6
Illinois State University
School of Art
Art 211/Media, Techniques, and Inquiry for Secondary Schools, 3hrs.
Spring 2013
Instructor:
Dr. Stewart Office: CVA 215C
Phone: 438-7327 Office Hours T & H 9:00a.m. – 11 or by appointment
e-mail: Web: http://www.ilstu.edu/~eostewa
Course Description:
Art Ed maj only or cons dept chair req. Clin Exp:10hrs. May Incl. Clin exp: Types 1-4 and 9.
Media, techniques, and inquiry suitable for secondary level schools.
Course Overview
Art 211 is planned to assist future art teachers in understanding concepts and attaining skills needed for teaching secondary art. Individuals will acquire these skills and understandings through:
1. Studio experiences with a variety of materials and procedures;
2. Group critiques and discussions;
3. Readings related to course content;
4. Observations and participation;
5. Various printed, visual, and electronic resources.
Written assignments and research will supplement in-class assignments. Students are encouraged to interrelate concepts and practices of this course with concepts from courses in professional education, studio art courses, and art history. Additionally, this course will emphasize the multicultural and global nature of art, celebrating uniqueness of individuals and peoples, and at the same time, celebrating those shared values and concerns that make us alike. Art making and responding to art are meaningful activities for students of all ages, and for secondary students these practices may help to establish important values that will have long-lasting effects on their lives.
Art 211 is aligned with the Illinois State University College of Education’s conceptual framework for teacher education, “Realizing the Democratic Ideal” (RDI) Content of this course is designed to respond to concerns of art components in public school art programs and to meet those teaching concepts designated by National Council of Accreditation of Teacher Education (NCATE) and Illinois State Board of Education (ISBE) criteria. Attention is given to alignment with the Interstate New Teacher and Support Consortium (INTASC) principles and the Illinois Professional Teaching Standards (IPTS). This course addresses the National Standards for Arts Education, the Illinois State Goals and Learning Standards for Fine Arts, and Illinois State Visual Arts Content – Area Standards (VACAS).
Course Objectives
As a result of active participation in this course, the student will be able to:
a. Develop knowledge about, and demonstrate appropriate proficiency in using a variety of media and techniques appropriate for secondary students. (RDI Intellectual Virtue 2 & 4 ;INTASC 1 & 4; IPTS 1 & 4; IVACS 1, 3, 4).
b. Identify and maintain a record of relevant concepts, skills, historical and cultural information about media, and procedures presented in the course, organized as teaching materials appropriate for instructional use in secondary art classes. (RDI Intellectual Virtue 1; INTASC 1, IPTS 1, IVACS 3).
c. Establish guidelines for evaluation of art products appropriate for and useful in teaching secondary art students to make valid judgments of student work, their own art, and that of recognized artists. (RDI Intellectual Virtue 3; INTASC 8, IPTS 8, IVACS 7).
d. Establish relationships among areas of art learning: production, cultural and historical implications, critical analysis, and aesthetic issues. (RDI Intellectual Virtue 1 &3; INTASC 1,2, & 4; IPTS 1, 2, & 4; IVACS 2 5 & 6).
e. Develop skills in organizing information about art learning experiences conductive to visual-expressive abilities of secondary school students. (RDI Intellectual Virtue 3; INTASC 1, IPTS 1, IVACS 3, I 1).
Topical Content
What does a secondary art teacher need to know and do?
What can secondary students do?
The Comprehensive Approach (AH, AC, AE, AP)
Classroom Safety
Teaching drawing from observation
Appropriating vs. Plagiarizing
Classroom management (logistics)
Assessment
Material, techniques, and vocabulary for:
· Drawing
· Watercolor
· Printmaking
· Clay
· Sculpture
Required Text
Hobbs, J. & Salome, R. (2005) (3RD edition) The visual experience,
Teacher’s Edition. Worchester, MA: Davis Publications, Inc.
Required Student Tasks, Assignments
a. Still life drawing (RDI Intellectual Virtue 1;INTASC 1 & 4; IPTS 1 & 4; IVACS 1, 3, 4; I 2 & 4).
b. Perspective drawing (RDI Intellectual Virtue 1;INTASC 1 & 4; IPTS 1 & 4; IVACS 1, 3, 4; I 2 & 4).
c. Printmaking (RDI Intellectual Virtue 1;INTASC 1 & 4; IPTS 1 & 4; IVACS 1, 3, 4; I 2 & 4).
d. Portrait drawing (RDI Intellectual Virtue 1;INTASC 1 & 4; IPTS 1 & 4; IVACS 1, 3, 4; I 2 & 4).
e. Maskmaking (RDI Intellectual Virtue 1;INTASC 1 & 4; IPTS 1 & 4; IVACS 1, 3, 4; I 2 & 4).
f. Slab and/or coil construction in clay (RDI Intellectual Virtue 1;INTASC 1 & 4; IPTS 1 & 4; IVACS 1, 3, 4; I 2 & 4).
g. Research artists from the past and present (RDI Intellectual Virtue 1; INTASC 1, IPTS 1, IVACS 3).
h. Research cultures from various times, places, and cultures (RDI Intellectual Virtue 1 &3; INTASC 1,2, & 4; IPTS 1, 2, & 4; IVACS 5 & 6).
i. Participate in 10 hours of clinical observations in secondary classes (RDI Intellectual Virtue 3; INTASC 1, IPTS 1, IVACS 3, I 1). (4 Hours required assisting 309 students on one Saturday for IESA ISU – CVA)
j. Write brief reflections on clinical observation experiences (RDI Intellectual Virtue 3; INTASC 1, IPTS 1, IVACS 3, I 1).
k. List and define vocabulary terms relating to studio techniques and processes (RDI Intellectual Virtue 1; INTASC 1, IPTS 1, IVACS 3).
l. Develop a resource file of material that will help in the preparation and presentation of lessons in secondary school (RDI Intellectual Virtue 1; INTASC 1, IPTS 1, IVACS 3).
m. Participate in critiques and class discussions.
Student Performance Evaluation Methods
Individual evaluation will be based on the student’s ability to follow set criteria. Participation and promptness are extremely important for each session. Class experiences cannot be made up in case of absences. It is the student’s responsibility to find a classmate who will give assistance in case of an emergency absence. Absences, late arrivals, and early departures are not viewed as professional behaviors (dispositions). The course grade is affected if lack of participation occurs.
Active Participation/Attendance:
Promptness, an enthusiastic attitude, and full in and out of class participation are expected at all times. Absences, late arrivals, and early departures can contribute to a lower letter grade.
Report emergency absences prior to class or following the class session as soon as possible to the professor via phone message or e-mail. Assignments are expected to be turned in on time as an indicator of professional behavior. If there are circumstances which make it difficult to attend or hand in work in a timely manner, please consult the professor and offer documentation.
Plagiarism, “the appropriation of another’s work, words, or ideas” will result in a zero (0) grade on the assignment. In addition cases of plagiarism can result in a disposition concern form being filed with the School of Art and College of Education.
Delivery System
Most lessons will be presented in brief lecture and/or discussion format. Materials will also be available on line through a course web page. Other communication will take place through e-mail. The major format of this course is lab/studio.
All written assignments are to be word-processed excluding class notes and in-class writings.
Assignments and distribution of points:
40.5% / Studio AssignmentsThrough studio assignments students will:
· Develop knowledge and experience with various 2-D and 3-D materials, techniques, and vocabulary
· Reflect on the process of making and teaching art using self-evaluation forms
· Develop a portfolio of well-crafted examples that can be used as motivational tools in future lessons (Objectives ‘a’,‘c’ & ‘e’)
2.5% / Active Participation Attendance, promptness, an enthusiastic attitude, and full in and out of class participation are expected at all times. Absences, late arrivals, and early departures can contribute to a lower letter grade.
5% / Reflective summaries of clinical experiences. (Objective ‘e’)
10% / Resource notebook/file. (Objective ‘e’)
Resource file 50
Teaching Portfolio 50
10% / Tests over course material, studio /laboratory procedures, readings, and written assignments. (Objective ‘e’) Exam 1: 50, Exam 2: 50
14% / Article Reflections based on various assignments
18% / Out of class Assignments Drawings, PowerPoint and Handouts. (e.g. Handouts and written reports. (Objective ‘b’ & ‘d’)
100% / TOTAL
If you need a special accommodation to fully participate in this program, please contact the School of Art at 309.438.5621. Please allow sufficient time to arrange the accommodation.
Reading in The Visual Experience related to assignments and activities
STUDIO PROCESSES
NARRATIVE VESSEL / pp. 272 - 273, , 492DRAWING/PORTRAIT / pp. examples throughout the book, 483, 484-487.
SCULPTURE (3-D) / pp. 54-55, , 254 – 295, 493.
POSTER PRINT / pp. 226 - 229, 490 – 491.
MASK / pp. 404 - 405
STILL LIFE / pp. 46-47, 179, 237, 249
BATIK / p. 200-201, 354, 361
PERSPECTIVE DRAWING / pp. 118, 128 – 129, 143, 486
PORTRAIT HANDOUT & SELF PORTRAIT / pp. see Part 4: Art History 352-409
THE COMPREHENSIVE COMPONENTS
Aesthetics CH 2 When is it Art 10 – 17.
Art Criticism CH 21 A critical Method 312 – 323.
Art History Part 4: Art History 352
Additional Supportive Materials
Arnason, H. H. (1977). History of modern art. (2nd ed.) Englewood Cliffs, NJ:
Prentice-Hall.
Barnet, S. (1989). A short guide to writing about art. Glenview, IL: Scott, Foresman,
and Company.
Bayles, D. and Orland, T. (1993). Art and fear. Santa Cruz, CA: The Image Continuum.
Betti, C. and Sale, T. (1980). A contemporary approach: Drawing. NY: Holt, Rinehart,
and Winston.
Cohn, Amy (Ed.)(1993). From sea to shining sea. NY: Scholastic Inc.
Cooke, H. L. (1973). Painting techniques of the masters. (Revised, enlarged edition,
second printing). NY: Watson Guptill Publications.
Cumming, R. (1995). Annotated art. London: Dorling Kindersley
Edwards, B. (1999). The new drawing on the right side of the brain. NY:
Jerremy P. Tarcher/Putnam.
FitzSimons, C, (1989). Serious drawing: A basic manual. Englewood Cliffs, NJ:
Prentice-Hall.
Fleming, W. (1995). Arts and ideas. (9th ed.) Fort Worth TX: Harcourt, Brace
College Publishers.
Hobbs, J. & Salome, R. (1995). The Visual Experience, Teacher’s Edition. (2nd Edition).
Worchester, MA: Davis Publications, Inc.
Jung, C. (1959). Man and his symbols. Princeton, NJ: Princeton
University Press
Martin, J. (1993). Sketching school. Pleasantville, NY: The Readers Digest Association.
Nelson, G. (1971). Ceramics: A potters handbook. (3rd ed.) NY: Holt, Rinehart,
and Winston.
Nicolaides, K. (1941). The natural way to draw. Boston: Houghton Mifflin.
O’Reilly, S. (1993). Batique and tie-dye. NY: Thomson Learning
O’Reilly, S. (1993b). Stencils and screens. NY: Thomson Learning.
Philip, N. (1999). Myths & legends. London: Dorling Kindersley
Piper, D. (1984). Looking at art. NY: Random House.
Richardson, J. A. (1973). Art: The way it is. Englewood Cliffs, NJ: Prentice-Hall, Inc.
Rose, B. (1967). American art since 1900: A critical history. NY: Praeger.
Upton, B. L. and Upton, J. (1981). Photography. (2nd ed.) Boston, MA: Little, Brown,
and Company.