news report: http://ca.youtube.com/watch?v=8e0IJSOq0xg)

For biographies and artworks on several of the above artists: http://www.lazinc.com/artists/zevs/

Kara Walker: http://learn.walkerart.org/karawalker">http://www.pbs.org/art21/artists/walker/index.html http://learn.walkerart.org/karawalker

Jean-Michel Basquiat (interactive): http://www.brooklynmuseum.org/exhibitions/basquiat/street-to-studio/

# data[].attributes.attachment_link.description
Download the PDF here: Listen Up Ive Got Something to Say.pdf View the Issuu version here (if problems viewing, it is also available below): We live in a society that is saturated with images and symbols. Every day we are bombarded with messages in the media.

# data[].attributes.body
a load of sketch book ideas

# data[].attributes.headline
Lots of references to patterns in culture

# data[].attributes.subject
Lots of references to patterns in culture

# data[].attributes.attachment_link.description
Online resources supporting the learning and teaching of the Visual Arts

# data[].attributes.attachment_link.description
LearningIT Blog Here you will find various types of information regarding IT, the arts and learning in the 21st century. Most of the items you find here will hopefully help generate new and creative ideas for yourselves or your students.

# data[].attributes.body
Art lessons that link with famous artists

# data[].attributes.attachment_link.description
Famous Artists Idea Sheet with Country of Origin, Category, Element of Art and Working Ideas...

# data[].attributes.body
These are great to help you build basic skills.

# data[].attributes.attachment_link.title
I love talking about these artworks with my students!

# data[].attributes.attachment_link.description
Through art teaching, I've accumulated a list of good art to analyze with students. Check out the list, and get my accompanying art criticism lesson.

# data[].attributes.headline
Analysis of the Golden Proportion of Birth of Venus

# data[].attributes.subject
Analysis of the Golden Proportion of Birth of Venus

# data[].attributes.body
The meaning of art and how an artist can make a change. We should always be looking to make our work meaningful, FUNCTION & MEANING

# data[].attributes.attachment_link.title
Ai Weiwei in conversation with Tim Marlow: Part 2

# data[].attributes.attachment_link.description
Subscribe to our channel to receive future episodes in this series. Ai Weiwei's monumental work 'Straight' will be the heaviest sculpture ever shown at the Royal Academy when it is installed for the artist's major exhibition in September 2015. The work is made from straightened steel reinforcing bars, salvaged from the ruins of the 2008 Sichuan earthquake.

# data[].attributes.attachment_link.description
We discuss Picasso's great image of Guernica with help from a Subscriber, Andy Hess. Check me out on Patreon, a voluntary online subscription service: https://www.patreon.com/AmorSciendi Script written by James Earle, Andy Hess, and Carrie Clark Edited by James Earle and Hannah Baker Music provided by JinglePunks The Raft of Medusa is by Gericault, not Delacroix.

# data[].attributes.body
Elizabeth Le Court an interesting idea and use for maps

# data[].attributes.headline
Louis Bourgeois Symbolic signifcance behind her work-self portraits

# data[].attributes.subject
Louis Bourgeois Symbolic signifcance behind her work-self portraits

# data[].attributes.attachment_link.description
Watch back: Frances Morris, Director of Tate Modern talks about Louise Bourgeois in her Uniqlo Ten Minute Art Talk.

# data[].attributes.body
Short video-beautiful layered portraits with cultural references. Great for referencing two different places or cultures together in one artwork

# data[].attributes.attachment_link.description
LearningIT Blog Here you will find various types of information regarding IT, the arts and learning in the 21st century. Most of the items you find here will hopefully help generate new and creative ideas for yourselves or your students.

# data[].attributes.attachment_link.title
HEATHER DAY: The Petite Drawings on Display at Hillyer Art...

# data[].attributes.attachment_link.description
home in the studio: The Petite Drawings on Display at Hillyer Art...

# data[].attributes.attachment_link.description
Printmaker Bill Fick (www.billfick.com) demonstrates his linoleum print process from beginning to end.

# data[].attributes.attachment_link.title
Top in the World: Stunning Self-Portraits by an A Level Art Student

# data[].attributes.attachment_link.description
This outstanding Painting and Related Media Coursework project was awarded Top in the World for the CIE examinations. It explores self-portraiture and ‘Identity

# data[].attributes.headline
Better Understanding my own culture mind map prompt sheet Ms Blair

# data[].attributes.subject
Better Understanding my own culture mind map prompt sheet Ms Blair

# data[].attributes.headline
How to talk about Contemporary Art. Understanding it better

# data[].attributes.subject
How to talk about Contemporary Art. Understanding it better

# data[].attributes.attachment_link.readable_text
In collaboration with Skillshare, Artsy's Learning Team and Gallery Partnerships Manager Jordana Zeldin have created "How to Talk about Art: A Beginner's Guide" as an "Art 101" for our era. The class opts for straightforward language that everyone, even those who have felt lost or skeptical about contemporary art, can use in their search to engage with art.

Each lesson brings ideas to life with examples from Artsy's partner galleries, museums, and even public spaces. In these four lessons, you'll learn how to:

Identify what you're looking at

Look closely, ask questions, understand context, and discuss specific works of art

Approach art exhibitions in different spaces

The goal of this class is to empower you to approach artworks that may seem intimidating, and to give you tools to experience the art you love in a thoughtful and satisfying way.

-Artsy's Learning Team and Jordana Zeldin. Jordana Zeldin is a Gallery Partnerships Manager at Artsy, a docent at The Whitney Museum of American Art, and an independent artist representative.

# data[].attributes.attachment_link.title
How to Talk about Art: A Beginner's Guide

# data[].attributes.attachment_link.description
In collaboration with Skillshare, Artsy's Learning Team and Gallery Partnerships Manager Jordana Zeldin have created "How to Talk about Art: A Beginner's Guide" as an "Art 101" for our era. The class opts for straightforward language that everyone, even those who have felt lost or skeptical about contemporary art, can use in their search to engage with art.

# data[].attributes.headline
Art Specific websites that are great and very reputable to use for your research

# data[].attributes.subject
Art Specific websites that are great and very reputable to use for your research

# data[].attributes.attachment_link.readable_text
The teacher is the most important source of information without a doubt, and the teacher"s knowledge will be the single most useful resource the students have available. However, not all teachers have an extensive knowledge of art history, or a wide ranging knowledge of art from traditions and cultural backgrounds other than their own, and we all need good sources to consult.Students need help finding appropriate art...

To access the entire contents of this site, you need to log in or subscribe to it..

Click the free stuff button on the home page to access free pages or check the blog (which is also free).

# data[].attributes.attachment_link.description
The teacher is the most important source of information without a doubt, and the teacher"s knowledge will be the single most useful resource the students have available. However, not all teachers have an extensive knowledge of art history, or a wide ranging knowledge of art from traditions and cultural backgrounds other than their own, and we all need good sources to consult.Students need help finding appropriate art...

# data[].attributes.headline
Helpful diagram to figure out meaning in artworks.

# data[].attributes.subject
Helpful diagram to figure out meaning in artworks.

# data[].attributes.attachment_link.description
Mini Comparative Study (CS): Compare and contrast the artworks of at least 2 different artists. Preferably of similar subject matter from 2 different cultures and or time periods. Use the sections and the guiding questions in the chart below to help your CS. Use the art vocabulary link to ensure consistent use of terminology throughout your CS.

# data[].attributes.body
Some different functions that art can have

(remember, a single artwork can have more than one!)

Expressive function – expresses the artists’ feelings

Descriptive function – records the likeness of a place or person or other subject.

Conceptual function –the idea or concept behind the work is more important than the object

Practical function-has a practical use, such as clothing, vessels, furniture, a building

Religious function – tells a religious story or is an object of devotion.

Historical narrative function- tells a story of an event in history

Commemorative function – made to honour someone (like a statue of a famous person)

Political function- serves a political purpose, such as propaganda.

Symbolic function – symbolizes certain beliefs or ideas without representing them.

Decorative Function- used to adorn the body, a room, a building etc.

Ritual function – used as part of a ritual or ceremony, or has magical powers.

Shock function – intended to shock or upset the viewer

can you think of more?

# data[].attributes.headline
An example of how you can show what you will take from an artists work to use in your own and trialing their techniques

# data[].attributes.subject
An example of how you can show what you will take from an artists work to use in your own and trialing their techniques

# data[].attributes.body
This student has not listed the artist of inspirations name/title/date etc. Make sure you cite the artwork!

# data[].attributes.body
Ask yourself... what are the contributing elements in an artwork that result in an effective communication of ideas?
How do artists incorporate and or detract concepts in their artwork?
I Should show subtle and complex images/signs and symbols. How can I draw symbols or personal meaning to my piece based on my own life and culture. Your task is always to make the piece exciting and provoke and attract attention via a stimulating subject matter.
Avoid the obvious and cliche'!
-Should show a subtle and considered approach to developing imagery and signs and symbols.

# data[].attributes.headline
A table listing possible ways you could generate questions for your Comparative Studies tasks

# data[].attributes.subject
A table listing possible ways you could generate questions for your Comparative Studies tasks

# data[].attributes.headline
An example of how an artist begins an artwork

# data[].attributes.subject
An example of how an artist begins an artwork

# data[].attributes.body
Patricia Schappler: artist

# data[].attributes.attachment_link.title
Process Methodology of Artists & Designers

# data[].attributes.attachment_link.description
Patricia Schappler in the studio talking about process.

# data[].attributes.headline
Emerging Artists of 2017 that could inspire your work

# data[].attributes.subject
Emerging Artists of 2017 that could inspire your work

# data[].attributes.attachment_link.readable_text
2016 was a decisive year for Bašić. In the past four months alone, the Serbian, New York-based artist has mounted both her first gallery solo show, at London's Annka Kultys, and her first installation at a world-renowned museum, in the Whitney's much-anticipated group exhibition of innovative film and video, "Dreamlands." The Whitney presentation puts Bašić's work alongside the likes of Trisha Baga, Ian Cheng, Joseph Cornell, Pierre Huyghe, and Hito Steyerl. Recently, Bašić's work has caught the art world's eye for its visceral depictions and dissections of the human body. Corporeal sculptures that suspend fleshy wax masses from ribbon or prop them up with steel bars address both the vulnerability and resilience of the human form. Meanwhile, her videos isolate forms that resemble pulsing, regenerating organs. Bašić was raised in Belgrade during a period of violent conflict, and is deeply engaged with the cultural and technological innovation brought about by the internet. She is interested in the body as a malleable vessel-one that can be simultaneously fragile, political, cloned, and digitized. Kicking things off in 2017, she will be included in a group exhibition at New York's Andrea Rosen Gallery.

# data[].attributes.attachment_link.description
2016 was a decisive year for Bašić. In the past four months alone, the Serbian, New York-based artist has mounted both her first gallery solo show, at London's Annka Kultys, and her first installation at a world-renowned museum, in the Whitney's much-anticipated group exhibition of innovative film and video, "Dreamlands."